Publications

Books Authored or Edited (published by University of Chicago Press unless otherwise noted):

  • Blake’s Composite Art (Princeton: Princeton University Press, 1977).
  • The Language of Images, ed. (1980).
  • On Narrative (1981); Japanese translation.
  • The Politics of Interpretation, ed. (1983).
  • Against Theory: Literary Studies and the New Pragmatism, ed. (1985).
  • Iconology: Image, Text, Ideology (1986); Japanese translation; French translation by Maxime Boidy and Stéphane Roth (Paris: Les Prairies Ordinaires, 2009); Korean-language edition (Seoul: Sizirak Publishing Company, 2004).
  • Landscape and Power, ed. (1994); 2nd edition, revised and enlarged, with a new preface (2001).
  • Art and the Public Sphere, ed. (1994)
  • Picture Theory (1994); Spanish translation by Yaiza Hernandez Velasquez as Teoria de La Imagen (Madrid: Ediciones Akal, 2009).
  • The Last Dinosaur Book: The Life and Times of a Cultural Icon (1998).
  • What Do Pictures Want? Essays on the Lives and Loves of Images (2005); French translation by Maxime Boidy, Nicolas Cilins, and Stéphane Roth as Que veulent les images ? Une critique de la culture visuelle (Paris: Les Presses du Réel, 2014); abridged German translation by Achim Eschbach and Mark Halawa as Das Leben der Bilder (Beck’sche Verlagsbuchhandlung, 2008).
  • Edward Said: Continuing the Conversation with Homi Bhabha (2005); Turkish translation by Hayrullah Dogan as Edward Said ile Konusmaya Devam (Koc University Press, 2011).
  • The Late Derrida with Arnold Davidson (2007).
  • Bildtheorie, a collection of essays translated into German, with an afterword by Gustav Frank (Frankfurt: Suhrkamp, 2008).
  • Pictorial Turn: Saggi di Cultura Visuale, ed. Michele Cometa, a collection of essays translated into Italian (Palermo: Edizioni Duepunti, 2009).
  • Holy Landscape, ed. Larry Abramson, a collection of essays translated into Hebrew by Rona Cohen (Tel Aviv: Resling Publishing, 2009).
  • Critical Terms in Media Studies, ed. with Mark Hansen (2010).
  • The Pictorial Turn, ed. Neal Curtis, a collection of essays on my work by Gottfried Boehm, Jacques Rancière, Susan Buck-Morss, Martin Jay, Norman MacLeod, Lydia Liu, Robert Morris, Michael Taussig, Larry Abramson, Nicholas Mirzoeff, Stephen Daniels, including an interview with Marq Smith and a gallery of original drawings by Antony Gormley (Routledge, 2010).
  • A Kepek Politikaha: W. J. T. Mitchell valogatott irasai, ed. Szonyi Gyorgy Endre and Szauter Dora, a reader of collected essays translated into Hungarian (Szeged: Jate Press, 2008).
  • Cloning Terror: The War of Images, 9/11 to the Present (2011); Italian translation by Francesco Gori as Cloning terror. La guerra delle immagini. Dall’11 settembre ad oggi (Barcelona: Casa Usher, 2011); French translation by Maxime Boidy and Stephane Roth as CLONING TERROR ou la guerre des images du 11 septembre au présent (Les Prairies Ordinaires, 2011); German translation by Michael Bischoff as Das Klonen und der Terror (Suhrkamp, 2011); Spanish translation under contract.
  • Seeing Through Race (Cambridge: Harvard University Press, 2012).
  • Occupy: Three Inquiries in Disobedience, with Michael Taussig and Bernard Harcourt (2013).
  • Image Science: Iconology, Media Aesthetics, and Visual Culture (2015).

Books in Progress and Forthcoming:

  • Medium Theory
  • Seeing Madness: Insanity, Media, and Visual Culture
  • Living Pictures, ed. Kresimir Purgar. A collection of commissioned essays on key concepts in my writing, to be published by Routledge in the spring of 2016.

Special Issues Edited:

  • “Pluralism and Its Discontents,” Critical Inquiry 9:3 (Spring 1986).
  • “The New Art History,” Critical Inquiry 15:2 (Winter 1989).
  • “Public Art,” Critical Inquiry 16:4 (Summer 1990).
  • “Edward Said: Continuing the Conversation,” Critical Inquiry 31:2 (Winter 2005).
  • “The Late Derrida,” Critical Inquiry 33:2 (Winter 2007).

