Resources & Suggested Readings

The below resources and publications are included in the available Democratic Lens: Photography and Civic Engagement Interviews, Essay, and Lectures.

War/Photography: Images of Armed Conflict and Its Aftermath by Anne Wilkes Tucker, Will Michels, and Natalie Zelt


• Anne Wilkes Tucker, Will Michels, and Natalie Zelt, War/Photography: Images of Armed Conflict and Its Aftermath (Museum of Fine Arts, Houston, 2012).
• Apel, Dora, & Smith, Shawn Michelle. (2008). Lynching Photographs. Univ. of California Press.
• Art for the Future: Artists Call and Central American Solidarities, 6 Sep. 2022 – 3 Dec. 2022, University of New Mexico Art Museum, Albuquerque, NM.


• Baca, M. and Best, M., eds., Conflict, Identity and Protest in American Art. Cambridge Scholars Publishing. 2016.
• Beil, Kim. Good Pictures: A History of Popular PhotographyStanford University Press, 2020.
• Beil, Kim. “Photography Has Gotten Climate Change Wrong from the Start,” The Atlantic. November 27, 2020. 
• Beil, Kim. “Why We Remember Floods and Forget Droughts,” The Atlantic. July 17, 2022.
• Berger, Martin A. Seeing Through Race: A Reinterpretation of Civil Rights Photography. University of California Press. 2011.
• Berger, Martin A. Freedom Now! Forgotten Photographs of the Civil Rights Struggle. University of California Press. 2022.
• Bernstein, J. “Bad News: Selling the Story of Misinformation.” Harper’s, Aug. 9, 2021.
• Best, M., ed. Devour the Land: War and American Landscape Photography since 1970. Yale Univ. Press. 2021.
• Best, M., and Moore, M., On the Line: Documents of Risk and Faith. Gnomic Books. 2022.
• Best, M., Elevate the Masses: Alexander Gardner, Photography and Democracy in Nineteenth-Century America. Penn State Univ. Press, 2020.
• Best, M., “A Surreal Seemingness,” in Necessary Fictions, Debi Cornwall. Radius Books, 2020.
• Best, M., “Time is Now: Photography and Social Change in James Baldwin’s America.” James Baldwin Review, Vol. 5 (2019).
• Buell, Hal, & Ut, Nick. (2021). From Hell to Hollywood: The Incredible Journey of Ap Photographer Nick Ut. The Associated Press.


• Camargo, C. Q., & Simon, F. M. (2022). “Mis- and disinformation studies are too big to fail: Six suggestions for the field’s future.” Harvard Kennedy School (HKS) Misinformation Review.
• Cowen, T. “Too Much Misinformation? The Issue is Demand, Not Supply.” Bloomberg, October 3, 2023

The Self in Black and White
Race and Subjectivity in Postwar American Photography
by Erina Duganne


• “Dorothea Lange: Grab a Hunk of Lightning,” documentary film, 2014. Directed by Dyanna Taylor.
• Dorothea Lange Digital Archive, Oakland Museum of Art.
• Du Bois, W. E. B (William Edward Burghardt) 1868-1963, Du Bois albums of photographs for the African Americans in Georgia exhibit at the Paris Exposition Universelle in 1900. Provided by the Digital Library of Georgia.
• Duganne, E. (2010). The Self in Black and White: Race and Subjectivity in Postwar American Photography. Dartmouth College Press.


• Eckhart, Sarah. Working Together: Louis Draper and the Kamoinge Workshop. Duke University Press. 2020.


• Farm Security Administration/Office of War Information Negatives, Library of Congress.

Destitute pea pickers in California. © Dorothea Lange



• Habgood-Coote, J. Deepfakes and the epistemic apocalypse. Synthese 201, 103 (2023).
• hooks, bell. “Eating the Other: Desire and Resistance.” 1992.


• Image Destitute pea pickers in California. Mother of seven children. Age thirty-two. Nipomo, California. 1936, often known as “Migrant Mother” © Dorothea Lange, for the U.S. Farm Security Administration/Office of War Information. Provided by the Library of Congress Prints & Photographs Division.


• Johnson (Frances Benjamin) Collection, Library of Congress.


• Kelen, L. ed., This Light of Ours: Activist Photographers of the Civil Rights Movement. University of Mississippi Press. 2011.
• Kuo, R., & Marwick, A. (2021). “Critical disinformation studies: History, power, and politics.” Harvard Kennedy School (HKS) Misinformation Review.

