page_title: Emory Douglas
section_title: Artworks and later activism
hierarchical_section_title: Emory Douglas / Artworks and later activism
caption_attribution_description: English: Richard Bell and Emory Douglas, ‘White Hero for Black Australia’ mural, Burnett Lane, Brisbane, Australia
context_page_description: Emory Douglas is an American artist who worked as the Minister of Culture for the Black Panther Party from 1967 until the Party disbanded in the 1980s. His graphic art was featured in most issues of The Black Panther newspaper. As the art director, designer, and main illustrator for The Black Panther, Douglas created images that became icons, representing black American struggles during the 1960s and 1970s.
context_section_description: In addition to the paper, Douglas also designed postcards, event flyers, and posters that were meant as recruitment tactics as well as an additional method of spreading the BBP ideology and creating the impression that there was mass support of the cause. Douglas recalled, "After a while it flashed on me that you have to draw in a way that even a child can understand [in order] to reach your broadest audience without losing the substance or insight of what is represented." (Stewart, 2011).
  In 1967 Douglas became Minister of Culture for the Black Panther Party. In 2007, the San Francisco Chronicle reporter Jessica Werner Zack reported that he "branded the militant-chic Panther image decades before the concept became commonplace. He used the newspaper's popularity to incite the disenfranchised to action, portraying the poor with genuine empathy, not as victims but as outraged, unapologetic and ready for a fight."
  Douglas drew a lot of inspiration from third world struggles and used art as the primary method of propaganda and outreach. His graphics served to promote the Party's ideologies, which were inspired by the rhetoric of revolutionary figures such as Malcolm X and Che Guevara. His images were often very graphic, meant to promote and empower black resistance with the hope of starting a revolution to end institutionalized mistreatment of African Americans.
  In 1970 the BBP shifted their stance to emphasize survival programs as opposed to violence. With that, Douglas's imagery changed as well, showing African Americans receiving free food and clothes. They promoted free breakfast programs, free health clinics, free legal aid amongst other things. These programs were considered part of their revolutionary tactic. In response, the FBI cracked down on the cause even more, until it inevitably brought it to an end. However, their ideology is still alive today.
  Douglas worked at the black community-oriented San Francisco Sun Reporter newspaper for over 30 years after The Black Panther newspaper was no longer published. He continued to create activist artwork, and his artwork stayed relevant, according to Greg Morozumi, of the Bay Area EastSide Arts Alliance: "Rather than reinforcing the cultural dead end of 'post-modern' nostalgia, the inspiration of his art raises the possibility of rebellion and the creation of new revolutionary culture."
  In 2006, artist and curator Sam Durant edited a comprehensive monograph on the work of Douglas, Black Panther: The Revolutionary Art of Emory Douglas, with contributors including Danny Glover,  Kathleen Cleaver, St. Clair Bourne, Colette Gaiter (associate professor at the University of Delaware), Greg Morozumi (artistic director of the EastSide Arts Alliance in Oakland, California), and Sonia Sanchez.
  After the book's publication, Douglas had retrospective exhibitions at the Museum of Contemporary Art, Los Angeles (2007–08) and the New Museum in New York. Since the re-introduction of his early work to new audiences, he continues to make new work, exhibit and interact with audiences in formal and informal settings all over the world. His international exhibitions and visits include Urbis, Manchester, England (2008); Auckland, New Zealand, Collaboration with Richard Bell in Brisbane, Australia (2011); Chiapas, Mexico; Lisbon, Portugal (2011)
  Colette Gaiter writes:
  Douglas was the most prolific and persistent graphic agitator in the American Black Power movements. Douglas profoundly understood the power of images in communicating ideas ... Inexpensive printing technologies—including photostats and press-type, textures and patterns—made publishing a two-color heavily illustrated, weekly tabloid newspaper possible. Graphics production values associated with seductive advertising and waste in a decadent society became weapons of the revolution. Technically, Douglas collaged and re-collaged drawings and photographs, performing graphics tricks with little budget and even less time. His distinctive illustration style featured thick black outlines (easier to trap) and resourceful tint and texture com
caption: A mural located in Brisbane, Australia, created by Douglas in collaboration with Richard Bell, celebrating the 1968 Olympics Black Power salute
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