Other Special Issues of Critical Inquiry Enlarged and Re-Issued As Books During my Editorship:

  • On Metaphor, ed. Sheldon Sacks (1979).
  • Writing and Sexual Difference, ed. Elizabeth Abel (1982).
  • Canons, ed. Robert von Hallberg (1984).
  • “Race,” Writing, and Difference, ed. Henry Louis Gates, Jr. (1985).
  • Bakhtin: Essays and Dialogues on His Work, ed. Gary Saul Morson (1986).
  • Politics and Poetic Value, ed. Philippe Desan (1987)
  • The Trial(s) of Psychoanalysis, ed. Francoise Meltzer (1988).
  • Questions of Evidence, ed. James Chandler, Arnold Davidson, and Harry Harootunian (1994).
  • Identities, ed. Kwame Anthony Appiah and Henry Louis Gates, Jr. (1996).
  • Front Lines/Border Posts, ed. Homi Bhabha (1997).
  • Intimacy, ed. Lauren Berlant (2000).
  • Things, ed. Bill Brown (2004).
  • On the Case, ed. Lauren Berlant (2007).
  • Saints, ed. Francoise Meltzer and Jas Elsner (2011).
  • Comics and Media, ed. Hillary Chute and Patrick Jagoda (2014).
  • Around 1948, ed. Leela Gandhi and Deborah Nelson (2014).

Articles (also some selected reviews and interviews):

  • “Poetic and Pictorial Imagination in Blake’s Book of Urizen,” Eighteenth Century Studies 3:1 (Fall 1969), 83-107; revised and reprinted in The Visionary Hand, ed Robert Essick (Los Angeles: Hennessey & Ingalls, 1973).
  • “Blake’s Composite Art,” in Blake’s Visionary Forms Dramatic, ed. David Erdman and John Grant (Princeton: Princeton University Press, 1970), 57-81.
  • “Style and Iconography in the Illustrations of Blake’s Milton,” Blake Studies VI (Fall 1973), 47-72.
  • “Blake’s Radical Comedy: Dramatic Structure as Meaning in Milton,” in Blake’s Sublime Allegory, ed. Stuart Curran and Joseph Wittreich, Jr. (Madison: University of Wisconsin Press, 1973), 281-307.
  • “Blake’s Vision of the Last Judgment,” special supplement to Blake Newsletter (Fall 1975).
  • “Style as Epistemology: Blake and the Movement toward Abstraction in Romantic Art,” Studies in Romanticism 16:2 (Spring 1977), 145-64.
  • “Language and Vision in the Eighteenth Century: Ronald Paulson’s Emblem and Expression” (review essay), Modern Language Notes 91:6 (December 1976), 1627-1634.
  • Critical Inquiry after Sheldon Sacks,” Bulletin of the Midwest Modern Language Association (Spring, 1979), 32-36.
  • “Intellectual Politics and the Malaise of the Seventies: A Reply to Gerald Graff,” Salmagundi 47-48 (Winter-Spring, 1980), 57-77.
  • “Spatial Form in Literature: Toward a General Theory,” Critical Inquiry 6:3 (Spring 1980), 539-567.
  • “Diagrammatology,” Critical Inquiry 7:3 (Spring 1981), 622-633.
  • “Dangerous Blake,” Studies in Romanticism 21 (Fall 1982), 410-416.
  • “Metamorphoses of the Vortex: Hogarth, Blake, and Turner,” in Articulate Images, ed. Richard Wendorf (University of Minnesota Press, 1983), 125-68.
  • “What Is an Image?” New Literary History 15:3 (Spring 1984), 503-537; German translation in Bildlichkeit (Frankfurt: Suhrkamp Verlag, 1990), 17-68.
  • “Visible Language: Blake’s Wond’rous Art of Writing,” in Romanticism and Contemporary Criticism, ed. Morris Eaves and Michael Fischer (Ithaca: Cornell University Press, 1986) 46-95; reprinted in Blake, ed. David Punter (London: Macmillan, 1996).
  • “The Politics of Genre: Space and Time in Lessing’s Laocoon,” Representations 6:1 (Spring 1984), 98-115.
  • “The Golden Age of Criticism,” London Review of Books (June 21, 1987); translated into Dutch in Krisis 37 (Fall 1989); reprinted in Writing Outside the Book: Contemporary Essays on Literary Periodicals, ed. David Carter (Sydney: Local Consumption Publications, 1991), and in a collection of critical essays from Croom Helm Publishers.
