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With the shift from an industrial to a knowledge economy, organization theorists continue to address the role and nature of control in organizational structure. The continuing utility of bureaucracy in new organizational forms was a focal point for this discussion. Research on this shift contributes to the ongoing debate on the role of ethics in bureaucratic and post-bureaucratic organizations. This paper suggested that the work of the artist Joseph Cornell provides a visual representation of the dimensions of this debate. First, the paper introduced Cornell to the reader. Next, the paper reviewed the research on bureaucratic and post-bureaucratic organizations with a focus on ethics, control, and enchantment in organizations. To provide visual reflections of the literature, this paper embedded examples of Cornell’s works throughout the discussion. Cornell’s art not only provides representations of these organizational forms, but also demonstrates how conflicts of an artist capture the development of thought within this area of organizational analysis.

The proliferation of zero-tolerance behavioral policies and the presence of school resource officers (SROs) are receiving justifiable scrutiny for the deleterious effects they have on students’ functioning. While many have argued the convergence of these policies thwart the development of Black and Latino boys, critiques examining the experiences of Black girls are scant. Disaggregated disciplinary data from across the country reveal “… black girls are suspended at higher rates (12%) than girls of any other race or ethnicity and most boys …” (U.S. Department of Education Office for Civil Rights, 2014, p. 1) suggesting that when it comes to schooling, Black girls are, indeed, “pushed out, overpoliced and underprotected” (Crenshaw, Ocen, & Nanda, 2015, p. 1). The authors of this chapter argue that youth advocates can use hip-hop culture, a tradition rich with resistant prose, to develop critical consciousness and engage Black girls in discussion about socially contrived binaries that reinforce the STPP. The authors demonstrate how the anti-oppressive lyrics of women emcees (e.g., Rapsody, Sa-Roc) can foster therapeutic alliances and dialogues with young Black girls, and how these lyrics might serve to inspire Black girls in composing their own counterhegemonic autobiographical narratives to resist the school-to-prison pipeline.