CAROL PORTER The real face of terror is white - not red! (Green), 1986

This powerful hand-pulled screenprint in color by Carol Porter, titled The Real Face of Terror is White not Red, stands as a bold example of politically engaged graphic art from the late 20th century. Combining activist imagery with the visual immediacy of street posters and protest graphics, the work confronts themes of race, power, militarism, and media influence with uncompromising directness.

At the center of the composition appears a stark photographic portrait of Ronald Reagan, framed by handwritten text declaring: “The real face of terror is WHITE not red!” Surrounding the portrait is a dense border of skulls, silhouetted hands, corporate logos, geopolitical references, and symbolic imagery linked to Cold War conflicts, multinational corporations, and global violence. References to places and issues such as Palestine, Nicaragua, South Africa, Bhopal, Grenada, and Puerto Rico underscore the work’s critique of American foreign policy and corporate influence during the Reagan era.

Visually, the composition draws upon the aesthetics of punk graphics, political posters, and underground activist print culture. The aggressive contrast of fluorescent pink, black, white, and olive green intensifies the confrontational tone, while the repeated motifs create a rhythmic, almost claustrophobic visual field. The work’s hand-pulled silkscreen process reinforces its immediacy and authenticity, recalling the tradition of politically charged printmaking used historically for protest and public dissemination.

Porter’s work occupies an important intersection between art and activism, where graphic design becomes a vehicle for social critique. Though confrontational in message, the composition is also highly sophisticated formally, balancing text, repetition, imagery, and color into a unified and visually arresting whole.

Notably, The Real Face of Terror is White not Red was the first work by Carol Porter to appear at auction, offered through Heritage Auctions in 2012, adding further significance to the piece within the artist’s market history.

A rare and historically resonant work, ideal for collectors of political art, activist printmaking, punk and counterculture graphics, and late 20th-century American social commentary.

Framing available upon request.