0113 343 9171
Fine Art Building 3.14
Office hours: Fridays 2-4, or by appointment
B.A. University of Arizona (Art History and East Asian Studies); M.A University of Chicago; Ph.D University of Chicago (Art History)
My teaching and research aim to move beyond the binary dichotomy in understanding visual materials. Specifically, I work with materials related to photographic histories, exhibition and collecting practices in and about Asia, and historiographical and methodological issues.
Histories of photography; historiography and periodization; theories of vision and visual culture; histories and theories of “realism”; histories of museums and collecting; text and image relationship;
BA programs: Seeing Asia, Showing Asia, and Critical Approaches to Photography.
MA program: Critical Approaches to Photography.
The Premise of Fidelity: Science, Visuality, and Representing the Real in Nineteenth-century Japan (Stanford University Press, 2012),
‘Photography for Everyone: The Cultural Lives of Camera and Consumers in Early Twentieth-Century Japan’, MONUMENTA NIPPONICA, 71.2 (2016), 434-438,
‘Afterimage of Empire: Photography in Nineteenth-Century India’, CRITICISM-A QUARTERLY FOR LITERATURE AND THE ARTS, 57.3 (2015), 511-515,
‘Handle with Care: Shaping the Official Image of the Emperor in Early Meiji Japan’, Ars Orientalis: the arts of Asia, Southeast Asia and Islam, 43 (2013), 108-124,
‘Shōhyakusha to shashin: tōgōsareta shashinshi ni mukete’, Kindai gasetsu, 21 (2012), 31-47,
‘Modern Japanese Art and the Meiji State: The Politics of Beauty’, The Journal of Asian Studies, 71.4 (2012),
‘Photography and Japan by Karen M. Fraser’, Trans-Asia Photography Review, 2.2 (2012),
‘Selling Portrait Photographs: Early Photographic Business in Asakusa, Japan’, History of Photography, 35.4 (2011), 353-374,
‘Toward a Synthesized History of Photography: Conceptual Genealogy of Shashin’, Positions: east asia cultures critique, 18.3 (2010), 571-597,
‘Contextualising the peep-box in Tokugawa Japan’, Early Popular Visual Culture, 3.1 (2005), 17-42,
‘The Fluidity of Representation: Early Photographs, Asakusa, and Kabuki’, in Portraiture and Early Studio Photography in China and Japan ([n.pub.], 2017),
‘The Fluidity of Representation: Early Photographs, Asakusa, and Kabuki’, in Portraiture and Early Studio Photography in China and Japan, ed. by Gartlan and Wue (Routledge, 2017),
‘Shokubutsu hyōshō no dōki to "shashin": Shōhyaku-sha wo tōshiteno ikkō’, in Between Botany and Art [Geijutsu shokubutsuen] (Aichi Prefecture: The executive committee of the exhibition "Between Botany and Art", 2015), 145-151,
Research Projects & Grants
Leverhulme Visiting Professorship, 2017; Japan Foundation, Long Term Research Fellowship, 2015-16; Japan Foundation, Short-Term Research Grant, Summer 2012; Association of Asian Studies, First Book Subvention Program, 2012; Office of Vice President for Research Publication Subvention, University of Michigan, 2011; Faculty Research Grant, Center for Japanese Studies, University of Michigan, 2007-2008, 2009-2010, 2011-12; Robert and Lisa Sainsbury Fellow, Sainsbury Institute for the Study of Japanese Arts and Cultures, 2008-2009
Research Centres & Groups
The Centre for the Comparative History of Print (University of Leeds)
Arts and the Transcultural: Concepts, Histories, and Practices, Asia and Europe in a Global Context (University of Heidelberg)
Board member, European Association for Asian Art and Archaeology
PhD & Postdoctoral Supervision
Students I co-supervise on Ph.D level are in practice-led programs and come from varied background and interests.
engenderingeastasia.org, project with Pauline J. Yao, funded by the Leverhulme Visiting Professorship (Jan-May 2017)