Kyle Goen

Black Panther Party Stamp Book

Kyle Goen

Black Panther Party Stamp Book

Edition Size

100

Media

Offset-lithography, Screenprint

Binding

Box set

Dimensions

9.31 × 11.75 × 0.88 in

Pages

25

$ 875.00

Out of Print


View Collectors

Bainbridge Island Museum of Art

Bucknell University

Deutsche Nationalbibliothek

University of California at Irvine (UCI)

University of Puget Sound

“Most of my heroes still don’t appear on no stamp.” – Chuck D, Public Enemy, “Fight the Power”

A portfolio of 25 different stamps, printed on dry gum adhesive paper with pinhole perforation. Housed in a blue handmade clamshell box. The box is screen printed on the cover and inside front and back pages. Signed and numbered on the inside back page of the clam-shell box and on the backs of each print. The stamp pages measure 8.5 x 11 inches, and there are 20 stamps per page.

Photograph attributions and research notes are here. If you have further information on any of these photographs or the photographers who took them please contact Booklyn.

Kyle Goen has spent over a decade working as a movement artist alongside numerous diverse communities. Known for distributing his succinct and provocative prints for free at innumerable protests, marches, and other events, Goen is a core member of Decolonize This Place, StrikeMoMA, and other free Palestine groups.

The Black Panther Party Stamp Book was in part a corrective response to the above lyric from Public Enemy’s legendary song “Fight the Power,” which first appeared on the soundtrack to Spike Lee’s 1989 film Do the Right Thing. The piece is a tactile, introductory immersion into the history of the Black Panther Party, with its functional material form amplifying the iconic subject matter, and hopefully (as the artist fully intends) catalyzing further engagement, research and, action. Meta-note – on August 30, 2021 Public Enemy re-posted an image of the Fred Hampton stamp in honor of Hampton’s birthday.

A curatorial note – “What I really like about this piece, aside from the fact that I like art that places BPP culture and history in public and educational collections, is that it is sort of a Trojan horse. At first glance, the piece appears to be a one-liner, but I feel it’s actually far more layered conceptually and offers a fairly trenchant commentary and context regarding the issue of the ‘authority’ of cultural icons, radical Black Power politics, and photography. The piece exemplifies what is often defined as a primary component of most artists’ books, the presence of self-referential, and in this case critical, subjectivity. This ‘meta-subjectivity’ amplifies, interrogates, integrates, or contrasts, the artwork’s material form with its subject matter. In the case of most artists’ books which are usually a codex or scroll, the form is a ubiquitous cultural icon of knowledge and/or religious practice. In this particular piece, a box set of postage stamps, the form embodies the concepts of communication, travel, and state authority and bestows the prestige and functionality of those concepts to the piece’s liberatory subject matter. — Marshall Weber, Directing Curator. Booklyn