BIOGRAPHY
Ekin Pinar received her Ph.D. from the History of Art department at the University of Pennsylvania. She served as a Zigrosser Fellow as well as a film intern at the Philadelphia Museum of Art where she co-curated with Anna Vallye the experimental film screening series in conjunction with the Léger: Modern Art in the Metropolis exhibition in 2013. In 2021-22, as the 'Canyon Cinema Discovered' Curatorial Fellow, she curated a film exhibition titled Insurgent Articulations. She also worked as the director of a residential Film Culture Program at the University of Pennsylvania and as a docent at the Institute of Contemporary Art, Philadelphia. Before METU, she has taught several courses on history and theory of film and modern and contemporary art and architecture at the University of Pennsylvania and Franklin and Marshall College. Her work has appeared in Camera Obscura, animation: an interdisciplinary journal, Film Criticism, Quarterly Review of Film and Video, ARCHNET-IJAR, Journal of Design Studio, Art Vision, METU JFA, GRID, and Open Screens. Ekin’s current research focuses on the history of modern and contemporary art and architecture; cinema studies; gender and sexuality studies; expanded cinema and moving image exhibition spaces and practices; and history and theory of animation and experimental film.
SELECTED PUBLICATIONS
“Pensive Spectacles: On Museal Gazes in Cinematic Starchitecture.” In Cinematic Starchitecture: The Celebrity Status of Urban Architectural Structures in Film, ed. Merrill Schleier and Paul Newland. London: Routledge, 2025.
“Entangled Histories of Architecture and Dispossession in The Pruitt-Igoe Myth (2011).” GRID: Architecture, Planning and Design Journal 8, no.1 (April 2025): 241-262.
“Temporal Surfacing: Mosori Monika (1970) and Chick Strand’s Cross-Cultural Explorations.” Camera Obscura 37, no. 3 (December 2022): 31-57.
“Through a Museum Window: Tacita Dean’s FILM (2011) and a Cinema of Dissensus.” Quarterly Review of Film and Video 39, no. 8 (November 2022): 1879-1904.
“Across the Traces: Lawrence Jordan’s Animated Documents.” Animation: An Interdisciplinary Journal 15, no. 1 (March 2020): 6-21.
“The Futurist Myth of Accelerated Subjectivity: Speed in Umberto Boccioni’s Works.” In Mobility and Fantasy in Visual Culture, ed. Lewis Johnson, 80-86. London: Routledge, 2014.