Emory Douglas joined the Panther Party in 1967 and became its Minister of Culture. His confrontational graphics defined the party’s agenda and served as front and back covers for The Black Panther, the party’s official tabloid. Throughout the late sixties, tens of thousands of his posters were wheat-pasted on walls from California to New York. Douglas developed a crude and exaggerated cartoon style that excoriated and humiliated racist politicians, landlords, capitalists, and police, portraying them as de-humanized pigs. In fact his inflammatory graphics so popularized the epithet of “pig”, that the insult became a lasting part of the American lexicon.
via art for a change
Good time to take another look at Emory Douglas’s work as a graphic designer, illustrator, poster artist, political cartoonist, and master craftsman of the Black Panther Party’s visual message. In addition to designing and laying out the weekly Black Panther newspaper, he was its main artist. Douglas used a distinctive illustration style, cartooning skills, and resourceful collage and image recycling to make the paper as explosive visually as it was verbally. He was a one-man band, showing the same versatility with different visual styles and methods as a musician who can play several instruments as well as write the music.
via bad subjects
Conceptually, Douglas’s images served two purposes: first, illustrating conditions that made revolution seem necessary; and second, constructing a visual mythology of power for people who felt powerless and victimized.
another gallery of Emory’s art