New Image Library Specializes In Race and Cultural Diversity

New Image Library Specializes In Race and Cultural Diversity

Posted by on Feb 15, 2017 in Qiana Mestrich | No Comments

Autograph Media is a recently launched photography licensing agency from the people who run Autograph ABP, the British-based photographic arts organization. Specializing in all aspects of race and cultural diversity throughout history, Autograph Media’s image library is comprised of a multitude of collections from various media partners like Getty Images and Magnum Photos.

Indian suffragettes on the Women's Coronation Procession, London, 17th June 1911. Mrs Fisher Unwin, who had links with India, was in charge of this contingent, which was part of the Empire Pageant. (Photo by Museum of London/Heritage Images/Getty Images)

Indian suffragettes on the Women’s Coronation Procession, London, 17th June 1911. Mrs Fisher Unwin, who had links with India, was in charge of this contingent, which was part of the Empire Pageant. (Photo by Museum of London/Heritage Images/Getty Images)

Covering a wide range of subjects, while browsing through the Autograph Media archive online one quickly realizes what a treasure trove it is. Well tagged and contextually/conceptually linked, during my first look I quickly went from 1950s images of newly arrived West Indian immigrants in London to documentary work on the British in India… and yet Autograph Media doesn’t stop at visualizing the history of Britain’s colonized subjects.

27th May 1956: Immigrants from the West Indies arriving by ship at Southampton Docks, Hampshire. Original Publication: Picture Post - 8405 - Thirty Thousand Colour Problems - pub. 1956 (Photo by Haywood Magee/Picture Post/Getty Images)

27th May 1956: Immigrants from the West Indies arriving by ship at Southampton Docks, Hampshire. Original Publication: Picture Post – 8405 – Thirty Thousand Colour Problems – pub. 1956 (Photo by Haywood Magee/Picture Post/Getty Images)

During my Autograph Media search I discovered images from the Afro Newspaper/Gado archive. Founded in 1892 by John Henry Murphy Sr., a former slave who gained freedom following the passage of the Emancipation Proclamation of 1863, The Afro-American newspaper was formed when Murphy merged several church papers together. With a large circulation in several cities, the Baltimore-based newspaper was instrumental in effecting social change on a national scale from pushing for black representation in the legislature, to establishing state-sponsored education for African Americans, fighting the implementation of Jim Crow segregation and even collaborating with the NAACP on civil rights cases.

Three women in lavish dress stand with nooses around their necks in protest of lynchings, 1946. (Photo by Afro American Newspapers/Gado/Getty Images)

Three women in lavish dress stand with nooses around their necks in protest of lynchings, 1946. (Photo by Afro American Newspapers/Gado/Getty Images)

With its nontraditional and inclusive hiring practices, The Afro-American employed notable black intellectuals (Langston Hughes, Romare Bearden) and journalists and while many of the images in the newspaper’s archive don’t give photographer credit, we do know that they employed women photographers like Erika Stone. The image of Little Miss Black Liberty below from Autograph Media’s online archive is by Stone, a photojournalist, magazine photographer and member of the Photo League. After she had children, Stone exclusively photographed children and family. (For more work by Erika Stone, take a look at this portfolio of her Ellis Island images  from a previous Baxter St blog post by Patricia Silva.)

A child wearing a Statue of Liberty headdress on National Freedom Day in New York City, USA, circa 1988. National Freedom Day commemorates the signing of the 13th Amendment outlawing slavery on 1st February 1865. (Photo by Erika Stone/Getty Images)

A child wearing a Statue of Liberty headdress on National Freedom Day in New York City, USA, circa 1988. National Freedom Day commemorates the signing of the 13th Amendment outlawing slavery on 1st February 1865. (Photo by Erika Stone/Getty Images)

Autograph Media is a compilation of several photography archives, many of which you can access individually from their own websites. Yet the value of Autograph Media lays in its mission of making visible a multitude of historical images that offer a more fair representation of human history at the intersections of race, culture and gender. Visual resources like this remind us of our past, our humanity and ultimately what’s worth fighting for in this era of uncertainty and political instability.

