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Allen Hockley


Associate Professor
Ph.D. University of Toronto, 1995
M.A. University of British Columbia
B.A. University of Victoria

Courses Taught at Dartmouth

  • Art History 60, The Arts of China
  • Art History 63, Sacred Art and Architecture of Japan
  • Art History 64, The Japanese Painting Tradition
  • Art History 65, Japanese Prints
  • Art History 66, The Camera in Nineteenth-century Asia
  • Art History 67, Contemporary Arts of Asia

Course Descriptions

In addition to these core courses, Allen Hockley offers at least one course per year in an area of his research interests. Examples include: Prints and Photographs of the Meiji Era; Heroes and Heroines in Japanese Popular Culture; Pilgrimage Travel and Tourism in Japanese Art

Special Interests

Japanese Art; Print Culture/Ukiyo-e; Photography

Selected Publications


  • 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.
  • Inside the Floating World: Japanese Prints from the Lenoir C. Wright Collection,
    Greensboro, N.C.: Weatherspoon Art Gallery, 2002.


  • "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.


  1. Japanese Prints at the Hood Museum of Art
  2. Screens and Scrolls: Japanese Painting from the Ackland Museum of Art

Last Updated: 7/17/13