  • “Pragmatic Theory,” introduction to Against Theory (Chicago: University of Chicago Press, 1985).
  • “The Good, the Bad, and the Ugly: Three Theories of Value,” Raritan 6:2 (Fall 1986), 63-76.
  • “Going Too Far with the Sister Arts,” in Space, Time, Image, Sign, ed. James Heffernan (New York: Peter Lang, 1987); published alongside Louis A. Renza, “A Response to W. J. T. Mitchell,” 11-15, and W. J. T. Mitchell, “Enough, or Too Much: A Postscript on Louis Renza,” 15-17.
  • “Wittgenstein’s Imagery and What It Tells Us,” New Literary History 19 (1987-1988), 361-370.
  • “Pluralism as Dogmatism,” Critical Inquiry 12:3 (Spring 1986), 494-502.
  • Interview with Kate Hartley, editor of Antithesis, literary magazine of the University of Melbourne (May 12, 1987).
  • “Iconology and Ideology: Panofsky, Althusser, and the Scene of Recognition,” Works and Days 11/12 (Spring-Fall 1988); reprinted in Image and Ideology: Modern/Postmodern Discourse, ed. David B. Downing and Susan Bazargan (Albany: SUNY Press, 1991); revised as an epilogue to Reframing the Renaissance: Visual Culture in Europe and Latin America, 1450-1650, ed. Claire Farago (New Haven: Yale University Press, 1991), 292-300.
  • “Tableau and Taboo: The Resistance to Vision in Literary Study,” College English Association Critic 51:1 (Fall 1988), 4-10.
  • “Post-Colonial Culture/Post-Imperial Criticism,” Chronicle of Higher Education (April 19, 1989); expanded version in Transition 56 (1992), 11-19.
  • “Space, Ideology, and Literary Representation,” Poetics Today 10:1 (Spring 1989), 91-102.
  • “Against Comparison: Teaching Literature and the Visual Arts,” Teaching Literature and the Other Arts, ed. Jean-Pierre Barricelli, Joseph Gibaldi, and Estelle Lauter (Modern Language Association, 1990).
  • Ut Pictura Theoria: Abstract Painting and the Repression of Language,” Critical Inquiry 15:2 (Winter, 1989) 348-371; French translation by Charles Penwarden in Les cahiers du Musee National d’art moderne 33 (Automne 1990), 79-95.
  • “The Ethics of Form in the Photographic Essay,” AfterImage 16:6 (January, 1989), 8-13; revised as “The Photographic Essay: Four Case Studies,” chapter 9 of Picture Theory (1994); reprinted in Ways of Reading: An Anthology for Writers, ed. David Bartholomae and Anthony Petrosky (Boston: Bedford/St. Martin’s, 1999), 521-563; Portuguese translation by Mariza Correa in Cadernos de Antropologia e Imagem, 15:2 (2003).
  • “Representation,” in Critical Terms for Literary Study, ed. Frank Lentricchia and Thomas McLaughlin (Chicago: University of Chicago Press, 1990); German translation in Was heisst “Darstellen,” ed. Christiaan L. Hart Nibbrig (Frankfurt: Suhrkamp, 1994).
  • “The Violence of Public Art: Do the Right Thing,” Critical Inquiry 16:4 (Summer, 1990), 880-899; reprinted in Views: The Journal of Photography in New England 12-4/13-1 (Winter 1992); in Spike Lee’s Do the Right Thing, ed. Mark Reid (Cambridge: Cambridge University Press, 1997); in So Rich a Tapestry: The Sister Arts and Cultural Studies (Lewisburg: Bucknell University Press, 1995); in Beauty is Nowhere: Ethical Issues in Art and Design, ed. Richard Roth and Susan King Roth (Amsterdam: G&B Arts International, 1998), and in several other anthologies.
  • “Seeing Do the Right Thing,” a response to Jerome Christensen’s “Spike Lee, Corporate Populist,” Critical Inquiry 17:3 (Spring 1991), 583-608.
  • “Influence, Autobiography, and Literary History: Rousseau’s Confessions and Wordsworth’s The Prelude,” ELH 57:3 (Fall, 1990), 643-664.
  • “Looking at Animals Looking: Art, Illusion and Power,” in Aesthetic Illusion, ed. Fred Burwick and Walter Pape (Berlin: de Gruyter, 1990), 65-78.
