In 1967, Emory Douglas, then the twenty four year old minister of culture for the Black Panther Party, began designing the layout and illustrations for the Party’s weekly newspaper by using a donated printing press and the skills he received as a commercial art student at the City College of San Francisco. The front page of The Black Panther displayed Douglas’s simple, effective protest images for an audience numbering in the hundreds of thousands.
Thirty-two years later, the New Museum is showing Douglas’s work in a major retrospective. In the exhibition Emory Douglas: Black Panther (through October 18), visitors can view his boldly colored offset lithographs that display clear messages of dissent. In one image, a black woman wearing a button down dress stands in a window, holding a green container labeled “lye and acid” over the heads of four pigs masquerading as police officers below her. The text reads, “By any means necessary, unless you got something better.” Laura Hoptman, a senior curator, said that Douglas’s art is “a quintessential example of art as a weapon… it was designed directly to talk to people.”
Douglas observed the presidencies of Lyndon Johnson, Richard Nixon, and Gerald Ford during his time with The Black Panther. A warmongering Democrat and two Republicans did little to ease the tension between the police and Douglas’s urban audience. When asked how his work reads in a museum setting as opposed to on the streets, Douglas remarked, “It’s read the same, because the art work doesn’t change; you can only interpret it so many ways. You can’t dilute it.”
In tandem with Douglas’s retrospective, the New Museum has commissioned a new piece by Rigo 23, a Portugese political artist and muralist based in California. His installation, titled “The Deeper They Bury Me, The Louder My Voice Becomes,” is dedicated to the Angola 3–Robert King, Albert Woodfox, and Herman Wallace–prisoners in the Angola Penitentiary in Louisiana that were convicted of stabbing a prison warden in 1972. Woodfox and Wallace are still incarcerated, while King was released in 2001 after serving thirty-one years. This homage to a group of prisoners aligned with the Black Panthers is located between the third and fourth floors of the museum, and recreates the feeling of confinement experienced by over two million inmates in the United States, which maintains the world’s largest penal system. The entrance to a small jail cell halfway up the stairs contains a black rectangle on the floor that simply reads “1972.” Looking up, visitors will notice that metal bars line the ceiling above the narrow concrete stairs and the cell. A few feet away, bars block the sole window in the installation, which overlooks the adjoining tar roof. The overall sensation is one of helplessness stemming from forced confinement.