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The purpose of this paper is to reflect on critical race theory’s application in organisational visuals research with a focus on forms of visual white supremacy in the workplace.

Drawing on the authors’ personal experiences as racialised “Others” with organisational white supremacy, this paper employs reflective autoethnography to elucidate how whiteness is positioned in the academic workplace through the use of visual imagery. The university, departments and colleagues appearing in this study have been de-identified to ensure their anonymity and protect their privacy.

The authors’ autoethnographic accounts discuss how people of colour are appropriated, commodified and subordinated in the ongoing practice of whiteness.

Illuminating the subtle ways through which white supremacy is embedded in the visual and aesthetic dimensions of the organisation provides a more critical awareness of workplace racism.

This paper advances the critical project of organisational visual studies by interrogating the ways by which white dominance is enacted and reinforced via the everyday visual and aesthetic dimensions of the workplace. An added contribution of this paper is in demonstrating that visual racism extends beyond misrepresentations of people of colour, but can also manifest in what the authors conceptualise as “visual white supremacy”.

Grounded in experience of co-organizing a two-day photography-based workshop in Paris, this paper explores how photo-dialogues can facilitate anti-racist pedagogy and generative discussions about how race and racism function in marketplace contexts.

This paper draws on the authors' involvement in a cross-national and cross-disciplinary team of scholars who worked with local community stakeholders—including activists, artists and practitioners—to discuss, theorize and photo-document issues regarding race and racism in the Parisian marketplace.

This paper contributes to the literature on visual culture studies and critical race studies as it demonstrates the potentials of photography combined with dialogue to challenge the White supremacy over archiving and visuality in the context of urban spaces. This new methodology is an opportunity to reflect on archetypes of visuality that depart from the traditional Parisian flâneur to be consistent with and reinforce anti-racist stances.

Photography and visual methods often play peripheral roles in anti-racist education across various disciplines and research areas, including critical marketplace studies. This paper expands understanding of the potentials of using photographic methods as part of critical and anti-racist work related to racial and racist dynamics, including issues regarding power, White supremacy and public space. It outlines the use of photographic dialogues in a context (Paris, France) where discussion of race is regularly societally discouraged. Thus, this work shifts the focus away from decontextualized research that regards race as an object, to specifically foreground understandings of racialized experiences and how the photographic gaze produces and is produced by racialized viewers.

The aim of my chapter is to draw on conceptualisations of sexism, racism, epistemology of white ignorance and critical race theorists’ critiques of white feminism to examine critical management studies (CMS) practices. The purpose of the chapter is to acknowledge the contribution of CMS feminists and look to how we can go beyond current practices to include antiracism in our feminisms. In particular, I show how sexism, racism and white ignorance are collectively produced in CMS and operate through mundane, and avoidable, organisational and pedagogical processes. I respond to the editors’ call for chapters by offering a practical politics through the idea of a killjoy manifesto, taking inspiration from the writings of Sara Ahmed. An important part of is that is for white feminism in CMS to attend to critiques from racially minoritised academics, activists and workers. Whilst challenging, I hope the chapter provides practical and theoretical resources and encouragement.

This paper explores the workplace experiences of aesthetic labour among racially diverse frontline women workers in a fashion retail store.

This qualitative study is based on an ethnographic study, drawing on findings from participant observation and interviews with frontline workers at a fashion retail store in the UK.

This paper explores how the embodiments of aesthetic labour are perpetually produced and commodified through the discipline of management in a fashion retail store. It challenges the notion of phenotypical Whiteness as the beauty standard within fashion retail and demonstrates how embodiments differ according to race. While White women are continuously scrutinised by their appearance, the aesthetic demands for women of colour tend to focus on speech and racialised bodies to provide “authentically” exotic experiences for customers. Additionally, this study highlights how the mobilisation of aesthetic labour can create work humiliation and work alienation.

Despite this study being based on an ethnographic study at one British fashion retailer, this paper seeks to give voices to an underrepresented group by exploring the lived experiences of racially diverse women workers.

This paper contributes to the intersection between aesthetic labour and race from an embodiment perspective, exploring the workplace experiences of racially diverse women workers in fashion retail and how their various forms of embodiment are racialised and commodified.

The purpose of this paper is to investigate how the construction and everyday maintenance of racialized psychological borders in the Greenlandic Police Force reproduce a postcolonial hierarchy of knowledge, where Danish knowledge and perceptions of professionalism are constructed as superior to Greenlandic knowledge and perceptions of professionalism.

The paper is based on an ethnographic study comprising 5 days of observation of a training course for Danish police officers going to Greenland on summer assistance, 13 days of observation of police work in Greenland, 2 days of participatory observation of a leadership development seminar in Greenland, 26 interviews conducted in Denmark and Greenland with both Danish and Greenlandic officers and interventions in Denmark and Greenland.

The racialized borders create strong perceptions of “us” and “them”, which are maintained and reinforced through everyday work practices. The borders have damaging effects on the way police officers collaborate in Greenland and as the borders are maintained through (often implicit) everyday micro-processes, management has difficulty dealing with it. However, the way the racialized borders became visible through this research project created an awareness of – and sparked conversation about – the colonial stereotypes that have constructed and reinforce the borders. This awareness opens up possibilities of collaborative disruption of those borders.

