This article draws out the ‘politics of the misfire’ as a process constituted in part by discursive articulations of the ‘misuse’ of guns, and in part by mediated visual narratives of criminality cultivated in American visual culture. Specifically, the author examines how the decades-long historiography of artist Chris Burden’s iconic artwork, Shoot (1971), relies upon and perpetuates spatially racialized and gendered notions of innocence and safety. She argues that the conceptual art collective Asco’s theorizing of misfires in response to their vulnerability as Chicanos in America provides a vital framework for recognizing how the neutralized archetype of white masculinity, simultaneously innocent and lawless, animates and sustains the legacy of Shoot. Through consideration of geographies of cumulative vulnerability, access to resources, and systemic racism this article links processes of art historical canonization to discriminatory practices that structurally oppress people of color in the United States.

No abstract

No abstract

No abstract