@inbook {701516,
	title = {Deceptive Intimacy: Isabella Stewart Gardner{\textquoteright}s 1883 Japan Travel Albums},
	booktitle = {Fellow Wanderer: Isabella Stewart Gardner{\textquoteright}s Travel Albums},
	year = {2023},
	publisher = {Isabella Stewart Gardner Museum},
	organization = {Isabella Stewart Gardner Museum},
	address = {Boston},
	url = {https://press.princeton.edu/books/hardcover/9780691973869/fellow-wanderer},
	editor = {Diana Seave Greenwald and Casey Riley}
}
@inbook { R300000001-I031470355-00,
	title = {Nagasawa{\textquoteright}s Ogasawara},
	booktitle = {The Bonin Islanders},
	year = {2021},
	publisher = {Akaaka Art Publishing},
	organization = {Akaaka Art Publishing},
	address = {Tokyo},
	url = {https://shinichiro-nagasawa.com/books/}
}
@article {https://doi.org/10.1111/medu.14088,
	title = {Art education for nuclear medicine and radiology residents},
	journal = {Medical Education},
	volume = {54},
	number = {5},
	year = {2020},
	pages = {457-458},
	doi = {https://doi.org/10.1111/medu.14088},
	url = {https://onlinelibrary.wiley.com/doi/abs/10.1111/medu.14088},
	author = {Hyun, Hyewon and David Odo and Krupat, Ed and Seltzer, Steven}
}
@inbook {2019Tsb:,
	title = {On the ethics of art and anthropology: a conversation David Odo \&amp; Heather Pesanti},
	booktitle = {The sorcerer{\textquoteright}s burden : contemporary art \& the anthropological turn},
	year = {2019},
	publisher = {Radius Books ; The Contemporary Austin},
	organization = {Radius Books ; The Contemporary Austin},
	address = {Santa Fe, New Mexico : Austin, Texas},
	abstract = {{\textquoteright}The Sorcerer{\textquoteright}s Burden: Contemporary Art \&amp; the Anthropological Turn{\textquoteright} explores the complicated relationship between art and anthropology as it has been probed in the work of contemporary artists. Focusing on artists who appropriate, manipulate and transform elements found in anthropological methodologies and practices to create contemporary works that are alternately subversive, humorous, satirical, dark, playful and enchanting, {\textquoteright}The Sorcerer{\textquoteright}s Burden{\textquoteright} considers the complex results that emerge when contemporary artists, curators and exhibitions turn to anthropology. These artists{\textendash}working in painting, sculpture, photography, film, video and performance{\textendash}explore the intersection between fact and fiction, and the questionable proposal that any field, media or genre might propose to convey the {\textquoteright}truth.{\textquoteright} Artists featured in this volume include Ed Atkins, Nuotama Frances Bodomo, Theo Eshetu, Cameron Jamie, Kapwani Kiwanga, Marie Lorenz, Nathan Mabry, Ruben Ochoa, Dario Robleto, Shimabuku and Julia Wachtel. Exhibition: The Contemporary Austin, USA (14.09.2019-19.01.2020).},
	keywords = {Art and anthropology {\textendash} Exhibitions},
	isbn = {9781942185604},
	url = {https://www.radiusbooks.org/all-books/p/the-sorcerers-burden-contemporary-art-and-the-anthropological-turn}
}
@book {300801,
	title = {The Journey of {\textquotedblleft}A Good Type{\textquotedblright}From Artistry to Ethnography in Early Japanese Photographs},
	year = {2015},
	pages = {144},
	publisher = {Peabody Museum of Archaeology and Ethnology/Harvard University Press},
	organization = {Peabody Museum of Archaeology and Ethnology/Harvard University Press},
	address = {Cambridge},
	abstract = {When Japan opened its doors to the West in the 1860s, delicately hand-tinted photographic prints of Japanese people and landscapes were among its earliest and most popular exports. Renowned European photographers Raimund von Stillfried and Felice Beato established studios in Japan in the 1860s; the work was soon taken up by their Japanese prot{\'e}g{\'e}s and successors Uchida Kuichi, Kusakabe Kimbei, and others. Hundreds of these photographs, collected by travelers from the Boston area, were eventually donated to Harvard{\textquoteright}s\&nbsp;Peabody Museum of Archaeology and Ethnology, where they were archived for their ethnographic content and as scientific evidence of an {\textquotedblleft}exotic{\textquotedblright} culture.
