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); second edition of French translation with a foreword by Marie-Jose Mondzain in planning; Korean-language edition (Seoul: Sizirak Publishing Company, 2004); Spanish translation by Mariano Lopez Seonane (Buenas Aires, Argentina: Capital Intelectual, 2016); Russian translation, Vitaly Drozd (Moscow: Comics Factory, 2017).

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). Czech translation: publisher: Charles University in Prague – Karolinum Press. Translator Andrea Průchová, Mgr.; Ondrej Hanus; Lucie Chlumska: publication: publication: 05/04/2017

The Last Dinosaur Book: The Life and Times of a Cultural Icon (Chicago: 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). Serbian-language: publisher: FAKULTET ZA MEDIJE I KOMUNIKACIJE. translator: Dr. Angelina Milosavljevic-Ault ; publication: 10/26/2016

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 (Chicago: 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). Based on the W. E. B. DuBois Lectures, Harvard, 2010.

Occupy: Three Inquiries in Disobedience, with Michael Taussig and Bernard Harcourt (Chicago: 2013).

Image Science: Iconology, Visual Culture, and Media Aesthetics (Chicago, 2015). Spanish translation, Remedios Perni, La Ciencia de la Imagen: Iconolgia, Cultura Visual, y Estetitca de los medios (Ediciones AKAL: Estudios Visuales, 2019).

W. J. T. Mitchell’s Image Theory: Living Pictures, ed. Kresimir Purgar. A collection of commissioned essays on key concepts in my writing. (London and New York: Routledge, 2016).

Mental Traveler: A Father, a Son, and a Journey through Schizophrenia (Chicago: University of Chicago Press, 2020).

Metapictures: Beijing Lectures (forthcoming 2022)

Books in Progress and Forthcoming:

Seeing through Madness:  Insanity, Media, and Visual Culture

   Special Issues of Critical Inquiry 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, Critical Inquiry 40:4 (Summer 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. French translation by Maxime Boidy, Inframince, no. 12: “L’Image Tactique,” 31-41.

“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.

“Golden Memories — Interview with Sculptor Robert Morris,” by W. J. T. Mitchell, ArtForum, April 1994.

“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). Excerpts of this essay appear in Visual Global Politics, ed. Roland Bleiker (Routledge, forthcoming 2018);  French translation by Maxime Boidy in Visions et visualities: philosophie politique et culture visuelle (Paris: Poli editions, 2019).

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).

“Schapiro’s Legacy,” a review of Meyer Schapiro’s Theory and Philosophy of Art, Art in America (1995), 29-31.

“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.

“Words and Pictures in the Age of the Image,” interview with Andrew McNamara, Queensland University of Technology, Australia, 1996.

“The Last Formalist, or, W. J. T. Mitchell as Romantic Dinosaur: An Interview with Orrin Wang,” Romantic Praxis (June 1997).

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.

“Dinosaurs and Culture,” in From Energy to Information, ed. Linda Henderson and Bruce Clarke (Stanford: Stanford University Press, 2002).

“Essays into the Imagetext: An Interview with W. J. T. Mitchell,” Christine Wiesenthal and Brad Bucknell, Mosaic 33/2 (June 2000), 1-23.

“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.

“An Interview with W. J. T. Mitchell,” by Margarita Dikovitskaya, January 11, 2001.

Seeing Disability,” Public Culture 13:3 (Fall 2001) 391-97.

“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 Ends 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.

“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. PDF.

“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).

“On the Edge of Critical Thinking – An Interview with W. J. T. Mitchell,” interview with Lydia H. Liu conducted at the Wissenschaftskolleg zu Berlin April 27, 2005

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), 46-62.

Sacred Gestures:  Images from Our Holy War,” AfterImage 34:3 (November 2006), 18-23.

“Images and their Incarnations: An Interview with W.J.T. Mitchell,” by Asbjørn Grønstad and Øyvind Vågnes, Image [&] Narrative (Nov. 2006). Special issue: “Battles around Images: Iconoclasm and Beyond.”

“What Do Pictures Want?” Podcast Interview with Duncan Mackenzie and Terri Griffith,, November 2006.