Group portrait of three Chinese children standing in a room in Chicago, Illinois, each holding an American flag and a Chinese flag, 1929. From the Chicago Daily News collection. (Photo by Chicago History Museum/Getty Images)

Group portrait of three Chinese children standing in a room in Chicago, Illinois, each holding an American flag and a Chinese flag, 1929. From the Chicago Daily News collection. (Photo by Chicago History Museum/Getty Images)


Qiana Mestrich is a photographer, writer, digital marketer and mother from Brooklyn, NY. She is the founder of Dodge & Burn: Decolonizing Photography History, a blog that seeks to establish a more inclusive history of photography, highlighting contributions to the medium by and about people of underrepresented cultures. Read her other guest posts on the Baxter St blog: Photography and the Black Panther PartyThe Black Female Self in LandscapeIn Memoriam: John Berger and Uses of Photography Quotes and Forthcoming Photobooks by African American and Black African Photographers.

Photography and The Black Panther Party

Photography and The Black Panther Party

Posted by on Jan 27, 2017 in Qiana Mestrich | No Comments

Sadie Barnette’s Do Not Destroy solo show opened last week at Baxter St to a roaring reception. It’s not every day that you get to see a gallery show that features the classified FBI documents of an ex-Black Panther Party member. That Panther is Rodney Barnette, who founded the Compton, California, chapter of the Black Panther Party of Self Defense in 1968. The centerpiece of Barnette’s show is undoubtedly the wall filled with copies of her father’s surveillance files, embellished in the artist’s signature “graffiti” and faux jewel treatment.

170118-Sadie_Barnette-Do_Not_Destroy_018

Barnette’s show features minimal photography. Opposite the wall of FBI files stands two seemingly life-sized portraits of a young Rodney Barnette that his daughter/the artist has rephotographed. On the left we see him smiling in his US military uniform. In opposition, to the right is Barnette captured in harsh flash donning a black beret, t-shirt and leather jacket; his dark shadow looms large behind him as he looks off camera. This photograph of Rodney is untitled, and yet we need no explanation that this is a changed man, reincarnated as a BPP member.

Huey Newton and Bobby Seale in Huey's Apartment, Oakland, California, 1971

Huey Newton and Bobby Seale in Huey’s Apartment, Oakland, California, 1971

In the juxtaposition of these two portraits, the viewer contends with the use of photography as a witness to Rodney’s shifting identities and ultimately the medium’s political power. Without going into the internal politics and covert government action that caused the party to disband, I’d like to briefly discuss what art critic John Berger considered to be “the crucial role of photography in ideological struggle” and the Black Panther Party’s strategic use of photography (and posing) in crafting their own brand of Black anti-fascism.

Elaine Brown (bottom left) and to her side Huey P. Newton leading the Black Panthers at a press conference in San Francisco. (October 1971)

Elaine Brown (bottom left) and to her side Huey P. Newton leading the Black Panthers at a press conference in San Francisco. (October 1971)

Many B&W photographs exist of the high profile BPP leaders. Both male and female members are pictured in socio-political context: raising fists, encouraging crowds, marching in demonstrations, standing in formation, working at their headquarters, being interviewed by and addressing the press, conversing critically with each other, meeting other political leaders, performing community service or even just relaxing at home.

Wanted by the FBI, Interstate Flight - Murder, Kidnaping, Angela Yvonne Davis. Gift of Brian Wallis, 2010. Courtesy of the International Center of Photography.

Wanted by the FBI, Interstate Flight – Murder, Kidnaping, Angela Yvonne Davis. Gift of Brian Wallis, 2010. Courtesy of the International Center of Photography.

Then we see the isolated figure: numerous solo portraits of Bobby Seale, Stokely Carmichael, Huey Newton, Angela Davis, Kathleen and Eldridge Cleaver. This image of the lone revolutionary becomes ubiquitous just a few years earlier with Cuba’s Che Guevara and the Black Panthers utilize their portraits on paraphernalia like flyers, buttons, posters, t-shirts, publications. Sometimes these solo portraits were used to vilify the Panthers, like in the wanted poster below of Angela Davis. (Side note: you can view this poster in person at the ICP Collections at Mana Contemporary in NJ. It’s quite an amazing experience!)