  • “Realism, Irrealism, and Ideology: A Critique of Nelson Goodman,” Journal of Aesthetic Education 25:1 (Spring 1991), 23-35, published alongside a response from Catherine Z. Elgin, 89-96.
  • “The Historian as Icarus: A Review of Martin Jay’s Downcast Eyes,” Art Forum 1993.
  • “Narrative, Memory, and Slavery,” in Cultural Artifacts and the Production of Meaning, ed. Margaret J. M. Ezell and Katherine O’Brien O’Keefe (Ann Arbor: University of Michigan Press, 1994), 199-222.
  • “In the Wilderness,” a review of Edward Said’s Culture and Imperialism, London Review of Books (April 8, 1993).
  • “Translator Translated: W. J. T. Mitchell Talks with Homi Bhabha,” Artforum (March 1995), 80-83, 110, 113.
  • “Imperial Landscape,” in Landscape and Power, ed. W. J. T. Mitchell (Chicago: University of Chicago Press, 1994); Japanese translation in 10+1 9 (Spring 1997), 149-69; excerpted in The Cultural Geography Reader, ed. Tim Oakes (New York: Routledge, 2008).
  • “Imagery” and “Iconology,” articles for a new edition of Princeton Encyclopedia of Poetry and Poetics (Princeton: Princeton University Press, 1993).
  • “From CNN to JFK,” AfterImage (May 1992); French translation by Julien Deleuze as “De CNN a JFK,” Trafic 7 (Été 1993), 46-61.
  • “Why Comparisons Are Odious,” World Literature Today 70:2 (Spring 1996), 321-324.
  • “The Pictorial Turn,” ArtForum (March 1992); German translation as first chapter in Privileg Blick: Kritik der visuellen Kulturen, ed. Christian Kravagna (Berlin: Edition ID-Archiv, 1997), 15-40; a retrospective on this article appears in Artforum’s series surveying the first 30 years of its history (March 2002).
  • Response to Jean Klucinskas’ critique of Picture Theory in Études Littéraires 28:3 (1996): 139-142.
  • “What Is Visual Culture?” in Meaning in the Visual Arts: Essays in Honor of Erwin Panofsky’s 100th Birthday, ed. Irving Lavin (Princeton University Press, 1995).
  • “Nature for Sale: Gombrich and the Rise of Landscape,” in The Consumption of Culture, ed. Ann Bermingham and John Brewer (New York: Routledge, 1997).
  • “Beyond Comparison: Picture, Text, and Method,” in Interfaces: Image/Texte/Langage 5:1994, 13-38; Spanish translation as Amas Alla de la Comparacion: Imagen, Texto y Metodo, in Literatura y Pintura, ed. Antonio Monegal (Madrid: Arco/Libros, 2000), 222-254.
  • “Interdisciplinarity and Visual Culture,” Art Bulletin 77:4 (December,1995), 540-544. German translation in Diskurse der Fotografie (Frankfurt: Suhrkamp Verlag, 2003).
  • “Word and Image,” in Critical Terms for Art History, ed. Robert Nelson and Richard Shiff (Chicago: University of Chicago Press, 1996), 47-57; Danish translation as “Ord, billede og rummet imellem” (“Word, Image, and the Space Between”) in Passepartout 6:3 (1995).
  • “What Do Pictures Really Want?” October 77 (Summer 1996), 71-82; longer version (“What Do Pictures Want?”) in a collection entitled In Visible Touch: Modernism and Masculinity, ed. Terry Smith (Sydney: Power Institute Publications, 1997), reprinted by the University of Chicago Press, 1998; Dutch translation as lead article in De Witte Raaf (The White Raven), the Dutch-speaking bimonthly artjournal, (May-June 1997). See also “Was Wollen Bilder?” an interview with Georg Schoellhammer in Springerin Band IV, Heft 2/98, 18-21, reprinted in an anthology entitled Widerstande: Interviews und Aufsatze aus der Zeitschrift springerin 1995-1999 (Vienna: Folio Verlag, 1999); “Vad vill bilder?” Tidskrift for Litteraturvetenskap 1 (2008), 39-58.
  • “Schapiro’s Legacy,” a review of Meyer Schapiro’s Theory and Philosophy of Art, Art in America (1995), 29-31. 
  • “The Last Formalist, or, W. J. T. Mitchell as Romantic Dinosaur: An Interview with Orrin Wang,” Romantic Praxis (June 1997). http://www.rc.umd.edu/praxis/mitchell/mitch-cover.html.
