The Black Arts Movement and the Black Panther Party in American Visual Culture PDF
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The Black Arts Movement and the Black Panther Party in American Visual Culture This book examines a range of visual expressions of Black Power across American art and popular culture from 1965 through 1972. It begins with case studies of artist groups, including Spiral, OBAC, and AfriCOBRA, who began questioning Western aesthetic traditions and created work that honored leaders, affi rmed African American culture, and embraced an African lineage. Also showcased is an Oakland Museum exhibition of 1968 called “New Perspectives in Black Art,” as a way to consider if Black Panther Party activities in the neighborhood might have impacted local artists’ work. The concluding chapters concentrate on the relationship between selected Black Panther Party members and visual culture, focusing on how they were covered by the mainstream press, and how they self-represented to promote Party doctrine and agendas. Jo-Ann Morgan is Professor of African American Studies and Art History at Western Illinois University, USA. Her previous book, Uncle Tom’s Cabin as Visual Culture, received the Peter Seaborg Award for Civil War Scholarship in 2008. Routledge Research in Art and Race Routledge Research in Art and Race is a new series focusing on race as examined by scholars working in the fi elds of art history and visual studies. Proposals for mono- graphs and edited collections on this topic are welcomed. Henry Ossawa Tanner Art, Faith, Race, and Legacy Naurice Frank Woods, Jr. The Black Arts Movement and the Black Panther Party in American Visual Culture Jo-Ann Morgan For a full list of titles in this series, please visit www.routledge.com/art/series/RRAR Frontispiece Black Panther demonstration, San Francisco. © 2018 Ilka Hartmann. This was the fi rst time the photographer ever saw any writing on clothing. She thought it a revolutionary gesture that the teenager had written “Black is Beautiful,” recently coined by Stokely Carmichael, on his second-hand Army jacket. The Black Arts Movement and the Black Panther Party in American Visual Culture Jo-Ann Morgan First published 2019 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2019 Taylor & Francis The right of Jo-Ann Morgan to be identifi ed as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Every effort has been made to contact copyright-holders. Please advise the publisher of any errors or omissions, and these will be corrected in subsequent editions. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data A catalog record for this book has been requested ISBN: 978-1-138-60592-3 (hbk) ISBN: 978-0-429-46785-1 (ebk) Typeset in Sabon by Apex CoVantage, LLC Cover Image: Elizabeth Catlett, American,1915-2001. Negro es Bello II (1969/2000, color lithograph, 27 ¾ × 21 1/16″). Collection of the author. Photo by Matt Gubanscik. © Catlett-Mora Family Trust / Licensed by VAGA, New York, NY. This book took shape in African American Studies classrooms. I dedicate it to my students. “This book gathers compelling images from a period in African American history that we still struggle to comprehend and honor. As an art historian Jo-Ann Morgan brings an incisive intelligence to her work, situating the images in their time and place, and providing a welcome visual resource for students of the sixties.” A.J. Morey, James Madison University, USA Contents List of Figures x Preface: Picturing Black Power xiv PART I “Black Arts We Make”: Aesthetics, Collaboration, and Social Identity in the Visual Art of Black Power 1 Introduction to Part I 3 1 Pedigree of the Black Arts Movement: The March on Washington, Death of Malcolm X, and Free Jazz 10 2 Organization of Black American Culture: A Show of Respect 26 3 African Commune of Bad Relevant Artists: Forging a Black Aesthetic 36 4 “New Perspectives in Black Art”: An Oakland Class of ’68 Says “Black Lives Matter” 53 PART II The Black Panther Party in Photography and Print Ephemera 83 Introduction to Part II 85 5 Huey P. Newton Enthroned: Iconic Image of Black Power 89 6 Eldridge Cleaver’s Visual Acumen and the Coalition of Black Power with White Resistance 112 7 Emory Douglas: Revolutionary Artist and Visual Theorist 135 8 Picturing the Female Revolutionary 163 Bibliography 193 Index 205
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