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Books
Oxford; New York: B. Blackwell, 1988.
"Myths of Sexuality" is a pioneering work of feminist art history. It tells how the depiction of women in art defined and confined their role in Victorian Britain. This book offers an analysis of the regulation of women's behaviour in the 19th century.
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London ; New York : Routledge, 1992.
Anyone who examines the history of Western art must be struck by the prevalence of images of the female body. More than any other subject, the female nude connotes `art'. The framed image of a female body, hung on the walls of an art gallery, is an icon of Western culture, a symbol of civilization and accomplishment. But how and why did the female nude acquire this status?
London: Kala Press 1995.
This monograph brings together the work of Chila Kumari Singh Burman from 1980 to 1995. Faced with an art establishment unwilling to recognize the individual cultural practices of such artists beyond the stereotypes of ethnicity, Burman became part of a militant vanguard determined to gain their right to full participation in the nations cultural life on their own terms - meaning, amongst other things, self-representation and artistic credibility.
Background image: CC BY 4.0 <https://creativecommons.org/licenses/by/4.0>, via Wikimedia Commons
New Haven : Yale University Press, c2000.
A study of 19th-century London, offering an account of modernity and metropolitan life. This work charts the relationship between London's formation into a modern organized city in the 1860s and the emergence of new types of production and consumption of visual culture.
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New Haven : Yale University Press, c2007.
In the late nineteenth century, the development of a relatively new invention, the moving picture, dramatically changed visual culture. Films not only captured the public imagination, they altered the way the world was represented to and received by the eager viewing audience. This work explores the history of visual media in Britain during this key period, when the nineteenth century was closing and the twentieth just beginning.
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New Haven : Yale University Press, 2017
Taking an interdisciplinary approach that looks at film, television, and commercial advertisements as well as more traditional media such as painting, The Tiger in the Smoke provides an unprecedented analysis of the art and culture of post-war Britain, presenting insights into how the Great Fogs of the 1950s influenced the newfound fashion for atmospheric cinematic effects.
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Articles
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Bert Hardy: Exercises with Photography and Film (with John Wyver)
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Digital image courtesy of Imperial War Museum (IWM Non-Commercial Licence)
Featured Work
Selected Articles
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‘Paintings, Films and Fast Cars: A Case Study of Hubert von Herkomer’, Art History 25: 2 (April 2002): 240-55
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‘Visual Cultures of the Courtroom: Reflections on History, Law and the Image’, Visual Culture in Britain, 3:2 (2002): 119-141. A revised version of this article is published in Current Legal Issues (March 2005)
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‘Animating the Everyday: London on Canvas and Camera c.1900’, Journal of British Studies, 43 (January 2004): 65-90.
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‘Velocities of the Image c. 1900’, Art History 27: 5 (November 2004): 745-769.
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‘Strip: Moving Bodies in the 1890s’, Early Popular Visual Culture, vol. 3, no. 2 (September 2005): 135-150.
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‘The Devil in the Studio’, Tate Etc. and Tate Online
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‘The Art of Making Faces’, Textual Practice, 22:1 (March 2008): 133-43.
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‘The History in Pictures’, Cultural and Social History, 7:4 (20100: 485-92.
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‘Stilling the Punch: Violence and the Photographic Image’, Journal of Visual Culture, 10:3 (December 2011): 305-323.
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‘The Cutman: Boxing, the Male Body and the Wound’, Sports, Ethics and Philosophy, 7:4 (December 2013): 368-78.
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‘The Layering of Pleasure: Women, Fashionable Dress and Visual Culture in the Nineteenth Century’, Nineteenth-Century Contexts 35:3 (2013): 489-509. Republished on the digital platform Routledge Historical Resources: 19th-Century British Society, 2020.
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‘The Secret of England’s Greatness’, Journal of Victorian Culture, 19:2 (2014): 161-82.
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‘Fallen Women and Foundlings: Rethinking Victorian Sexuality’, History Workshop Journal, 81:2 (Autumn 2016): 177-88 (published online 22 August 2016).
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‘“Red Taffeta Under Tweed”: The Meaning of Colour in Post-War Clothes’, in ‘The Look of Austerity’, special issue of Fashion Theory,21:4 (2017): 365-89.
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With John Wyver. ‘Bert Hardy: Exercises with Photography and Film.’ British Art Studies, 15 (2020)
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‘Ruth Ellis’s Suit’, British Art Studies, 21 (2021)
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‘A Bruise, A Neck and A Little Finger: The Visual Archive of Ruth Ellis’, Radical History Review, 14:2 (2022): 57-71.
Numerous articles also featured in:
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Edited Collections
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The Actuality of Walter Benjamin (London: Lawrence and Wishart, 1998). Book published in USA by New York University Press. (Co-editor with Laura Marcus)
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Sexual Geographies (London: Lawrence and Wishart, May 1999) (Contributor and co-editor with Frank Mort)
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Law and the Image: The Authority of Art and the Aesthetics of Law (Chicago: Chicago University Press, June 1999) (Contributor and co-editor with Costas Douzinas)
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‘Ringcraft: Under the Spell of Boxing’, in Fighting Back? Jewish and Black Boxers in Britain, eds. Michael Berkowitz and Ruti Ungar (London: University College London Press, 2007) pp. 83-94. Translated into German in Berliner Debatte Initial, 22:4 (2011) pp. 78-88. (Contributer)
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‘The Age of the “Hurrygraph”: Motion, Space, and the Visual Image c. 1900’, in The Edwardian Sense: Art, Design, and Performance in Britain, 1901-10 eds. Morna O’Neill and Michael Hatt (New Haven: The Paul Mellon Centre for Studies in British Art and Yale University Press, 2010) pp. 99-113. (Contributer)
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‘Freedom from Publicity or Right to Information? Visual Cultures of the Courtroom’, in Kjell A. Modéer and Martin Sunnquist, eds. Legal Stagings (Copenhagen: Museum Tusculanum Press, 2012) pp. 59-87. (Contributer)
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‘“Many little harmless and interesting adventures…”: Gender and the Victorian City’, in Martin Hewitt, ed. The Victorian World (London and New York: Routledge, 2012) pp. 291-307. (Contributer)
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‘The Artist’s Studio: The Affair of Art and Film’, in Angela dalle Vacche, ed. Museum Without Walls: Film, Art, New Media (New York and London: Palgrave, 2012) pp. 30-51. (Contributer)