Olga Smith, M.Phil. PhD

Olga Smith

Neuere deutsche Literatur

Institut für Germanistik
Universitätsring 1
1010 Wien

E-Mail: olga.smith@univie.ac.at

Olga Smith is an art historian, specialising in contemporary art. Her research interests include photography and new imaging technologies, interchanges between art and intellectual ideas, cultural memory and, most recently, representations of landscape and environmental cultures.

A graduate of the University of Cambridge (BA, MPhil, PhD), Olga Smith has been a recipient of postdoctoral fellowships at the University of Warwick (Horizon 2020) and Humboldt University of Berlin, and has held positions at the University of St Andrews and Tate Gallery, London. She is currently a holder of a Marie Skłodowska-Curie Individual Fellowship (No 101023548).

Curriculum vitae


  • University of Cambridge, Ph.D., History of Art. 2012.
  • École Normale Supérieure Paris, Residential Studentship. 2008.
  • University of Cambridge, M.Phil., European Literature and Culture. Faculty of Modern and Medieval Languages. 2006.
  • University of Cambridge, B.A., Modern and Medieval Languages (French and Russian). Faculty of Modern and Medieval Languages. 2005.


  • University of Vienna, Individual Fellowship Marie Skłodowska-Curie Actions. From 2021.
  • Institute of Advanced Studies, UCL, Visiting Research Fellow. 2021.
  • WIRL Marie Skłodowska-Curie COFUND Fellow (Horizon 2020), Institute of Advanced Study, University of Warwick. 2017-2020.
  • Institut national de l’histoire de l’art, Paris, Visiting Fellowship. 2016.
  • Postdoctoral Fellow. Institut für Kunst- und Bildgeschichte), Humboldt University of Berlin. 2014-2017.
  • Curator of Public Programmes, Tate Galleries, London.
  • Teaching Fellow, School of Art History, University of St Andrews.