Undermining: a wild ride through land use, politics, and art in the changing West by Lucy R. Lippard


• Laura Wexler, Tender Violence: Domestic Visions in an Age of U.S. Imperialism, (University of North Carolina Press, 2000).
• Lenoir, T., & Anderson, C. (2023). “Introduction Essay: What Comes After Disinformation Studies.” Center for Information, Technology, & Public Life (CITAP), University of North Carolina at Chapel Hill.
• Lippard, Lucy R. A Different War: Vietnam in Art. Norway, Whatcom Museum of History and Art, 1990.
• Lippard L. R. (1990). From the Center: Feminist Essays on Women’s Art. Dutton.
• Lippard L. R. Eva Hesse. Da Capo Press. 1992.
• Lippard L. R. Mixed Blessings: New Art in a Multicultural America. New Press. 2000.
• Lippard, Lucy R. Stuff: Instead of a Memoir. New Village Press. 2023
• Lippard L. R. Undermining: A Wild Ride Through Land Use Politics and Art in the Changing West. New Press. 2014.
• Lippard, L. R. Pueblo Chico: Land and Lives in Galisteo Since 1814. Museum of New Mexico Press. 2020.


• Meiselas, Susan. Susan Meiselas: Nicaragua June 1978-July 1979. Aperture. 2016
• Moore, Charles, & Durham, Michael S. (1991). Powerful Days: The Civil Rights Photography of Charles Moore. Stewart, Tabori & Chang.


• National Archives. Photographs of Lewis Hine: Documentation of Child Labor.
• New York Public Library Digital Collections. “Lewis Wickes Hine: Documentary Photographs, 1905-1938.



• Panzer, Mary. Lewis Hine. 2002. Phaidon.
• Pegler-Gordon, Anna. In Sight of America: Photography and the Development of U.S. Immigration Policy. 2002. University of California Press. 
• Photographic Negatives and Prints of Native American Delegations, Smithsonian Institution, Bureau of American Ethnology 1897-1965, courtesy of National Archive.



“Come Let Us Build a New World Together” poster for SNCC and Photography of the Civil Rights Movement

• Raiford, L. Imprisoned in a Luminous Glare: Photography and the African American Freedom Struggle. University of North Carolina Press. 2011.
• Raiford, L. “Come Let Us Build a World Together.” American Quarterly, December 2007. 
• Raiford, L. and Raphael-Hernandez, H. Migrating the Black Body: The African Diaspora and Visual Culture. The University of Washington Press. 2017.
• Raiford, L., Imprisoned in a Luminous Glare: Photography and the African American Freedom Struggle. Univ. of North Carolina Press. 2011.
• Raiford, L., “Burning All Illusions: Abstraction, Black Life and White Supremacy.” Art Journal, January 2021.
• Raiford, L. and Heike Raphael-Hernandez, Migrating the Black Body: The African Diaspora and Visual Culture. Univ. of Wash. Press. 2017.
• Raiford, L., “Dawoud Bey.” Aperture: Vision & Justice (No. 223), 2016.
• Raiford, L. “Ida B. Wells and the Shadow Archive” in Pictures and Progress: Early Photography and the Making of African American Identity, Maurice O. Wallace & Shawn Michelle Smith, eds. Duke Univ. Press. 2012.
• Romano, Renee C.,  and Leigh Raiford, eds. The Civil Rights Movement in American Memory. Univ. of Georgia Press. 2006.
• Romano, R.C. and Raiford, L., eds. The Civil Rights Movement in American Memory. University of Georgia Press. 2006.


Power to the People: The World of the Black Panthers by Stephen Shames and Bobby Seale

• Sandra Matthews and Laura Wexler, Pregnant Pictures, (Routledge, Taylor & Francis Group, 2000)
• Sekula, Allan. “The Body and the Archive.” October, vol. 39, 1986, pp. 3 – 64.  JSTOR Accessed 25 Jun. 2022.
• Speaking with Light: Contemporary Indigenous Photography, 30 Oct. 2022 – 22 Jan. 2023, Amon Carter Museum, Fort Worth, TX.
• Sharpe, Christina. (2016). In the Wake: On Blackness and Being. Duke University Press.
• Shames, S. and Seale, B. Power to the People: The World of the Black Panthers. Abrams. 2026.
• Sholette, The Art of Activism and the Activism of Art. New Directions. 2022
• SNCC Digital Gateway,
• The SNCC Legacy Project,
• Smith, Shawn Michelle.  Photographic Returns: Racial Justice and the Time of Photography. Duke University Press. 2020.


• Talking Tintypes, an augmented photographic experience and collaboration created by Diné photographer, Will Wilson, Indigenous artists and leaders, and a broader public.
• The Cook Photograph Collection, Virginia Commonwealth University Digital Collections.
• The Silent Scream. Directed by Jack Dabner, with Dr. Bernard Nathanson, American Portrait Films, 1984.


• Ureña, Leslie. “Lewis Hine at Ellis Island: The Photography of Immigration and Race, 1904–1926

Pictures and Progress by Maurice O. Wallace and Shawn Michelle Smith



• Wallace, Maurice O., and Smith, Shawn Michelle, eds. Pictures and Progress: Early Photography and the Making of African American Identity. Duke University Press. 2012.
• WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath, 11 Nov. 2012 – 3 Feb. 2013, Museum of Fine Arts, Houston, Texas.
• Wasserman, H. “Cultural factors are behind the disinformation pandemic: Why this matters.” The Conversation.
• Williamsson, E. “From Sandy Hook to Uvalde, The Violent Images Never Seen.” The New York Times. May 30, 2022.