  • “Chaosthetics: Blake’s Sense of Form,” Huntington Library Quarterly 58 (Spring 1997), 441-458.
  • “The Panic of the Visual: A Conversation with Edward Said,” in Boundary 2 25:2 (1998) 11-33; reprinted in Edward Said and the Work of the Critic: Speaking Truth to Power (Durham: Duke University Press, 2000), 31-50.
  • “Vim and Rigor” (a retrospective on Nelson Goodman), Artforum, May 1999, 17-19.
  • “Uber die Evolution von Bildern,” translated by Reiner Ansen, in Blick, ed. Hans Belting and Dietmar Kamper (Munich: Wilhelm Fink, 1999), 43-54; English version published in the proceedings of Nature’s Treasurehouses, a conference at the British Museum of Natural History held in May of 1999.
  • Interview on The Last Dinosaur Book with The Front Table, newsletter of the Seminar Coop Bookstore, Chicago, IL (May 1999), 14-17, 66-69.
  • “The Work of Art in the Age of Biocybernetic Reproduction,” ArtLink 22:1 (March 2002), 10-17; longer version published in Modernism/Modernity 10:3 (September 2003), 481-500; Portuguese translation by Ana Soares in the Proceedings of the XXIInd Meeting of the Portuguese Association for Anglo-American Studies; Hungarian translation by Sandor Hornyik in Magyar Építõmûvészet.
  • “The Surplus Value of Images,” Mosaic 35:3 (September 2002); French translation by Paul Batik as “La Plus-Value des Images” in Études Littéraires 33:1 (Automne 2000-Hiver 2001), 201-25; Danish translation as “Billeders mervaerdi” in Passepartout 15:8 (2000), 275-303; German translation by Gabriele Schabacher as “Der Mehrwert von Bildern” in Die Addresse des Mediums, ed. Stefan Andriopoulos, Gabriele Schabacher, and Eckhard Schumacher (Cologne: Dumont, 2001), 158-184.
  • “Utopian Gestures: The Poetics of Sign Language,” preface to Signing the Body Poetic: Essays on American Sign Language Literature, ed. H. Dirksen Bauman, Jennifer L. Nelson, and Heidi M. Rose (Berkeley: University of California Press, 2006), xv-xxiii.
  • “Essays into the Imagetext: An Interview with W. J. T. Mitchell,” Christine Wiesenthal and Brad Bucknell, Mosaic 33/2 (June 2000), 1-23. Available online at www.umanitoba.ca/publications/mosaic/mitchell.pdf
  • “Art and the Word: Visual Literacy and Visual Culture” (interview with Karen Raney, Middlesex University and the Arts Council of England, April 7, 2000), in Art in Question, ed. Karen Raney (London: Continuum, 2003), 40-66.
  • “Seeing Disability,” Public Culture 13:3 (Fall 2001) 391-97.
  • “Dinosaurs and Culture,” in From Energy to Information, ed. Linda Henderson and Bruce Clarke (Stanford: Stanford University Press, 2002).
  • “Offending Images,” in Unsettling “Sensation:” Arts-Policy Lessons from the Brooklyn Museum of Art Controversy, ed. Lawrence Rothfield (New Brunswick: Rutgers University Press, 2001), 115-33; German translation by Margit Pumpel as “Anstoszige Bilder” in Bilder-Verbot und Verlangen in Kunst und Musik, ed. Christian Scheib and Sabine Sanio (Saarbrucken, Austria: Pfau, 2001), 91-98.
  • “Romanticism and the Life of Things: Fossils, Totems, and Images,” in special issue “Things,” ed. Bill Brown, Critical Inquiry 27:1 (Fall 2001), 167-184.
  • “Museums and Other Monsters,” Bulletin of the Smart Museum of Art 12 (2001), 9-16.
  • “The End of American Photography: Robert Frank as National Medium” in What Do Pictures Want? German translation by Joanna Hofleitner as “Das Ende der amerikanischen Fotografie: Robert Frank als nationales Medium” in Image:/Images: positionen zur zeitgenossischen fotografie, ed. Tamara Horokova and Ewald Maurer (Vienna: Passagen Verlag, 2002), 189-204; Spanish translation as “Los fines de la fotografia Americana: Robert Frank como Icono nacional” in Papel Alpha: Cuadernos de fotografia 8 (2010), 3-23.
