Civil intent: Rethinking ‘the political’ in art and photography education

References

1. Azoulay, A. A. (2008), The Civil Contract of Photography, New York: Zone Books.
   [Google Scholar]
2. Azoulay, A. A. (2015), Civil Imagination: A Political Ontology of Photography, London: Verso.
   [Google Scholar]
3. Azoulay, A. A. (2019), Potential History: Unlearning Imperialism, London: Verso.
   [Google Scholar]
4. Barrett, T. (2012), Criticizing Photographs: An Introduction to Understanding Images, New York: McGraw Hill.
   [Google Scholar]
5. Bogre, M. (2012), Photography as Activism: Images for Social Change, London: Routledge.
   [Google Scholar]
6. Clark, D. J. (2009), ‘Representing the majority world famine, photojournalism and the changing visual economy’, Ph.D. thesis, Durham: Durham University.
   [Google Scholar]
7. Dogra, N. (2012), Representations of Global Poverty: Aid, Development and International Ngos, London: I.B. Tauris.
   [Google Scholar]
8. Hariman, R. and Lucaites, J. L. (2016), The Public Image: Photography and Civic Spectatorship, Chicago, IL: University of Chicago Press.
   [Google Scholar]
9. Harper, D. (1994), ‘On the authority of the image: Visual methods at the crossroads’, in N. K. Denzin and Y. S. Lincoln (eds), Handbook of Qualitative Research, Thousand Oaks, CA: Sage Publications, pp. 403–12.
   [Google Scholar]
10. Hill, A. (2022), ‘Beyond good intentions: Reframing documentary photography as a civil practice’, Ph.D. thesis, Brisbane: Griffith University.
    [Google Scholar]
11. Hill, A., Hussey-Smith, K., Badham, M., Uddin, A. S. and Chhetri, S. (2024), ‘Doing visual politics: Photography, collaboration and creative practice as civil action’, in A. Zitcer and T. Borrup (eds), Democracy as Creative Practice: Weaving a Culture of Civic Life, New York: Routledge, pp. 123–34.
    [Google Scholar]
12. Hussey-Smith, K. (2017), ‘Apart & a part: A new kind of archive’, Ph.D. thesis, Brisbane: Griffith University.
    [Google Scholar]
13. Hussey-Smith, K. (2020), ‘Shahidul Alam: You’re blocking the sun’, Artlink, 40:3, pp. 32–37.
    [Google Scholar]
14. Kakshapati, N. G. and Hussey-Smith, K. (2019), ‘An archival dialogue: The Nepal Picture Library’s Feminist Memory project’, Photography and Culture, 12:3, pp. 383–91.
    [Google Scholar]
15. Linfield, S. (2010), The Cruel Radiance: Photography and Political Violence, Chicago, IL: University of Chicago Press.
    [Google Scholar]
16. Luvera, A. (2021), ‘The experience of visuality and socially engaged practice’, Visual Studies, 36:3, pp. 229–33.
    [Google Scholar]
17. Palmer, D. (2017), Photography and Collaboration: From Conceptual Art to Crowdsourcing, London: Bloomsbury.
    [Google Scholar]
18. Ranciere, J. and Elliott, G. (2009), The Emancipated Spectator, London: Verso.
    [Google Scholar]
19. Rosler, M. (2004), ‘In around and afterthoughts (on documentary photography)’, in Decoys and Disruptions: Selected Writings 1975–2001, Cambridge, MA: MIT Press, pp. 151–206.
    [Google Scholar]
20. Scott, C. (2007), The Spoken Image: Photography and Language, London: Reaktion Book.
    [Google Scholar]
21. Sett, A. (2017), ‘Photos circle: A short history of the Nepal Picture Library’, Membrana: Journal of Photography, Theory and Visual Culture, 3:1, pp. 56–69.
    [Google Scholar]
22. Solomon-Godeau, A. (1991), Photography at the Dock: Essays on Photographic History, Institutions, and Practices, Minneapolis, MN: University of Minnesota Press.
    [Google Scholar]
23. Sontag, S. (2002), On Photography, London: Penguin.
    [Google Scholar]
24. Sontag, S. (2003), Regarding the Pain of Others, New York: Farrar, Straus and Giroux.
    [Google Scholar]