“W.J.T. Mitchell: Chicago’s renaissance man: Scholar’s written about dinosaurs, fetishes, Spike Lee,” interview by Julia Keller, Chicago Tribune, December 31, 2006.

“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 lie of the land,” interview by Dana Gilerman.

“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.

“Threatened by the imageless image,” Metropolism (Oct. 2008), interview by Margriet Schavemaker.

“Interview with Professor WJT Mitchell,” Budapest, Petőfi Museum of Literature, October 29th, 2008.

“An American Drifter in Israel-Palestine,” in Contested Landscape, ed. Larry Abramson, a collection of essays translated into Hebrew by Rona Cohen (Tel Aviv: Resling Publishing, 2009).

“Como caçar (e ser caçado por) imagens” (“How to hunt (and be hunted by) images,” E-Compos vol. 12, no. 1 (2009). Interview by Rose Melo Rocha and Daniel Portugal.

“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). Revised version as a chapter in Seeing Through Race (Cambridge, MA: Harvard University Press, 2012).

“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.

“Reading the Image World? Playing with Pictures? Looking beyond words and pictures?” An Interview with Sheng Anfeng, Tsingua University, September 2010.

“Bilder sind ‘Lebenszeichen,’” (interview with Oliver Zybok), Kunstforum International Bd 205 (November-December 2010),140-151.

“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).

“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.

“Headless, Heedless: Experiencing Magdalena Abakanowicz,” 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.

“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.

“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).

Interview with Francois Cusset.     

“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 (Lyons: ENS Editions, 2015).

“Art and Public Life: A Conversation with Theaster Gates,” ASAP Journal 1.1 (January 2016), 50-76.

“Method, Madness, Montage,”  in Image Operations: Visual Media and Political Conflict, ed. Jens Eder and Charlotte Klonk  (Manchester: University of Manchester Press, 2016). Also in Dynamis of the Image, ed. Chiara Cappalletto. “Method, Madness, Montage” lecture at the Warburg Institute.

“Cinemania: Madness and the Moving Image,” unpublished.

“Sculpting Infinity:  Antony Gormley and the Mindful Object,” unpublished.

Thomas Hirschhorn and Theaster Gates in Conversation,” Critical Inquiry print version forthcoming.

“Why Lessing’s Laocoon Still Matters,” foreword to Rethinking Lessing’s Laocoon:  Antiquity, Englightenment, and the ‘Limits of Painting and Poetry ed. Avi Lifschitz and Michael Squire (Oxford University Press, 2016).

“Israel/Palastina retten—Kunst und der binationale Staat” (“Salvaging Israel/Palestine:  Art and the Binational State’), in “F(r)ictions of Art,” eds. Sarah Dornhof, Nina Graeff, and Lily Kelting,  Paragrama:  Internationale Zeitschrift fur Historische Anthropologie, Band 23 (2016), 29-48.

“Blake Now and Then,” in Stephen Eisenman, ed. William Blake and the Age of Aquarius (Princeton: Princeton University Press, 2017).

“Spectacle, Surveillance, and Just War Today,” Foreword to Visualizing War, ed. Anders Egberg-Pedersen (New York: Routledge, 2017).

“Counting Media: Some Rules of Thumb,” Media Theory 1:1 (August 3, 2017).

“Protesting Images,” View: Theories and Practices of Visual Culture. Warsaw, Poland, October 2017.

“An Archivist from Below on Top of the World,” in Stories of Almost Everyone, ed. Aram Moshayedi (Hammer Museum, UCLA;  New York: Delmonico Books+Prestel, 2018), 226-231.

Follia Planetaria: La Nave dei Folli su scala globale, in “Borders of the Visible (I): Intersections Between Literature and Photography”, CosMo, (Nov. 2018)  N. 13, pp. 23-36.

“Unwatchable,” in Unwatchable, ed. Nicholas Baer, Maggie Hennefeld, Laura Horak, and Gunnar Iversen (Brunswick, New Jersey:  Rutgers University Press, 2019).

“Present Tense: Time, Madness, and Democracy” in “Borders of the Visible (II): Intersections Between Literature and Photography,” CosMo, (June 2019) N. 14

“Tracing the Sonic Image,” interview by Zachary Cahill, with Hannah Higgins and Lawrence Abu Hamdan, Portable Gray vol. 2, No. 1 (Spring 2019), 94-99.