  • “Showing Seeing: A Critique of Visual Culture,” in Art History, Aesthetics, and Visual Studies, ed. Michael Ann Holly and Keith Moxey (Williamstown: Clark Institute of Art, 2002), 231-250; simultaneous publication in The Journal of Visual Culture 1:2 (Summer 2002), 165-181; reprinted in the second edition of Nicholas Mirzoeff’s Visual Culture, (New York: Routledge, 2002), 86-101; Spanish translation by Pedro A. Cruz Sanches in Estudios Visuales 1 (November 2003), 17-40; Hungarian translation by Beck Andras in Enigma XI: 41 (2004) 17-30.
  • “The War of Images” (on the media coverage of Sept. 11, 2001), in The University of Chicago Magazine (December 2001), 21-23. http://www.alumni.uchicago.edu/magazine/0112/features/remains-2.html.
  • “Benjamin and the Political Economy of the Photograph,” in The Photography Reader, ed. Liz Wells (New York: Routledge, 2003), 53-58.
  • “Holy Landscape: Israel, Palestine, and the American Wilderness,” Critical Inquiry 26:2 (Winter 2000), 193-223; reprinted in Landscape and Power, 2nd edition (Chicago: University of Chicago Press, 2002), 261-290. An earlier, shorter version of this essay appears as “Landscape and Idolatry: Territory and Terror,” in The Landscape of Palestine: Equivocal Poetry, ed. Ibrahim Abu-Lughod, Roger Heacock, and Khaled Nashef (Ramallah: Birzeit University Publications, 1999), 235-253.
  • “Space, Place, and Landscape,” preface to 2nd edition of Landscape and Power (Chicago: University of Chicago Press, 2002), vii-xii; reprinted, along with excerpts from “Imperial Landscape,” in Territories, ed. Anselm Frank (Berlin: KW Institute for Contemporary Art, 2003), 170-75.
  • “Revolution and Your Wardrobe:  Fashion and Politics in the Photography of Jane Stravs,” in Jane Stravs:  Photographic Incarnations (Ljublana: Scientific Research Centre of the Slovenian Academy of Science and Arts, 2002), 79-82.
  • “911: Criticism and Crisis,” Critical Inquiry 28:2 (Winter 2002), 567-572; reprinted in Situation Analysis: A Forum for Critical Thought & International Current Affairs 1 (2002), 5-9.
  • “The Serpent in the Wilderness,” in Acts of Narrative, ed. Carol Jacobs and Henry Sussman (Stanford: Stanford University Press, 2003), 146-56.
  • “The Commitment to Form: Still Crazy After All These Years,” PMLA 118:2 (March 2003), 321-325.
  • “Country Matters,” commissioned article on the English countryside for the Romantic period volume in the new Cambridge History of English Literature, ed. James K. Chandler (Cambridge: Cambridge University Press, 2010), 246-270.
  • “Bilder besser als ihr Rug” (an interview conducted by Julia Voss), Frankfurter Allgemeine, June 16, 2002, p. 74.
  • “The Obscure Object of Visual Culture,” Visual Culture 2:2 (Summer 2003), 249-252.
  • “Medium Theory,” preface to Critical Inquiry symposium, “The Future of Criticism and Theory,” Critical Inquiry 30:2 (Winter 2004), 324-35.
  • “Remembering Edward Said,” The Chronicle of Higher Education (Oct. 10, 2003), Section B, 10-11.
  •  “Echoes of a Christian Symbol” (on the Abu Ghraib torture photographs), Chicago Tribune (Sunday, June 27, 2004), Section 2, p. 1, 3.
  • “Migrating Images: Totemism, Fetishism, Idolatry,” in Migrating Images, ed. Petra Stegmann and Peter Seel (Berlin: House of World Cultures, 2004), 14-24.
  • “Secular Divination: Edward Said’s Humanism,” in special issue of Critical Inquiry 31:2 (Winter 2005), 462-471; reprinted in Edward Said: Continuing the Conversation, ed. W. J. T. Mitchell and Homi Bhabha (Chicago: University of Chicago Press, 2006), and in Edward Said: A Legacy of Emancipation, ed. Adel Iskandar and Hakem Rustom (Berkeley: University of California Press, 2010).
  • “The Unimaginable and the Unspeakable: Word and Image in a Time of Terror,” ELH 72:2 (Summer 2005) 291-308; reprinted in Dynamics and Performativity of Imagination: The Image between the Visible and the Invisible, ed. Bernd Huppauf and Christoph Wulf (New York: Routledge, 2008); reprinted in September 11, the catalogue for Peter Eleey’s MOMA/P.S.1 show on 9-11 (2011).
