Protectors Of Privilege

This landmark exposé of the dark history of repressive police operations in American cities offers a richly detailed account of police misconduct and violations of protected freedoms over the past century. In an incisive examination of undercover work in Chicago, Los Angeles, New York, and Philadelphia as well as Washington, D.C., Detroit, New Haven, Baltimore, and Birmingham, Donner reveals the underside of American law enforcement.

Let's begin with the basics: violence is an inherent part of policing. The police represent the most direct means by which the state imposes its will on the citizenry. They are armed, trained, and authorized to use force. Like the possibility of arrest, the threat of violence is implicit in every police encounter. Violence, as well as the law, is what they represent. Using media reports alone, the Cato Institute's last annual study listed nearly seven thousand victims of police "misconduct" in the United States. But such stories of police brutality only scratch the surface of a national epidemic. Every year, tens of thousands are framed, blackmailed, beaten, sexually assaulted, or killed by cops. Hundreds of millions of dollars are spent on civil judgments and settlements annually. Individual lives, families, and communities are destroyed. In this extensively revised and updated edition of his seminal study of policing in the United States, Kristian Williams shows that police brutality isn't an anomaly, but is built into the very meaning of law enforcement in the United States. From antebellum slave patrols to today's unarmed youth being gunned down in the streets, "peace keepers" have always used force to shape behavior, repress dissent, and defend the powerful. Our Enemies in Blue is a well-researched page-turner that both makes historical sense of this legalized social pathology and maps out possible alternatives.

In Violence Work Micol Seigel offers a new theorization of the quintessential incarnation of state power: the police. Foregrounding the interdependence of policing, the state, and global capital, Seigel redefines policing as “violence work,” showing how it is shaped by its role of channeling state violence. She traces this dynamic by examining the formation, demise, and aftermath of the U.S. State Department's Office of Public Safety (OPS), which between 1962 and 1974 specialized in training police forces internationally. Officially a civilian agency, the OPS grew and operated in military and counterinsurgency realms in ways that transgressed the borders that are meant to contain the police within civilian, public, and local spheres. Tracing the career paths of OPS agents after their agency closed, Seigel shows how police practices writ large are rooted in violence—especially against people of color, the poor, and working people—and how understanding police as a civilian, public, and local institution legitimizes state violence while preserving the myth of state benevolence.

The McCarthy-era witch hunts marked the culmination of an anticommunist crusade launched after the First World War. With Bolshevism triumphant in Russia and public discontent shaking the United States, conservatives at every level of government and business created a network dedicated to sweeping away the "spider web" of radicalism they saw threatening the nation. In this groundbreaking study, Nick Fischer shines a light on right-wing activities during the interwar period. Conservatives, eager to dispel communism's appeal to the working class, railed against a supposed Soviet-directed conspiracy composed of socialists, trade unions, peace and civil liberties groups, feminists, liberals, aliens, and Jews. Their rhetoric and power made for devastating weapons in their systematic war for control of the country against progressive causes. But, as Fischer shows, the term spider web far more accurately described the anticommunist movement than it did the makeup and operations of international communism. Fischer details how anticommunist myths and propaganda influenced mainstream politics in America, and how its ongoing efforts paved the way for the McCarthyite Fifties--and augured the conservative backlash that would one day transform American politics.

"This book is a religious history of MOVE, a small, mostly African American religious group devoted to the religious teachings of John Africa that emerged in Philadelphia in the early 1970s. MOVE is perhaps best known for the MOVE Bombing. In 1985, the Philadelphia Police Department-working in concert with federal and state law enforcement-attacked a home that MOVE people shared in West Philadelphia with hundreds of police officers and firefighters, tear gas, ten thousand rounds of ammunition, and improvised explosives. Most infamously, a police officer dropped a bomb containing C-4 explosives, which he had acquired from the FBI, from a helicopter onto the roof of the MOVE house. The bomb started a fire, which officials allowed to spread in hopes of burning MOVE people out of the house. Police officers fired upon MOVE people who tried to escape the flames. Eleven MOVE people died in the attack, including John Africa. Five of those who died were children. Based on never-before-seen law enforcement records and extensive archival and ethnographic research, MOVE: An American Religion reinterprets the history of MOVE from its origins in the late 1960s, its growth in the early 1970s, its conflicts with the United States government from the mid 1970s to the mid 1980s, and its presence today. It is the first full-length academic study of MOVE since 1994 and is the first book to consider MOVE as a religion"--

This fascinating book gathers reflections by scholars and activists who consider the impact of the Black Panther Party, the BBP, the most significant revolutionary organization in the later 20th century.

Street Justice traces the stunning history of police brutality in New York City, and the antibrutality movements that sought to eradicate it, from just after the Civil War through the present. New York's experience with police brutality dates back to the founding of the force and has shown itself in various forms ever since: From late-nineteenth-century "clubbing"-the routine bludgeoning of citizens by patrolmen with nightsticks-to the emergence of the "third degree," made notorious by gangster movies, from the violent mass-action policing of political dissidents during periods of social unrest, such as the 1930s and 1960s, to the tumultuous days following September 11. Yet throughout this varied history, the victims of police violence have remained remarkably similar: they have been predominantly poor and working class, and more often than not they have been minorities. Johnson compellingly argues that the culture of policing will only be changed when enough sustained political pressure and farsighted thinking about law enforcement is brought to bear on the problem.

The Uses of Photography examines a network of artists who were active in Southern California between the late 1960s and early 1980s and whose experiments with photography opened the medium to a profusion of new strategies and subjects. These artists introduced urgent social issues and themes of everyday life into the seemingly neutral territory of conceptual art, through photographic works that took on hybrid forms, from books and postcards to video and text-and-image installations. Tracing a crucial history of photoconceptual practice, The Uses of Photography focuses on an artistic community that formed in and around the young University of California San Diego, founded in 1960, and its visual arts department, founded in 1967. Artists such as Eleanor Antin, Allan Kaprow, Fred Lonidier, Martha Rosler, Allan Sekula, and Carrie Mae Weems employed photography and its expanded forms as a means to dismantle modernist autonomy, to contest notions of photographic truth, and to engage in political critique. The work of these artists shaped emergent accounts of postmodernism in the visual arts and their influence is felt throughout the global contemporary art world today. Contributors include David Antin, Pamela M. Lee, Judith Rodenbeck, and Benjamin J. Young. Published in association with the Museum of Contemporary Art San Diego. Exhibition dates: Museum of Contemporary Art San Diego: September 24, 2016ÐJanuary 2, 2017