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We are interested in exploring the use of visual arts in teaching relationality and difference within social work education. Our current research is based on the examination of photographic works on the subject of asylum seeking. In this article, we report on our findings from an analysis of the exhibit Leave to Remain. Leave to Remain is an installation of large format photographic prints, accompanied by individual testimonies. Beginning in 2002, photographer Diane Matar interviewed and photographed over 100 politically displaced people living in Britain. Her exhibit functions as a visual and oral history of how life in Britain is for people seeking asylum. In this article, we analyse Matar's work using contemporary visual methodology, and present segments of our conversation with one another that provide the texture of this methodology. We conclude that relationality and difference are imbued in questions about vulnerability and what Judith Butler (2004: 28) calls 'the fundamental sociality of embodied life' — that we are each 'implicated in lives that are not our own'.

The rise of digital photography and imaging has transformed the landscape of visual communication and culture. Events, activities, moments, objects, and people are 'captured' and distributed as images on an unprecedented scale. Many of these are shared publicly; some remain private, others become intellectual property, and some have the potential to shape global events. In this timely introduction, the ubiquity of photography is explored in relation to interdisciplinary debates about changes in the production, distribution, and consumption of images in digital culture.Ubiquitous Photographyprovides a critical examination of the technologies, practices, and cultural significance of digital photography, placing the phenomenon in historical, social, and political-economic context. It examines shifts in image-making, storage, commodification, and interpretation as highly significant processes of digitally mediated communication in an increasingly image-rich culture. It covers debates in social and cultural theory, the history and politics of image-making and manipulation, the current explosion in amateur photography, tagging and sharing via social networking, and citizen journalism. The book engages with key contemporary theoretical issues about memory and mobility, authorship and authenticity, immediacy and preservation, and the increased visibility of ordinary social life.Drawing upon a range of sources and original empirical research, Ubiquitous Photographyprovides a comprehensive introduction to critical academic debate and concrete developments in the field of digital photography. It is essential reading for students and scholars interested in media and society, visual culture, and digital technology.

This book argues that photography, with its inherent connection to the embodied material world and its ease of transmissibility, operates as an implicitly political medium. It makes the case that the right to see is fundamental to the right to be. Limning the paradoxical links between photography as a medium and the conditions of political, social, and epistemological disappearance, the book interprets works by African American, Indigenous American, Latinx, and Asian American photographers as acts of political activism in the contemporary idiom. Placing photographic praxis at the crux of 21st-century crises of political equity and sociality, the book uncovers the discursive visual movements through which photography enacts reappearances, bringing to visibility erased and elided histories in the Americas. Artists discussed in-depth include Shelley Niro, Carrie Mae Weems, Paula Luttringer, LaToya Ruby Frazier, Matika Wilbur, Martine Gutiérrez, Ana Mendieta, An-My Lê, and Rebecca Belmore. The book makes visible the American land as a site of contestation, an as-yet not fully recognized battlefield. Claire Raymond teaches at the University of Maine (USA) and the Institute for Doctoral Studies in the Visual Arts (USA). She is the author of eight previous books of feminist scholarship, including The Photographic Uncanny: Photography, Homelessness, and Homesickness and The Selfie, Temporality, and Contemporary Photography.

Intervention has less to do with problem-solving than with learning, unlearning, and relearning about the vicissitudes and challenges of one's life

Pictorial Memoir contains a small selection from over three thousand photographs Martina Deuchler took when she lived in Korea for a couple of years in the late 1960s and early 1970s. These pictures record her early impressions of Korea, a country that was practically unknown in the West at that time.