  • “Landscape and Invisibility: Gilo’s Wall and Christo’s Gates,” in Sites Unseen: Landscape and Vision, ed. Dianne Harris and D. Fairchild Ruggles (Pittsburgh: University of Pitttsburgh Press, 2007), 33-44.
  • “Gilo’s Wall and Christo’s Gates,” Critical Inquiry 32:4 (Summer 2006), 587-600.
  • “Cloning Terror: The War of Images, 9-11 to Abu Ghraib,” in The Life and Death of Images: Ethics and Aesthetics, ed. Diarmud Costello and Dominic Willsdon (London: Tate Gallery Publications, 2008), 180-207.
  • “Ethics, Aesthetics, and Trauma Photographs: A Response to Griselda Pollock,” in The Life and Death of Images: Ethics and Aesthetics, ed. Diarmud Costello and Dominic Willsdon (London: Tate Gallery Publications, 2008), 237-240.
  • “Intellectuals and the Perspective of Criticism” (interview with Lydia H. Liu), Wen Yi Yan Jiu (Literature and Art Studies) 10 (2005), 87-99.
  • “Realism and the Digital Image,” in Critical Realism and Photography, ed. Jan Baetens and Hilde van Gelder (Leuven: Leuven University Press, 2010); Italian translation by Federica Mazzara as “Realismo e imagine digitale” in Cultura Visuale: Paradigmi a Confronto, ed. Roberta Coglitore (Palermo: Duepunti Edizione, 2008), 81-99; reprinted in Travels in Intermedia: ReBlurring the Boundaries, ed. Bernd Herzogenrath (Aachen: Mellen Press, 2011; and Hanover: Dartmouth College Press, 2012).
  • “Sacred Gestures: Images from Our Holy War,” in AfterImage 34:3 (November 2006), 18-23.
  • “Dead Again,” introduction to “The Late Derrida,” special issue of Critical Inquiry 33:2 (Winter 2007), 219-228; reprinted in book version of The Late Derrida, ed. with Arnold Davidson (Chicago: University of Chicago Press, 2007).
  • “Picturing Terror: Derrida’s Autoimmunity,” first published in Cardozo Law Review 27 (Winter 2005), 913-925; revised version, Critical Inquiry 33:2 (Winter 2007), 277-290.
  • “There Are No Visual Media,” The Journal of Visual Culture 4(2) (2005), 257-266; reprinted in Media Art Histories, ed. Oliver Grau (Cambridge: MIT Press, 2007), 395-406 and in Digital Qualitative Research Methods, ed. Bella Dicks (Thousand Oaks: Sage Publications, 2012).
  • “Image Science,” in Scientific Images and Popular Images of Science, ed. Bernd Huppauf and Peter Weingart (New York: Routledge, 2007).
  • “Media’s Critical Space,” conversation amongst Mark Hansen, W. J. T. Mitchell, and Bernard Stiegler, with Kristine Nielsen, Jason Paul, and Lisa Zaher of the Chicago Art Journal in a special Issue on “Immediacy” (2006), 83-99.
  • “World Pictures: Globalization and Visual Culture,” Neohelicon 34:2 (2007): 49-59; reprinted in Globalization and Contemporary Art, ed. Jonathan Harris (Malden: Wiley-Blackwell, 2011), 253-264.
  • “The Spectacle Today: A Response to Retort,” Public Culture 20:3 (2008), 573-581.
  • “Visual Literacy or Literary Visualcy,” and “Four Fundamental Concepts of Image Science,” in Visual Literacy, ed. James Elkins (New York: Routledge, 2008), 11-30.
  • “Back to the Drawing Board: Architecture, Sculpture, and the Digital Image,” in Architecture and the Digital Image: Proceedings of the 2007 International Bauhaus Colloquium, ed. Jorg Gleiter (2008), 5-12.
  • “The Fog of Abu Ghraib: Errol Morris and the ‘bad apples,” Harper’s Magazine (May, 2008), 81-86.
  • “Havana Diary: Cuba’s Blue Period,” Critical Inquiry 35:2 (Spring 2008), 601-611.
  • “An American Drifter in Israel-Palestine,” in Contested Landscape, ed. Larry Abramson, (Tel Aviv: Resling Publishing, forthcoming).
