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Allen Hockley’s research engages two fields of study: early Japanese photography and woodblock prints and illustrated books from the Tokugawa through early Showa periods. He teaches a broad array of courses on Japanese and Asian art including: Sacred Art and Architecture of Japan, The Japanese Painting Tradition, Japanese Architecture, Japanese Prints, Contemporary Art of Asia, Sacred Architecture of Asia, and Chinese Art. He offers advanced seminars on Colonial-era Photography in Africa, the Middle East and Asia.
The Women of Shin Hanga: The Judith and Joseph Barker Collection of Japanese Prints, Hanover, NH: Hood Museum of Art, Dartmouth College, 2013
The Treaty of Portsmouth and Its Legacies, (co-edited with Steve Ericson) Lebanon, NH: University Press of New England, 2008
Public Spectacles and Personal Pleasures: Four Centuries of Japanese Prints From a Cincinnati Collection, Cincinnati: Cincinnati Museum of Art, 2006.
The Prints of Isoda Koryûsai: Floating World Culture and Its Consumers in Eighteenth- Century Japan, Seattle: University of Washington Press, 2003.
"What Do People See in The Tale of Genji.” in Murasaki Shikibu. The Tale of Genji: A New Translation Contexts and Criticisms. Translated and Edited by Dennis C. Washburn. Norton Critical Editions. New York: W.W. Norton & Company, 2021: 1251-1267.
“John Cooper Robinson and Japanese Commercial Photography” in Digital Meijis: Revisualizing Modern Japanese History at 150, edited by Tristan R. Grunow and Naoko Kato (Vancouver, B.C.: University of British Columbia Libraries, 2018): 95-104. [online version available at: https://meijiat150.arts.ubc.ca/] Sept. 2018
"Other Tea Cults" The Review of Japanese Culture and Society, (December 2012): 94-115.
“Suzuki Harunobu: The Cult and Culture of Color,” Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680-1860, (Asia Society, New York, 2008): 80-97.
“Past Meets Present: Wenda Gu’s Forest of Stone Steles: Retranslation and Rewriting Tang Dynasty Poetry,” Wenda Gu at Dartmouth: The Art of Installation, Hanover, NH: Hood Museum of Art & University of New England Press, 2008): 120-133.
“New Age Warriors: Redeploying the Heroic Ethos in the Late Meiji Period,” Chikanobu: Modernity and Nostalgia in Japanese Prints, Amsterdam: Hotei Publishing, 2006: 109-115.
“Expectation and Authenticity in Meiji Tourist Photography,” Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art, edited by Ellen P. Conant, Honolulu: University of Hawaii Press, 2006: 114-132.
“The Zenning of Munakata Shikô” Impressions, no. 26 (2004): 77-87.
“First Encounters – Emerging Stereotypes: Westerners and Geisha in the Late Nineteenth Century,” Peabody Essex Museum, Geisha: Beyond the Painted Smile, New York: George Braziller, (2004): 51-65.
“Packaged Tours: Photo Albums and Their Implications for the Study of Early Japanese Photography,” Reflecting Truth: Photography in Nineteenth-Century Japan, edited by Nicole Coolidge Rousmaniere and Mikiko Hirayama. Amsterdam: Hotei Publishing (2004): 66-85.
“Cameras, Photographs, and Photography in Nineteenth-Century Japanese Prints,” Impressions, no. 23 (2001): 42-63.
“Shunga: Function, Context, Methodology,” Monumenta Nipponica, vol. 55, no. 2, (Summer 2000): 257-269.