The "art of being free" is an essential part of democracy. It involves, Mark Reinhardt believes, bringing into being the multiple spaces in and practices through which individuals and groups help to constitute their lives, their selves, their worlds. Americans are presently witnessing a contraction of officially sanctioned spaces for citizen action. It is now crucial, Reinhardt argues, to identify ways of opening new spaces for the direct practice of democratic politics. Reinhardt treats the writings of Alexis de Tocqueville, Karl (...) Marx, and Hannah Arendt as exemplary sources for an expansion of political possibility. These writers indicate where and how the new spaces can be brought into being, and they reveal acts of making space as some of the prime moments of politics. Reinhardt's extended readings of these writers, never previously treated together, are quite unlike the familiar understandings of their thought. "Taking liberties," he brings the literary and political sensibility usually associated with postmodernism to a sympathetic if critical encounter with eminently modern thinkers. The result is a strong and idiosyncratic book, accessible and stylish, that mixes acute readings of canonical thinkers with more practical applications and illustrations. Reinhardt combines attention to textual detail and nuance with concern for contemporary politics, discussing as an unusually inventive example the AIDS activist group ACT UP. (shrink)

Susan Sontag once remarked that since the invention of the camera, photography has “kept company with death.” And indeed, images of suffering human beings and devastated landscapes appear regularly in the popular media and even in contemporary art. This volume explores these painful images from the past few decades of photography, weighing in on the intense critical debate that has arisen in recent years around depictions of acute human suffering—especially those that are beautifully rendered. Drawing on works from advertising, photojournalism, (...) art photography, and conceptual art, Beautiful Suffering features reproductions of all the pieces in the Williams College Museum of Art exhibition that shares its name—including portrayals of AIDS sufferers, Abu Ghraib prisoners, refugees, and casualties of war. It also includes five critical essays that engage the works themselves as well as the larger issues the exhibition confronts: Is it inherently problematic to seek aesthetic pleasure in a rendering of pain? And if so, why? These essays, composed by scholars in fields as diverse as art history and political science, are perfect complements to the powerful images of suffering that probe some of the most pressing issues we face today. (shrink)

Considering formative twentieth-century theories in relation to contemporary technosocial developments, this article examines ideas of spectacle and surveillance as ways of approaching visual politics. I argue that the historically important relationship between the visual and political fields is now intensifying and mutating. First discussing Guy Debord’s The Society of the Spectacle, I show how his influential approach proves inadequate to the politics of image-saturated societies. I next show how critics of imperial and racial spectacles, from Michael Rogin to Claudia Rankine (...) and Tina Campt, provide better ways of engaging power and political contestation in the visual field. Third, I examine how Michel Foucault deployed notions of spectacle in his own work but argued for leaving the term behind, presenting surveillance as not just a different modality of power but also spectacle’s temporal successor. This account remains essential for both historical understanding and reckoning with contemporary surveillance. Fourth, however, as Simone Browne argues, Foucault’s separation between spectacle and surveillance is too stark, his history too prone to occlude race. Furthermore, recent surveillance technologies and practices have changed in ways that confound his terms, while extending and also altering the racial dynamics explored earlier in the essay. Today, even surveillance based on optical media contributes to a “postvisual” image world in which algorithmic, machine-machine communication abets forms of power neither tied to human perception nor graspable as subject formation. With surprising assistance from Debord, I end by discussing the significant theoretical and political challenges posed by the ironies of postvisual visuality. (shrink)