ABSTRACT
Moving from the dichotomy between photographer–subject and subject–viewer relations to a tripartite model of the political and social relations of the photographic act as incorporating photographer, subject, and viewer, Azoulay’s work has sought to set out a re-theorization of photography. This interview raises points of discussion around the theoretical and political underpinning of Azoulay’s work, including the arguments set out in Civil Imagination: A Political Ontology of Photography (20012), and provides Azoulay’s thoughts for unlearning the critical theory of the last three decades, which has limited the questioning and possibilities of photography as a space of political and civil imagination.