The paper shows how racialized borders limit the way professionalism is understood in the Greenlandic Police Force. But it also shows that, because these borders are socially constructed, they can be contested. Making the implicit everyday discrimination explicit through vignettes, for example, offers the chance to contest and disrupt the colonial hierarchy otherwise deeply embedded in the work practices of the police force.

Thanks to unique access to Greenland’s police force, this paper offers exclusive in-depth insights into current processes of racialization and colonialization in a contemporary colonial relationship.

The first season of HBO's Lovecraft Country is based on Matt Ruff's 2016 novel and explores the horrifying world of H.P. Lovecraft and the very real Jim Crow-era racism that plagued the United States in the 1950s. The series, developed by Misha Green and produced by Jordan Peele, places Black protagonists at the centre of a Lovecraftian horror story. The Black characters have to face shoggoths, grand wizards and magic but they also have to deal with and escape very realistic horror, in the form of racist police violence and white supremacy. By bringing the Black characters into the centre – often the metaphorical villains of Lovecraft's stories – the series allows for a new layer of meaning to Lovecraft's fear of the other. Atticus, Leticia, Uncle George, Hippolyta and the rest of the cast are struggling to escape the everyday real and supernatural manifestations of racism. Their struggle can be seen as a reflection of the actual struggle of the Black communities today, who are trying to liberate themselves from the shackles of oppression and systemic racism once and for all, so all people regardless of the colour of their skin, gender, race and ethnicity can finally be free. Lovecraft Country can be read as a symbolic yet crucial contemporary representation of this struggle for freedom. The series was created before George Floyd's and Breonna Taylor's murders, but it came after the deaths of Trayvon Martin, Philando Castile and Sandra Bland. Once the viewers search deeper and look past the dark mansions, the wicked wizards and the shoggoth monsters, they can understand that the supernatural and fictional land of Lovecraft Country is not a distant place after all.

Black death on a loop online through the click economy brings to bear the mimetic violence associated with Blackness. The idea of consuming Black death as a repeat event highlights the visceral economy of online consumption practices in which Black death is shared and passed on as viral content. The foreshadowing of the Black body and Black death is both banalized and commodified as content for instant gratification spread via algorithms, tagging, likes and newsfeeds. The distributive popular economy online and the offering of Black death through a click economy redrafts Blackness through its historic fungibility of slavery and White oppression, and equally ‘virtuality’ in which both its hyper-visibility and invisibility assemble it through new modalities of violence whilst invoking new spaces to commune, grieve and experience collective grief for these demised bodies. Blackness is made perceptible through its liminality and denial of its corporeality such that both social death and mortal death are ascribed to it. This chapter agitates against the futility of Black death by its quest to read Black humanism online as a moment of empowerment and emancipation to reclaim Blackness and to defy its formlessness in the digital economy as the new graveyard of its spiritual resurrection.

How can researchers develop methods that are both child-centered and grounded in the “epistemology of racial emancipation” given the unique challenges associated with conducting research with young people and white people? The purpose of this chapter is to examine the use of an innovative child-centered visual research method within the context of a larger ethnography focused on how white children come to form ideas about race in America. As part of a broader ethnographic study, white children between the ages of 10 and 13 were presented with photographs of celebrities. Children were asked questions about how to racially classify these popular culture icons, an activity that led to further discussion about race and racism in America. Drawing upon photographs of popular cultural icons and celebrities is one strategy for approaching uncomfortable topics with children in way that is less intimidating and that also brings new data to the study. Children made this aspect of the interview their own, bringing their unique perspectives to bear. This chapter discusses at length unique methodological issues, strategies, and innovations involved in research with white children about race. This chapter makes original contributions to the field of developing innovative, child-centered methods for conducting research with children and youth as well as existing scholarship on whiteness, privilege, and the social reproduction of racial ideology/racism.

Comics and graphic novels can disrupt traditional texts by challenging the “worship of the written word” (Torres, 2019), a feature of white supremacy that perpetuates textual hierarchies within educational spaces. Giving all of our students access to contemporary literature that centers Black youth perspectives is not only important in decolonizing literature education but also in presenting a holistic view of Black childhood. They can be used in the classroom as subjects to challenge stereotypical depictions by centering experiences, ideas, and concepts that are often marginalized in traditional curriculum. Within this chapter, we focus on comics and graphic novels as tools to enact students’ multiliteracies and to analyze visual stories depicting BlackBoy adolescence, using the frameworks of BlackBoy Crit Pedagogy (Bryan, 2022), an equity framework that interrogates the interdisciplinary ways that Black boy students' literacy learning can be formed through the teaching and learning of Blackness, maleness, and the schooling experiences of Black boys. We utilize this framework to analyze the use of diverse comics and graphic novels to facilitate critical conversations of bringing inclusive visual texts into the classroom. We invite practitioners to reimagine curricular ideas and content centered on empowerment and Black boy adolescence and how those ideas are presented to youth through a variety of visual narratives.