Black Panther Party's Visual Legacy Examined in ArtReview Asia Essay

Sarah Jilani's essay in ArtReview Asia's Summer 2025 issue analyzes the Black Panther Party's strategic use of aesthetics as political consciousness. The BPP, founded in 1966 in Oakland, California, developed a radical visual vocabulary including black leather jackets, natural afros, and open-carry firearms to project dignity and empowerment against racist caricatures. Photographer Stephen Shames documented the movement from 1967 to 1973, capturing iconic images of members like Huey Newton, Assata Shakur, and Angela Davis alongside community programs. His exhibition 'Black Panthers & Revolution: Stephen Shames' was recently shown at London's Amar Gallery. The essay contrasts this with tech entrepreneur Eric Jorgenson's call for capitalist branding symbols, noting capitalism's lack of galvanizing imagery. Jilani references philosopher Aimé Césaire's view that artists hasten popular consciousness, and connects Panther aesthetics to global anti-imperialist movements like OSPAAAL's poster art and the Palestine Film Unit. Women comprised two-thirds of BPP membership and led community work, with Shames's photographs showing gender-neutral tasks from food distribution to health clinics. A 1971 funeral image of George Jackson features a Panther-flag-draped coffin guarded by armed members, framing his death as political martyrdom. The essay argues revolutionary movements understood imagery sustains inspiration through decades of struggle.