The Revolutionary Art Of Emory Douglas

Black Panther: The Revolutionary Art of Emory Douglas
MOCA Pacific Design Center
October 21st, 2007 through February 24th, 2008

By Jesi Khadivi
Originally published in Whitehot Magazine, February 2008

For better or worse, style plays a significant role in propelling social movements and historicizing their images. The seductive, bomb throwing chic of the Baader-Meinhof Gang and Hanoi Jane’s power fisted mug shot have spawned numerous fetishist coffee table books and fashion magazines spreads. (Prada Meinhof, anyone?) Revolutionary groups live on in our popular consciousness because of the radical style they embody as much as their politics.

The Black Panther Party is no exception. Founded by Bobby Seale and Huey P. Newton in Oakland, California in 1966, the Panthers espoused the importance of self-determination in the wake of a government that oppressed, neglected and exploited African American people. They started programs offering breakfast for school children, free food, free clothing and free shoes. Not only did they serve their community, they made being black look powerful. Their uniform of afros, berets and leather jackets perfectly encapsulated the Black Power movement of the 60s and 70s.

The Panthers built their brand beautifully. They were brilliant self-promoters. An integral part of the Panther “By any means necessary” image is the work of their Minister of Culture, Emory Douglas. Douglas joined the party in 1967 at the age of 22. His lithograph posters, collages and drawings were featured prominently in the party newspaper, The Black Panther. MOCA Pacific Design Center has mounted an impressive exhibition of Douglas’ work thanks to the generous assistance of collectors Alden and Mary Kimbrough, as well as other private collectors and cultural institutions. The exhibition features lithograph posters in both black and white and eye-popping color, an extensive selection of The Black Panther papers and a wall sized reproduction of Douglas’ design for Afro-American Solidarity with the Oppressed People of the World.

The right to self-defense was a critical component of the Panther credo. Huey P. Newton chose the metaphor because the cat never attacks unprovoked, but will fight to its death. Douglas’ representations of this ethos fuse Russian Constructivism, psychedelic poster design and FAP style propaganda. The overall tenor swings between the quasi-evangelical progressivism and aggression. Many of Douglas’ designs feature inspirational quotations like “We shall survive. Without a doubt.” As many, if not more, show the possession of a weapon as a vital step on this road to liberation. Douglas’ iconic use of women, children and firearms showed that the movement was nurtured, growing and nothing to fuck with.