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Art History Through the Camera's Lens
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Art History Through the Camera's Lens (2013)Art History Through the Camera's LensSynthesizing a Dual-Definition of Façade in the Western Palaces of the Yuanming Yuan: Art, Politics, and Place-making in the Garden of Perfect Brightness (2021)Synthesizing a Dual-Definitio…Describing uncatalogued photographs in nineteenth century albums : a practical project in collections management (2021)Describing uncatalogued photo…Emerging Memory: Photographs of Colonial Atrocity in Dutch Cultural Remembrance (2015)Emerging Memory: Photographs …With and Without Walls: Photographic Reproduction and the Art Museum (2013)With and Without Walls: Photo…Prises pour être vues. L’ordre du regard dans la photographie contemporaine (2013)Prises pour être vues. L’ordr…Developing the Picture: Wölfflin's Performance Art (2010)Developing the Picture: Wölff…Les « Atlas photographiques » : un mécanisme de pensée commun à l’anthropologie et à l’histoire de l’art (2009)Les « Atlas photographiques »…Exchanging photographs: preliminary thoughts on the currency of photography in collecting anthropology (2000)Exchanging photographs: preli…The Getty Research Institute: Materials for a New Photo-History (1998)The Getty Research Institute:…The Image of Objectivity (1992)The Slide Lecture, or the Work of Art "History" in the Age of Mechanical Reproduction (2000)Georges Didi-Huberman, L’image survivante. Histoire de l’art et temps des fantômes selon Aby Warburg (2002)The Social Life of Things (1986)Destination Culture: Tourism, Museums, and Heritage (1999)Digitisation and Sharing of Collections: Museum Practices and Copyright During the COVID-19 Pandemic (2023)From The Emancipated Spectator (2025)Postmodernism, or, The Cultural Logic of Late Capitalism (1992)Imagined Communities: Reflections on the Origin and Spread of Nationalism (1994)Camera Lucida: Reflections on Photography (2001)Leviathan and the Air-Pump: Hobbes, Boyle, and the Experimental Life (1987)The Savage within: The Social History of British Anthropology, 1885-1945 (1992)After Tylor: British social anthropology, 1888-1951 (1996)Appropriating Iconicity: Why Tank Man Still Matters (2014)Principles of art history : the problem of the development of style in later art (1950)Empathy, Form, and Space: Problems in German Aesthetics, 1873-1893 (1993)Bild-Anthropologie (2001)Aby Warburg: An Intellectual Biography (1972)"We Make Our Tools and Our Tools Make Us": Lessons from Photographs for the Practice, Politics, and Poetics of Diplomatics (1995)The Public Lives of Private Family Albums: a Case Study in Collections and Exhibitions at the Art Gallery of Ontario and Max Dean: Album (2021)In Our Own Image : The Coming Revolution in Photography : How Computer Technology is Changing our View of the World (1990)Ce que nous voyons, ce qui nous regarde (1992)The reconfigured eye: Visual truth in the post-photographic era (1993)Reflections on Place and Place‐making in the Cities of China (2007)A story of ruins: presence and absence in Chinese art and visual culture (2012)Colonialist Photography (2013)Lonely Aphrodites: On the Documentary Photography of Sculpture (1992)Encyclopedia of nineteenth-century photography (2008)Photographic memory: the album in the age of photography (2012)
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Cited by

  • 2015Emerging Memory: Photographs of Colonial Atrocity in Dutch Cultural Remembrance58 cited
  • 2009Les « Atlas photographiques » : un mécanisme de pensée commun à l’anthropologie et à l’histoire de l’art11 cited
  • 2013With and Without Walls: Photographic Reproduction and the Art Museum10 cited
  • 1998The Getty Research Institute: Materials for a New Photo-History7 cited
  • 2000Exchanging photographs: preliminary thoughts on the currency of photography in collecting anthropology7 cited
  • 2010Developing the Picture: Wölfflin's Performance Art6 cited
  • 2021Describing uncatalogued photographs in nineteenth century albums : a practical project in collections management2 cited
  • 2013Prises pour être vues. L’ordre du regard dans la photographie contemporaine1 cited
  • 2021Synthesizing a Dual-Definition of Façade in the Western Palaces of the Yuanming Yuan: Art, Politics, and Place-making in the Garden of Perfect Brightness1 cited

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