The Globality of Whiteness in Post-Racial Visual Culture

Abstract

This essay examines the spatial contours of post-racial visual culture. It argues that the ‘post-racial’ names the conditions under which racism operates flexibly within and beyond the logics of the colour line, while routinely disavowing its properly racial character through the symbolic deployment of multicultural humanitarianism. Even as it works through the figure of the ‘post-racial’ to bracket an engagement with the racialized rationale for the ‘nongeneralizability of human value’, the current US racial order has renovated the social structures that shore up whiteness as the privileged form humanity takes. The essay's point of departure is the iconic HOPE poster, produced by Shepard Fairey in 2008. It locates the poster's public display within a visual field subjected to neoliberal processes central to the constitution of a post-racial whiteness. It identifies two key moments in these processes. The first moment abstracts historical practices of materialist antiracism, such that racism becomes visualized as a manifestly individual subjective affair. In the second moment, post-racial visual culture repackages the visual logic of racial reference by displacing anti-black racism into morally benevolent categories suitable for humanitarian intervention, whose additional dematerialization is propped up by its migration to a digital terrain. To make this argument, the essay first offers a genealogy of the HOPE poster as it emerges from street art practices of commodity activism that obscure the structures of racial capitalism. It then treats the poster's central role in the ‘KONY 2012’ campaign, which redeployed this abstraction to recode the power of sight as a privileged form of US humanitarian violence. It concludes by considering the refusals by activists in the Occupy Wall Street movement to countenance a revised HOPE poster, even as the post-racial figure of ‘the protestor’ was lauded in corporate media.