Why Gordon Parks' pictures nonetheless resonates at the moment
Gordon Parks was born in Fort Scott, Kansas, into poverty and segregation, and took photos that focused on racial relationships, poverty, civil rights, and urban life. He was the first African American employee photographer and author for the photo magazine. Parks' life and position documented American culture and early life from the 1940s to 2000s.
Part of this legacy can now be seen at the Alison Jacques Gallery in London, in the first of a two-part exhibition of his work. The exhibition was originally scheduled to take place in March, but was not only delayed due to Covid-19, but split into two parts. Gordon Parks: Part 1 now runs through August 1st and Part 2 opens on September 1st. The exhibition is the first solo exhibition of his work in London in 25 years.
"Until recently, Gordon Parks was seen primarily as a photographer and people weren't complete Understand everything about him as an artist, ”explains Alison Jacques, founder of the gallery. "The Gordon Parks Foundation has actively revised his work and tried to present parks in the right way. That means he is one of the most important artists and not just a photographer."
Untitled, Shady Grove, Alabama, 1956. Courtesy of the Gordon Parks Foundation, New York, and the Alison Jacques Gallery, London © The Gordon Parks Foundation
His redesigned reputation as an artist is reinforced by his other creative accomplishments, including writing – both fiction and non-fiction – composing and filmmaking after making several feature films in 1971, including Shaft. But if you're looking for an introduction to parks, his photography is the perfect place to start. Part 1 offers the opportunity to see two defining series, Segregation in the South (1956) and Black Muslims (1963), while Part 2 shows his thought-provoking portraits of boxer and activist Muhammad Ali from 1966-1971.
The words "groundbreaking" and "radical" are often touted when it comes to pictures of parks, and what Jacques sees as unique about his work was his creative process. "In the case of the Segregation in the South series when he went to Alabama, Parks not only went to take pictures, he got to know them, he lived with families," explains Jacques. "He did that all his life and (was) how he did his job. He got to know people instead of just taking pictures of them, so it became subjective."
Untitled, Nashville, Tennessee, 1956. Courtesy of the Gordon Parks Foundation, New York, and the Alison Jacques Gallery, London © The Gordon Parks Foundation
Southern segregation is one of the most important series of parks and he returned to a community where segregation was the norm. The special beauty of this series lies in the non-confrontational way in which the photographer captured this reality. "You have these beautifully composed, breathtakingly colorful pictures, like a family queuing up to buy ice cream," says Jacques. "But slowly you realize what is actually going on. At the main entrance of the ice cream kiosk there is a sign saying "White", and on the side there is a sign saying "Colorful" on which the family is standing. "
The personal, more humanized way of identifying discrimination was of course intended. But the work feels even more moving if you understand the background of these images. "When you read Gordon Parks' diaries, there is a section from 1956 that talks about what he experienced in Alabama. When he got there, the person assigned to him informed them through the various Leading areas of the city, actually a group of right-wing white men who wanted to persecute him and possibly lynch, ”explains Jacques.
“While taking these beautiful photos, members of the Klu Klux Klan nearby burned people because of their color. That was the brutal reality, but he doesn't face it directly in the photos, which I think makes it all the more powerful. "
Untitled, Shady Grove, Alabama, 1956. Courtesy of the Gordon Parks Foundation, New York, and the Alison Jacques Gallery, London © The Gordon Parks Foundation
The Black Muslims park series offers insights into the Black Muslim movement, which had gained momentum in the United States in the early 1960s. Parks were given unprecedented access, recording scenes of peaceful protests and families praying, and powerful portraits of Malcolm X and Ethel Sharrieff.
Again, through his personal style, Parks was able to challenge preconceived and biased attitudes towards the Black Power movement. Together, these works underline his determination to shed light on the inner workings of his subjects and, in some cases, to completely change the mind of the nation.
Untitled, Harlem, New York, 1963. Courtesy of the Gordon Parks Foundation, New York, and the Alison Jacques Gallery, London © The Gordon Parks Foundation
This year has seen tremendous changes and upheavals, and since the Black Lives Matter movement has gained momentum in recent months, the images of parks – despite being over 60 years old – are now somehow even more important. It is uncomfortable to admit, but the images of parks reflect both the past and a mirror of our present.
"The timing of this (show) is very moving, although it is absolutely not intended and is in no way opportunistic," Jacques clarifies. "The most important thing when you look back at the date of these photos on the current show is that all you see and understand from that time is that Gordon Parks' voice is as loud and relevant as ever."
Untitled, Alabama, 1956. Courtesy of the Gordon Parks Foundation, New York, and the Alison Jacques Gallery, London © The Gordon Parks Foundation
For Jacques, the enduring power of park photography is that you learn something from every series and story he tells – whether it's a period of history, a movement, or a single person.
"It's amazing that Gordon Parks hasn't had a solo show in London for 25 years," she says. "There's a lot of change in the air right now, and all for the better, hopefully this is a small contribution."
Untitled, Mobile, Alabama, 1956. Courtesy of the Gordon Parks Foundation, New York, and the Alison Jacques Gallery, London © The Gordon Parks Foundation
Gordon Parks: Part 1 runs until August 1st. Gordon Parks: Part 2 will open from September 1 to October 1, 2020 at the Alison Jacques Gallery in London. gordonparksfoundation.org