Have a personal or library account? Click to login
Navigating Socially Engaged Documentary Photographic Practices Cover

Navigating Socially Engaged Documentary Photographic Practices

Open Access
|Jul 2020

References

  1. A., Angel, Bellarai, Bek, Danielle, Dani, Deb, Julie Anne, K., Lee, Mercedes, Morgan, Turnbull, G-R. (2011). Red Light Dark Room: Sex, lives and stereotypes. G. R. Turnbull (Ed.). St Kilda, Vic: G. Turnbull.
  2. Allen, Q. (2012). Photographs and stories: ethics, benefits and dilemmas of using participant photography with Black middle-class male youth. Qualitative Research, 12(4), 443–458. doi:10.1177/1468794111433088
  3. Bishop, C. (2012). Artificial hells: Participatory art and the politics of spectatorship. London: Verso Books.
  4. Bishop, C., & Creative Time (2011, May). Participation and Spectacle: Where Are We Now? [Video file]. Retrieved from http://vimeo.com/24193060
  5. Bishop, C., & FORMER WEST (2010, March 13). Is Everyone an Artist? [Video file]. Retrieved from http://www.formerwest.org/ResearchSeminars/RussianAvantgardeRevisited/Video/IsEveryoneAnArtist
  6. Brook, P., Ewald, W., Gregory, E., Strandquist, M., & Turnbull, G. (2014, May 16). A discussion of socially engaged, transdisciplinary, and expanded practices in contemporary photography. Photo-Based Social Practice. Retrieved from http://asocialpractice.com/wp-content/uploads/2014/05/PBSP_Broadsheet.pdf
  7. Bryan-Wilson, J., & Bishop, C. (2012, July). Intelligent discomfort. Mousse Magazine, (35). Retrieved from http://moussemagazine.it/articolo.mm?id=885
  8. Calisch, N. (Ed.). (2014). Wendy Ewald. Portland, OR: Publication Studio.
  9. Cerriteno-Apolonio, A., Baldwin-Fontenot, S., Fitzgerald, E., Kipp, A., Laulea Jr., P., Swain, D., Wilson, C. (2014). The King School Portrait Project. Portland, OR: King School Press.
  10. Davis, B. (2013). A critique of social practice art: What does it mean to be a political artist? International Socialist Review, (90). Retrieved from http://isreview.org/issue/90/critique-social-practice-art
  11. Evans, J. (1997). The camerawork essays: Context and meaning in photography. London: Rivers Oram Press.
  12. Ewald, W. (1985). Portraits and dreams: Photographs and stories by children of the Appalachians. New York: Writers and Readers Pub.
  13. Finkelpearl, T. (2013). What we made: Conversations on art and social cooperation. Durham and London: Duke University Press.
  14. Gregory, E. (2013). Twin Lens Reflex; Articulating an aesthetics of photo-based social practice projects. Unpublished manuscript, Portland State University, Portland, OR.
  15. Helguera, P. (2011). Education for socially engaged art: A materials and techniques handbook. New York: Jorge Pinto Books.
  16. Isaacs, D. (2013), Handwriting. Journal of Paediatrics and Child Health, 49: 609–610.
  17. Jackson, S. (2011). Quality Time: Social Practice Debates in Contemporary Art. Social Works: Performing Art, Supporting Publics (pp. 43–74). New York and Oxon, Canada: Routledge.
  18. Jickling, H., Reed, H.M., & Impulse, T.P. (2013, November 2). Documenting Secrets: Hannah Jickling and Helen Reed interview Annette Krauss. thepedagogicalimpulse.com. Retrieved November 24, 2013, from http://thepedagogicalimpulse.com/wpcontent/uploads/2013/11/TPI_DocumentingSecrets_AnnetteKrauss.pdf
  19. Kreisler, H. (1998, April 2). UCTV – University of California Television [Video file]. Retrieved from http://www.uctv.tv/shows/The-Innocent-Eye-with-Wendy-Ewald-Conversations-with-History-7124
  20. Luvera, A. (2010). Residency. Photographies, 3(2), 225–241.
  21. O’Neill, P., & Doherty, C. (2011). Locating the producers: Durational approaches to public art. Amsterdam: Valiz.
  22. Palmer, D. (2013). A Collaborative Turn in Contemporary Photography? Photographies, 6(1), 117–125.
  23. Pantall, C. (2011, November 8). Colin Pantall's blog: Chris Capozziello, Collaboration and the BJP [Web log post]. Retrieved from http://colinpantall.blogspot.com.au/2011/11/chris-capozziello.html
  24. Ritchin, F. (2013). Bending the frame: Photojournalism, documentary, and the citizen. New York: Aperture.
  25. Robinson, A. (2011). Giving voice and taking pictures: participatory documentary and visual research. People, Place & Policy Online, 5(3), 115–134.
  26. Rosler, M. (2004). Post-documentary, post-photography? In Decoys and disruptions: selected writings, 1975–2001. Mexico: October Books.
  27. Rosler, M. in Luvera, A. (2010). Residency. Photographies, 3(2), 225–241. (p. 238)
  28. Stevenson, S. (2010). Beyond Documentary: An Investigation into the benefits of collaborative multi media storytelling techniques. Retrieved from http://unitec.researchbank.ac.nz/handle/10652/1444?show=full
  29. Strandquist, M. (2013, November). Letting Go of the Shutter: The Social Aesthetic of Contemporary Photography. Lecture conducted from Southeastern College Art Conference Greensboro, NC.
  30. Thompson, N. (2012). Living as form: Socially engaged art from 1991–2011. New York, NY: Creative Time.
  31. Wells, L. (2009). Photography: A critical introduction. London: Routledge.
  32. Wheeler, T. (2002). The “non fiction photographic environment”; A range of implied authenticity. In Phototruth or photofiction?: Ethics and media imagery in the digital age (pp. 111–126). New York, NY: Routledge.
  33. Doherty, C. (personal communication, May, 2013).
  34. Ewald, W. (personal communication, May 2013).
  35. Strandquist, M. (personal communication, December 2013).
DOI: https://doi.org/10.1515/nor-2015-0031 | Journal eISSN: 2001-5119 | Journal ISSN: 1403-1108
Language: English
Page range: 79 - 95
Published on: Jul 7, 2020
Published by: University of Gothenburg Nordicom
In partnership with: Paradigm Publishing Services
Publication frequency: 2 issues per year

© 2020 Gemma-Rose Turnbull, published by University of Gothenburg Nordicom
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.