  • “The Abu Ghraib Archive,” in What Is Research in the Visual Arts?: Obsession, Archive, Encounter, ed. Michael Ann Holly and Marquard Smith (Williamstown: Clark Studies in the Visual Arts, 2007); reprinted, with an introduction by Scott Loren, in Melodrama After the Tears: New Perspectives on the Politics of Victimhood, ed. Scott Loren and Jorg Metelmann (Amsterdam: Amsterdam University Press, 2015).
  • “Migration, Law, and the Image: Beyond the Veil of Ignorance,” in Images of Illegalized Immigration, ed. Christine Bischoff, Francesca Falk, and Sylvia Kafehsy (Bielefeld: Transcript, 2010), 13-30; in The Migrant’s Time, ed. Saloni Mathur (Williamstown: Clark Institute Publications, 2011).
  • “The Future of the Image: Rancière’s Road Not Taken,” in The Pictorial Turn, special issue of Culture, Theory, and Critique, ed. Neal Curtis (Fall 2009); reprinted in The Pictorial Turn, ed. Neal Curtis (New York, Routledge, 2010).
  • “Que veulent les images?” (dialogue/interview with Jacques Rancière by Patrice Blouin, Maxime Boidy, et Stephane Roth), ArtPress 362 (December 2009), 33-41.
  • “Bilder sind ‘Lebenszeichen,’” (interview with Oliver Zybok), Kunstforum International Bd 205 (November-Dezember 2010),140-151.
  • “Binational Allegory: Israel-Palestine and the Art of Larry Abramson,” in Larry Abramson: Paintings 1975-2010, catalogue of an exhibition curated by Ellen Ginton (Tel Aviv, 2010); reprinted in Studies in Romanticism 49:4 (Winter 2010), 659-669.
  • “Idolatry: Nietzsche, Blake, Poussin,” in Idol Anxiety, ed. Joshua Ellenbogen and Aaron Tugendhaft (Palo Alto: Stanford University Press, 2011), 56-73; reprinted in Iconoclasm and Text Destruction in the Ancient Near East and Beyond, ed. Natalie Naomi May (Oriental Institute Seminars, University of Chicago, Number 8, 2012), 501-515; in Things: Religion and Materiality (NY: Fordham University Press); Italian translation by Dario Cecchi in Alle fine delle cose, ed. Daniele Guastini, Dario Cecchi, and Alessandra Campa (Firenze, Italia: VoLo, 2011), 132-144; German translation in Trajekte: Zeitschrift des Zentrums fur Literatur- und Kultur forschung Berlin (ZfL) (May 2011); slightly revised version published in W. J. T. Mitchell, Seeing Through Race (Cambridge: Harvard University Press, 2012).
  • “Headless, Heedless: Experiencing Magdalena Abankanowicz,” in Mary Jane Jacob and Jacqueline Bass, Learning Mind: Experience into Art (Berkeley, University of California Press, 2010).
  • “Report from Morocco,” Critical Inquiry 38:4 (Summer 2012), 892-901.
  • “Image X Text,” Introduction to The Future of Text and Image: Collected Essays on Literary and Visual Conjunctures, ed. Ofra Amihay and Lauren Walsh (Cambridge: Cambridge Scholars Publishing, 2012).
  • “Skipping Gates and Breaching Walls,”  Afterword to the 25th Anniversary Edition of The Signifying Monkey, by Henry Louis Gates, Jr.  (New York: Oxford University Press, 2012).
  • “Palestinian-Israeli Totemism: The Case of Asim Abu Shaqra,” in Asim Abu Shaqra, ed. Nira Itzhaki (Edizione Charta, Milan; Chelouche Gallery, Tel Aviv: 2013), 39-44.
  • “El Deseo de las Imagenes” (interview with Nashemi Jimenez del Val), Codigo: Arte, Arquitectura, Diseno, Moda, Estilo. 86 (Abril-Mayo 2015), 92-96.
  • “Nous sommes des creatures productrices d’images” (interview with Omar Berrada), Diptyk: L’art vu du Maroc, 27 (Fevrier-Mars 2015), 76-78.
  • “Robert Morris and the Spaces of Writing,” in Investigations: The Expanded Field of Writing in the Works of Robert Morris ed. Katia Schneller and Noura Wedell (Lyon: ENS Editions, 2015).
  • “Art and Public Life: A Conversation between Theaster Gates and W. J. T. Mitchell,” Print version in ASAP (forthcoming 2016); to be published on the Critical Inquiry website (forthcoming 2016).
  • “Screening Nature (and the Nature of the Screen),” New Review of Film and Television Studies 13:3 (July 2015), 231-248.

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