Over the past six years I have had the privilege of working with 51 of them. More and more scholars have started to examine the power of images in global politics. This omnipresence of images is political and has changed fundamentally how we live and interact in today’s world.
Drones, satellites, and surveillance cameras profile terrorist suspects and identify military targets. Fashion and videogames are frequently derived from and enact the militarised world we live in. Digital media, from Twitter to Instagram, play an increasingly important role across the political spectrum, from terrorist recruitment drives to social justice campaigns. The dynamics of visual politics go well beyond traditional media outlets. Photographs, cinema and television influence how we view and approach phenomena as diverse as war, humanitarian disasters, protest movements, financial crises and election campaigns. Images shape international events and our understandings of them. “All Power: Visual Legacies of The Black Panther Party”Ī History of Seattle’s African American CommunityĪyana V.We live in a visual age. Other artists featured in the exhibition include Maikoiyo Alley-Barnes, Sadie Barnette, Ouidakathryn Bryson, Howard Cash, Emory Douglas, LaToya Ruby Frazier, Kris Graves, Christopher Paul Jordan, Kambui Olujimi, Lewis Watts, Carrie Mae Weems, Dr.
POWER TO THE PEOPLE IMAGES SERIES
Jackson ’s series “Leapfrog, ” which depicts the artist assuming the roles of black women across generations and examines the way they have been caricatured and exoticized and photographs by Robert Wade documenting black activists in the United States and abroad. It includes images from Endia Beal ’s series “Am I What You ’re Looking For? ”, which considers how young black women present themselves as they try to gain corporate employment Bruce Bennet ’ s portraits of groups of children and teenagers in Chicago ’s Bronzeville community Ayana V. The exhibition encompasses a variety of artistic and documentary photography. “Through bold illustrations, drawings, posters and The Black Panther newspaper, Douglas’ interpretation of the Party’s ideals and messages were as powerful-if not more so-than the speeches and political campaigns.” Dudumu, writes in her introduction to the book, “More than many other organizations, the Panthers understood and used the media, and the visual image, to great advantage.” The Party’s Minister of Culture, Emory Douglas, was particularly influential, Dunn Marsh notes. Michelle Dunn Marsh, who co-edited the book and exhibition with Negarra A. It includes images by artists who have been in some way influenced or inspired by the Panthers and the visual iconography they established. The exhibition, “All Power: Visual Legacies of the Black Panther Party” is based on a book of the same name, which was published in 2016 by Minor Matters Books.
Seattle was the home of the second chapter of the party. To honor the 50th anniversary of the founding of the Seattle chapter of the Black Panther Party for Self-Defense, the Photographic Center Northwest is hosting an exhibition that explores the visual language and legacy of the movement founded in 1966 by Huey Newton and Bobby Seale, two students at Laney College in Oakland, CA. Sabrina and Katrina, 2015, from "Am I What You're Looking For?", courtesy of the artist, from "All Power: Visual Legacies of the Black Panther Party," PCNW 2018