Dr Kitty Hauser

Kitty Hauser
  B.A. (Modern History and English), Oxford University
M.A. (Art History), London University
D.Phil, Oxford University
 Email kitty.hauser@sydney.edu.au

Kitty Hauser is a postdoctoral research fellow in the Department of Art History and Theory. She was awarded her DPhil from Oxford University in 2003, and took up a research fellowship at Clare Hall, Cambridge University before coming to Sydney. She has taught at the Ruskin School of Drawing and Fine Art, Oxford University, and the London College of Fashion. Her work focuses on visual and material culture in the twentieth century, especially in Britain. Current research interests include: photography, especially in relation to the activities of forensic scientists, historians, detectives and archaeologists; theoretical and material approaches to the ‘index’ and the ‘signature’. She has also written about contemporary art, fashion, and consumer culture for a range of academic and non-academic publications including New Left Review, The London Review of Books, The Burlington Magazine and the Australian Literary Review. In 2008 she co-curated an exhibition of the photographic archive of the archaeologist O G S Crawford at the John Hansard Gallery in Southampton, UK, to coincide with the publication of her book Bloody Old Britain.



  • This is Bacon (Laurence King, 2014), illustrated by Christina Christoforou
  • Bloody Old Britain: O. G. S. Crawford and the Archaeology of Modern Life(Granta, 2008)
    Listed as a ‘book of the year’ by The Guardian, Time Out, and the New Statesman.
  • Shadow Sites: Photography, Archaeology and the British Landscape 1927-1951 (Oxford University Press, 2007)
    Listed as a ‘book of the year’ by History Today
  • Stanley Spencer (Tate Publishing, 2001)


  • ‘Fingerprinting the Second Skin’, in C. Breward and C. Evans, eds., Fashion and Modernity (Berg, 2004)

Journal Articles

  • ‘Mapping Literary Britain’, Textus: English Studies in Italy XX:2 (May-August 2007) special issue ‘Nations and Cultural Heritage’
  • ‘A Garment in the Dock; or How the FBI illuminated the Prehistory of a pair of Blue Jeans’, [[||Journal of Material Culture]] (November 2004)


  • ‘O. G. S. Crawford: Berlin Photographs’, Photoworks Oct-April 2008/9
  • ‘Stained clothing, guilty hearts’, in M. Uhlirova, ed., If Looks Could Kill: Images of Fashion, Crime and Violence (Koenig Books, 2008)
  • ‘Susan Norrie’, in Tessa Jackson, ed., artes mundi 3 (Cardiff, 2008)

    ‘Fertile Images’, in M. Keen and E. Daly, eds., Necessary Journeys (Arts Council England/bfi Black World, 2005)

    ‘Superflat’, ArtForum (Oct. 2004)
  • ‘The Empire of Osiris’, in P. Gould and A. Eggebert, eds., Nature and Nation: Vaster than Empires (2003)
  • ‘Coming Apart at the Seams: Taxidermy and Contemporary Photography’, Make: the magazine of women’s art No. 82 (Dec. 1998 - Feb. 1999)

Selected Books and Exhibition Reviews

  • Review of Adam Stout, Creating Prehistory: Druids, Ley Hunters and Archaeologists in Pre-war Britain (Blackwell, 2008), in British Archaeology(Jan/Feb 2009)
  • ‘Taking Surrealism for a walk’, review of Ian Walker, So Exotic, So Homemade: Surrealism, Englishness and Documentary Photography (Manchester University Press, 2007), in Source: The Photographic Review (Autumn 2008)
  • Review of Chris Tilley et al]], eds., [[Handbook of Material Culture (Sage, 2006), in Contemporary British History (June 2008)
  • ‘Bowling Along’, review of M. Bartholomew, In Search of H. V. Morton (Methuen, 2004), London Review of Books (17 March 2005)
  • ‘Cute’, review of S. Aoki, Fruits (Phaidon, 2001) and D. Richie, The Image Factory: Fads and Fashions in Japan (Reaktion, 2003), London Review of Books (15 April 2004)
  • Review of ‘Cruel and Tender’ photography exhibition, Tate Modern, Burlington Magazine (Aug. 2003)
  • Review of ‘Addressing the Century’ exhibition at the Hayward Gallery, London, New Left Review (Jan.-Feb. 1999)
  • Review of ‘Sensation: Young British Artists from the Saatchi Collection’, exhibition at The Royal Academy, London, New Left Review (Jan./Feb. 1998)


  • 2008: Australian Arts Council ‘New Work’ award
  • 2004: Alfred Gell Memorial Prize awarded by the Journal of Material Culture for the best article submitted in 2003 for ‘A Garment in the Dock; or, How the FBI Illuminated the Prehistory of a Pair of Denim Jeans’
  • 1999: Bernard Denvir Memorial Award for Art Criticism awarded by the International Association of Art Critics for review of Sensation at The Royal Academy, London, published in New Left Review (1998)