“Sounding Images,” in re-so-nance: Mischa Kubal (Berlin: Jewish Museum, 2019).

“The Argus Complex,” interview (English/Italian) with Federico Fastelli, LEA: Lingue e letterature d’Oriente e d’Occidente (Firenze University Press, 2019)

“Quelques tableaux de la representation,” trans. Maxime Boidy from “Some Pictures of Representation, the “Conclusion” to Picture Theory: Essays on Verbal and Visual Representation (University of Chicago Press, 1994), in Regard et communication No. 49 (2020), 163-171.

“Against the Obama Library,” and “Time, Madness, and Democracy,” in Après la Révolution: Journal for the Application of Architectural Thinking to Other Objects than the Production of Buildings, No. 1, ed. Xavier Wrona, (Saint-Etienne: Riot Editions, 2019).

“Die ästhetische Distanzierung passt perfekt in unsere Zeit,” interview with Sebastian Moll Monopol, May 2, 2020.  English translation, “There Is an Unquenchable Thirst for Presence,” Medium, Spring 2020.

“Introduction” to The Visionary Academy of Ocular Mentality, a collection of short essays on portraits of key thinkers in visual cultural studies, media theory, and art history. Paintings by Luca del Baldo (De Gruyter, 2020).

“Icon,” in Salvatore Tedesco and Federico Vercellone, eds., Glossary of Morphology (2020).

“Reflections on Outsider Art,” Brooklyn Rail. July 2018.

“Remembering Lauren Berlant, June 28, 2021

“The Revolution Was Televised,” Mind Bombs: Visual Cultures of Political Violence, ed. Johan Holten (Bielefeld, Germany: Kerber Verlag, 2021), 170-177.

“Seeing Through Madness: A Roman Holiday” simultaneous publication in The Massachusetts Review and Arion, October 2021ff

“Planetary Madness: Globalizing the Ship of Fools,” in “Disassembled” Images: Allan Sekula and Contemporary Art, ed. Alexander Streiberger and Hilde Van Gelder (Leuven University Press, 2019), 21-37. Reprinted in Metapictures: Beijing Lectures (2022).

“On Gifted Madness,” in Laws of Transgression: The Return of Judge Schreber, eds PeterGoodrich and Katrin Trüstedt (University of Toronto Press, 2022), 171-184.

“El bosque biocibernético: Max de Estevan, la IA y la iconología del pensiamento,” in Max de Esteban: Estetica de la Extincion, ed. Ivan de la Nuez (Madrid: Turner Publications, 2022), 39-50.

“The Dinosaur as Cultural Symbol and Totem: W. J. T. Mitchell in Conversation,” in Animals, Plants, and Afterimages: The Art and Science of Representing Extinction (New York: Berghahn Books, 2022), 67-76.

“Re: Place (for Jonathan Bordo),” Prologue to Place Matters: Critical Topographies in Word and Image, ed. Jonathan Bordo and Blake Fitzpatrick (Montreal: McGill-Queen’s University Press, 2022).

“On the Double,” in James Meyer, editor and curator, The Double: Identity and Difference in Art since 1900 (National Gallery of Art, Washington D.C. and Princeton University Press, 2022), 201-213.

“Prologue: Iconomania—On the Thinking-Image and Madness,” in Mieke Bal, Image-Thinking: Art-Making as Cultural Analysis  (Edinburgh University Press, 2022), xxv-xxix.

“An English Professor Confronts AI”, Counterpunch, June 2023

Recorded Lectures and Readings

“Mental Traveler: Four Lectures for the A. M. Qattan Foundation, Palestine, May-June 2021: “The Rule of Madness”; “Present Tense 2020: An Iconology of Time”; “Ship of Fools: Globalization and Planetary Madness”; “Mental Traveler: A Conversation”

“Mental Traveler”: Reading with Charles Bernstein at Brooklyn Rail, 1/22/2021

MetaMedia Symposium at UChicago, October 30, 2021: Hillary Chute, Patrick Jagoda, and W. J. T. Mitchell

 “Thread, Yarn, Fabric:  Shelly Jyoti and the Iconology of Time,” New Delhi, October 19, 2021