Stripped to the waist in the afternoon sun, Huey Newton, co-founder of the Black Panthers shakes hands with followers and friends who greeted him as he walked out of the Alameda County Courthouse in Oakland, Calif., Aug. 6, 1970.

Stripped to the waist in the afternoon sun, Huey Newton, co-founder of the Black Panthers shakes hands with followers and friends who greeted him as he walked out of the Alameda County Courthouse in Oakland, Calif., Aug. 6, 1970.

The Black Panther Party’s visual message also conveyed their unique style and sex appeal, both aspects of the party’s identity that no doubt helped with recruitment efforts. Jet black leather jackets, Ray Bans, berets, perfectly coiffed afros merged effortlessly with the sleek profiles of .357 Magnums, 12-gauge shotguns, and .45-caliber pistols to create an impressionable representation of Black power.

Portrait of Kathleen Neal Cleaver by Howard Bingham.

Portrait of Kathleen Neal Cleaver by Howard Bingham.

Both Kathleen Cleaver (BPP communications secretary and wife of Eldridge) and co-founder Huey Newton became the party’s default sex symbols. Newton was pictured exhibiting his bare-chested, muscle-toned physique both at home and when he was freed from prison in 1970. Bingham’s images of Cleaver portray her as a thing of beauty though she may not have intended this to be her role. Yet Cleaver did play with fashion by often sporting a large afro, hoop earrings and the radical above-the-knee length skirt style thus creating a new revolutionary aesthetic in clothing for (Black) American women. The Black Panther style was even appropriated in advertising as seen in this vintage ad for Newport cigarettes.   

A Black Panther feeds his son at the “Free Huey” rally in Oakland, California. February 17, 1968.

A Black Panther feeds his son at the “Free Huey” rally in Oakland, California. February 17, 1968.

Not only did the Black Panther Party provide political power for many Black Americans, but they also affirmed the notion of family. This familial bond was forged mainly through offering life-sustaining services like free breakfast programs and community schools operated in cities like Oakland, CA. So not only do we see Panthers providing children with nutrition and education, but we also see children in attendance at rallies and marches. Of course, the most famous BPP child was Tupac Shakur, son of party member Afeni Shakur.

Knowing that the photographic image is only as empathetic as the photographer behind the lens, the BPP leaders were strategic in appointing Stephen Shames as the party’s official photographer. In another move to control their image, Muhammad Ali’s personal photographer Howard Bingham was contracted for six months to shoot a 1968 cover story for LIFE magazine upon the insistence of party leader Eldridge Cleaver.

British Black Panthers take to the streets of London. Photograph by Neil Kenlock.

British Black Panthers take to the streets of London. Photograph by Neil Kenlock.

Despite the negative reports and judgements about who they were, the Black Panther Party members were in full control of their own image as surely they knew their supporters and haters around the world were watching. The BPP’s strong message spread overseas in areas where other Black communities were struggling for their own civil rights, inspiring regional groups like the British Black Panthers – see the work of Neil Kenlock. In this time post-US election where many are preparing for struggle once again, we are fortunate to be able to reflect on these images.

For additional viewing, I’ve created a Black Panther Party Photography board on Pinterest. Also, the Smithsonian Institute has an excellent BPP archive of black & white, documentary photographs from the National Museum of African American History and Culture.

Sadie Barnette’s Do Not Destroy, curated by Alexandra Giniger, is on view at Baxter St now through February 18, 2017.


Qiana Mestrich is a photographer, writer, digital marketer and mother from Brooklyn, NY. She is the founder of Dodge & Burn: Decolonizing Photography History, a blog that seeks to establish a more inclusive history of photography, highlighting contributions to the medium by and about people of underrepresented cultures. Read her other guest posts on the Baxter St blog: The Black Female Self in Landscape, Forthcoming Photbooks by African American and Black African Photographers and In Memoriam: John Berger and Uses of Photography Quotes.