Ph.D. University of California, Santa Cruz, History of Consciousness (1991)
Areas of Expertise
Professor Reinhardt teaches in both Political Science and American Studies. His teaching interests range from ancient to contemporary political theory, as well as problems of democracy, public space, cultural analysis, race and slavery, and visual politics. His current research is shaped by a commitment to showing how political theory and political science can engage more fully with the visual domain. Among the areas of particular interest are the ethics and politics of images and the place of visuality within the history of political thought (ancient and modern); a related strand of work concerns the relations between politics and aesthetics.
Book in Progress:
Visual Politics: Theories and Spectacles (Working Title)
Radical Future Pasts: Untimely Essays in Political Theory, University of Kentucky Press (2014), Coles, Reinhardt, Shulman, eds.
Who Speaks for Margaret Garner?, University of Minnesota Press (2010)
Beautiful Suffering: Photography and the Traffic in Pain, University of Chicago Press (2007), Reinhardt, Edwards, Duganne, eds.
Kara Walker: Narratives of a Negress, MIT Press (2003), Berry, English, Patterson, and Reinhardt, eds.
The Art of Being Free: Taking Liberties with Tocqueville, Marx, and Arendt, Cornell University Press (1997)
Articles, Chapters, and Review Essays
“Violence,” in Roland Bleiker, ed., Global Visual Politics (in progress essay for in-progress volume, forthcoming from Routledge)
“I Don’t Know Why You Say Goodbye, I Say Hello. (On Taking Both the Visual and the Political Seriously).” In Farewell to Visual Studies, Gustav Frank, Sunhil Manghani, and James Elkins, eds., (Penn State University Press, forthcoming 2015).
“Vision’s Unseen: On Sovereignty, Race, and the Optical Unconscious,” Theory & Event 18, no. 3 (forthcoming October, 2015).
“Radical Future Pasts? An Anti-Introduction.” With Rom Coles and George Shulman, in Radical Future Pasts: Untimely Essays in Political Theory. University Press of Kentucky, 2014, pp. 1-36.
“Theorizing the Event of Photography: the Visual Politics of Violence and Terror in Azoulay’s Civil Imagination, Linfield’s The Cruel Radiance, and Mitchell’s Cloning Terror,” Theory & Event 16, no. 3 (September, 2013).
“Stuff White People Know (or, What We Talk About When We Talk About Trayvon),” Theory & Event (September, 2012).
“Painful Photographs: From the Ethics of Spectatorship to Visual Politics.” In Ethics and Images of Pain, Asbjørn Grønstad and Henrik Gustafsson, eds., (Routledge, 2012).
“Traffic in Pain.” With Holly Edwards, in Reinhardt et al., Beautiful Suffering: Photography and the Traffic in Pain, University of Chicago Press, 2007, pp. 7-12.
“Picturing Violence: Aesthetics and the Anxiety of Critique,” in ibid., pp. 13-36.
“End Paper: Through the Lens of Pain, ” Chronicle of Higher Education (The Chronicle Review) 53, no. 29 (March 23, 2007): B19. (Excerpt from “Traffic in Pain.”)
“What’s New in Arendt?” Political Theory, 31, no. 3 (June 2003): 443-460.
“The Art of Racial Profiling,” in Kara Walker: Narratives of a Negress. Ian Berry, Darby English, Vivian Patterson, Mark Reinhardt, eds. MIT Press with the Tang Museum and Williams College Museum of Art, 2003, pp. 108-129.
Republished by Rizzoli, 2007.
“Who Speaks for Margaret Garner? Slavery, Silence, and the Politics of Ventriloquism,” Critical Inquiry 29, no. 1 (Fall 2002): 81-119.
“Constitutional Sentimentality,” Theory & Event 4, no. 1 (May 2000).
“The Song Remains the Same: Communitarianism’s Cultural Politics,” in Political Theory and Cultural Studies, Jodi Dean, ed., Cornell University Press, 2000, pp. 95-114.
“Look Who’s Talking: Political Subjects, Political Objects, and Political Discourse in Contemporary Theory,” Political Theory 23, no. 4 (November 1995): 689-719.