In this elegant volume, visual anthropologist\&nbsp;David Odo\&nbsp;examines the Peabody{\textquoteright}s collection of Japanese photographs and the ways in which such objects were produced, acquired, and circulated in the nineteenth century. His innovative study reveals the images{\textquoteright} shifting and contingent uses{\textemdash}from tourist souvenir to fine art print to anthropological {\textquotedblleft}type{\textquotedblright} record{\textemdash}were framed by the desires and cultural preconceptions of makers and consumers alike. Understood as both images and objects, the prints embody complex issues of history, culture, representation, and exchange.},
	url = {http://www.amazon.com/Journey-Good-Type-Ethnography-Photographs/dp/0873654080/ref=la_B011P2OF7U_1_1?s=books\&ie=UTF8\&qid=1439645449\&sr=1-1}
}
@inbook {302026,
	title = {Curating "a good type" : Japanese "art" photographs in an anthropological archive},
	booktitle = {Uncertain Images: Museums and the Work of Photographs},
	year = {2014},
	pages = {165-180},
	publisher = {Ashgate},
	organization = {Ashgate},
	address = {Surrey},
	url = {http://www.ashgate.com/default.aspx?page=637\&calcTitle=1\&isbn=9781409464891\&lang=cy-GB}
}
@article {304191,
	title = {Expeditionary Photographs of the Ogasawara Islands, 1875-1876},
	journal = {History of Photography},
	volume = {33},
	number = {2},
	year = {2009},
	pages = {185-208},
	abstract = {This essay discusses photographs produced during Japan{\textquoteright}s little-known colonial expedition to the Ogasawara (Bonin) Islands in 1875{\textendash}76. Investigating the photography of Ogasawara, which pictured the cosmopolitan native population, the Japanese colonial presence, and the natural landscape of the islands, exposes the processes that have configured modern {\textquoteleft}Japaneseness{\textquoteright}. Matsuzaki Shinji{\textquoteright}s images circulated in both government and commercial realms. With these diverse routes came multiple meanings that attached to the evolving place the islands occupied within the national consciousness. The islands could ostensibly be shown to have historical roots in the Japanese past, despite being populated by undeniably foreign inhabitants. Matsuzaki{\textquoteright}s photographs read as an attempt to display the {\textquoteleft}natural{\textquoteright} landscapes as remote and untouched, whilst simultaneously trying to prove a historical and legitimate Japanese connection. This reveals the contradictory Japanese view of the native population as {\textquoteleft}Western{\textquoteright} but {\textquoteleft}primitive{\textquoteright}. The tension between Japan as inferior in its power relationship to the West, yet superior in its ability to rule over the mostly Western subjects of Ogasawara, permeates the construction of the islanders as Japanese internal {\textquoteleft}others{\textquoteright}.},
	url = {http://www.tandfonline.com/toc/thph20/33/2$\#$.VcywMflVhBc}
}
@book {302016,
	title = {Unknown Japan: reconsidering nineteenth-century photographs},
	year = {2008},
	pages = {60},
	publisher = {Rijksmuseum},
	organization = {Rijksmuseum},
	edition = {Photography, V. 4},
	address = {Amsterdam},
	abstract = {David Odo has researched a collection of 104 photographs that are very different from Japanese photography as it was in the early 19th century. Photography bought by westerners focused on clich{\'e}{\textquoteright}s like geisha{\textquoteright}s, sumo wrestlers and Mount Fuji. Tghese photographs were often hand coloured. This collection however, of work by anonymous photographers put together by an unknown German in 1884-1885, contains many uncoloured photographs on rare subjects. These offer a glimpse of a modernising country.},
	url = {https://www.rijksmuseum.nl/webwinkel/Rijksmuseum-Publications/Unknown-Japan:-Reconsidering-?id=10399\&lang=en}
}
@journal {304246,
	title = {Asia{\textquoteright}s Colonial Photographies},
	journal = {International Institute for Asian Studies Newsletter},
	volume = {44},
	number = {Summer},
	year = {2007},
	abstract = {Asia{\textquoteright}s Colonial Photographies
Accounts of colonial photography in the Dutch East Indies focus on European photographers and exceptional figures like Kassian Cephas, the first (known) native Javanese photographer. Yet photography was not simply a {\textquoteleft}European{\textquoteright} technology transplanted from the European metropole to the Asian colony. Decentring European photographers from the history of photography in the Indies reveals the more circuitous - and Asian - routes by which photography travelled to and within the archipelago. -\&nbsp;},
	url = {http://www.iias.nl/the-newsletter/newsletter-44-summer-2007},
	editor = {David Odo}
}
@article {305121,
	title = {Photographing the Ogasawara Islands: thinking with nineteenth-century photographs of Japan},
	journal = {International Institute for Asian Studies Newsletter},
	volume = {41},
	number = {Summer},
	year = {2006},
	pages = {18-19},
	url = {http://www.iias.nl/sites/default/files/IIAS_NL41_1819.pdf}
}
@inbook {305126,
	title = {Constructing the Self as Other: early Japanese tourist images},
	booktitle = {Oxford Companion to the Photograph},
	year = {2005},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	address = {Oxford},
	url = {http://www.oxfordreference.com/view/10.1093/acref/9780198662716.001.0001/acref-9780198662716},
	author = {David Odo},
	editor = {Robin Lenman}
}
@inbook {305131,
	title = {Anthropological Boundaries and Photographic Frontiers: J.H. Green{\textquoteright}s visual language of salvage},
	booktitle = {Burma: Frontier Photographs 1918-1935: The James Henry Green Collection},
	year = {2000},
	publisher = {Merrell},
	organization = {Merrell},
	address = {London},
	url = {http://www.amazon.com/Burma-Frontier-Photographs-Elizabeth-Dell/dp/1858941032/ref=asap_bc?ie=UTF8},
	author = {David Odo},
	editor = {Elizabeth Dell}
}