  • Books
  • Between Theory and Practice: Contemporary Photography in France. Leuven University Press. Forthcoming in 2022.
  • Edited Volumes
  • Guest Editor, Special Issue ‘Photography and Landscape,’ journal Photographies. Vol. 12. 2019. https://www.tandfonline.com/toc/rpho20/12/2
  • (with Peter Collier and Anna Elsner) Anamnesia: Private and Public Memory in Modern French Culture (Oxford: Peter Lang, 2009), 359 p.
  • Articles 
  • ‘Sublime in the Age of the Anthropocene: Posthuman Landscapes in the Work of IC-98’. Forthcoming 2022.
  • ‘Exhibition as Film, Film as Exhibition: Philippe Parreno and the Moving
  • Image in the Museum’. Forthcoming 2022.
  • ‘Jean Baudrillard and the Challenge of Photography’. MAST: The Journal of Media Art, Study and Theory, Vol. 2, No. 1 (2021), pp. 113-130. ISSN 2691-1566.
  • ‘Introduction: Photography and Landscape’. Photographies, Special Issue ‘Photography and Landscape’, Vol. 12, Issue 2 (June 2019). https://www.tandfonline.com/doi/full/10.1080/17540763.2019.1603837
  • ‘The Reality of the Place Where We Live: Interview with John Davies’, Photographies, Special Issue ‘Photography and Landscape’, Vol. 12. Issue 2 (June 2019), https://www.tandfonline.com/doi/abs/10.1080/17540763.2019.1577290
  • ‘Making Visible: Representing Violence, Resistance and Everyday Life on the Margins’, Photographies, Special Issue ‘Critical Issues in Photography Today’, 11:2-3, June 2018, pp. 235-250.
  • ‘Authorless Pictures: Photography in Christian Boltanski’s Early Work (1969-1975)’, Art History, Vol. 40, No. 3 (June 2017), pp. 634-657.
  • Plaines et platitudes: les réinventions du paysage photographique dans l’œuvre de Jean-Marc Bustamante et Joachim Brohm’, in Pierre-Henry Frangne and Patricia Limido (eds), Les inventions photographiques du paysage, du XIXe siècle à nos jours (Rennes: Presses Universitaires de Rennes, 2016), pp. 49-59.
  • (with Dina Gusejnova), ‘Die Ästhetik des Zastoi. Boris Mikhailov als Fotograf des letzten sowjetischen Jahrzehnts’, Fotogeschichte, No. 136, Vol. 35 (Summer 2015), pp. 43-51.
  • ‘The Spaces of Containment: Valérie Jouve’s Urban Portraits’, Nottingham French Studies, 53.2 (July 2014), pp. 155-168.
  • ‘Pierre Huyghe’s travels with Edgar Allan Poe’, in Jörg von Brincken, Ute Gröbel and Irina Schulzki (eds), Fictions/Realities. New Forms and Interactions (München: Martin Meidenbauer, 2012), pp. 85-100.
  • ‘Hoaxer’s voyage: Pierre Huyghe’s A Journey that wasn’t’, in Manon Mathias, Maria O’Sullivan, Ruth Vorstman (eds), Display and Disguise (Oxford: Peter Lang, 2011), pp. 205-222.
  • ‘“A hollow image of the person”: objects of memory in the art of Christian Boltanski’, in Olga Smith, Peter Collier and Anna Elsner, Anamnesia: Private and Public Memory in Modern French Culture (Oxford: Peter Lang, 2009), pp. 117-130.
  • Essays & Reference Works
  • ‘Dafna Talmor: Manipulated Landscapes’, in Dafna Talmor, Constructed Landscapes (Fw:Books, 2020), pp. 33-39.
  • ‘Rehearsing The Real’. Exhibition text for Rehearsing The Real with works by Larry Achiampong, Hitesh Ambasna, Erola Arcalís, Emma Bäcklund, Thom Bridge, Ramona Güntert, Sarah Howe, Steff Jamieson, Joshua Leon, Sarah Pickering and Tom Lovelace, Peckham 24, London (2019).
  • ‘Dafna Talmor: Constructed Landscapes, Cloud Negatives’, in Dafna Talmor:
  • Constructed Landscapes (Loose Joints, 2017) np.
  • ‘Joachim Schmid: Other People’s Photographs’, in Il Presente. Fotografia: Festival Internazionale di Roma (Quodlibet, Rome, 2015), pp. 140-142
  • (with Dina Gusejnova), ‘The Social Medium: An Introduction’, EitherAnd, The National Media Museum, London, http://eitherand.org/social-medium/social-medium-how-photography-shapes-world/
  • ‘Philippe Parreno, 6.00 PM’, in Tate Summaries (2014): https://www.tate.org.uk/art/artworks
  • Dominique Gonzalez-Foerster, Séance de Shadow II (bleu)’, in Tate Summaries (2014) https://www.tate.org.uk/art/artworks
  • Reviews 
  • Danièle Méaux, Géo-photographies : une approche renouvelée des territoires. History of Photography, Vol. 41, no. 2, (2017), pp. 209-211
  • Matthew S. Witkovsky, Light Years: Conceptual Art and the Photograph, 1964-1977. History of Photography, Volume 37, Issue 4 (2013), pp. 468-470
  • Steve Edwards, Review of Martha Rosler, Bowery in Two Inadequate Descriptive Systems. Philosophy of Photography, vol. 3, no. 1 (December 2012), pp. 219-222


  • Association for Art History (UK)
  • AICA International Association of Art Critics
  • European Association for the Advancement of Science and Technology
  • Marie Curie Alumni Association
  • Ph: The Photography Research Network
  • Vienna Anthropocene Network
  • The Anthropocene Curriculum
  • Advisory Board of Focales
  • Expert Peer-Reviewer for Focales, Arts, photographies and 21: Inquiries into Art, History, and the Visual – Beiträge zur Kunstgeschichte und visuellen Kultur

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