Rediscovering Gordon Parks' Radical Empathy at Pace Gallery
The opening reception of the new Gordon Parks exhibition at Pace Gallery vividly reminded me of the first time I encountered his photography. I can’t recall the when and where of the exact moment, but I distinctly remember the sensation. Looking at his work felt like visiting the ophthalmologist's office as a young girl with imperfect vision, peering through the bulky instrument as the doctor clicked different lenses into place when suddenly, blurry blobs of red, blue, and green sharpened into a crisp farm landscape. Parks' images brought a validating clarity to American history, revealing complicated truths about the nation's past that I’d yet to see portrayed in school or Hollywood.
Held on July 13 at Pace’s Los Angeles location, the reception kicked off with a guided meditation led by teacher, writer, and speaker Manoj Dias, who drew inspiration from Parks' artistic practice. Born in a segregated Kansas in 1912, the self-taught photographer described himself as “an objective reporter with a subjective heart.” His time at Life Magazine, where he became the publication’s first Black photographer, spanned a wide range of subjects, from social issues to fashion, entertainment, politics, and sports. Even if you don't recognize his name, you've likely seen Parks’ iconic images of Muhammad Ali, Malcolm X, and Duke Ellington, or the 1971 blockbuster Shaft, which he directed.
In his introduction remarks, Dias explained how Parks’ photography demonstrated that compassion isn't merely a passive feeling, but an active force for change. “The essence of today’s practice is an exploration of what Gordon Parks taught us all those many decades ago to this day,” said Dias. “What does it mean to stop, to see, and to bear witness to ourselves and to each other?” The meditation, which lasted about an hour, included breathwork—a new practice for me, introduced by my sister, Krysten—the OG wellness girly—and my friend and breathwork practitioner Dylan Keese-Forster. (Side note: Speaking of being an active force for change: Dylan has been in Cairo for several months helping to gather and distribute mutual aid for displaced Gazan. You can donate to her critical work here; make sure to follow the donation instructions.)
Later that night at the gallery, I ran into a bunch of friends like art advisor, curator, and writer Auttrianna Ward and photographer Chinaedu Nwadibia (I also spotted some familiar looking folks who I swore I knew in real life, before realizing that I do not, in fact, actually know Yara Shahidi and Nicole Richie.”) Chinaedu made a great point about how Parks would have loved seeing his work celebrated in a major solo exhibition in Los Angeles at a global art gallery, where the who's who of the art and culture world mingled, admired his work, and danced to the perfectly curated set spun by DJ and producer MeLo-X. “I always saw Mr. Parks as a man ahead of his time, so it wasn’t hard for me to accept that he would be truly enamored by this blue chip gallery, not only showing his work, but via the curation of a young Black curator,” Chinaedu said. “I imagine he would’ve also loved to see the hip, young, successful (Black) kids coming out to appreciate his work.”
Organized by Kimberly Drew, Pace's Curatorial Director, the exhibition is part of the gallery's ongoing partnership with the Gordon Parks Foundation. Drew carefully selected 40 photographs spanning four decades of Parks' career, from the early 1940s to the mid-1980s, binding them with themes like religion, spirituality, policing and prison, family home life, politics, and segregation. Throughout the show—and Parks' legacy—his steadfast commitment to centering empathy and care in his image-making and storytelling stood out. In a time when politicians and organizations attempt to shut down Critical Race Theory, Black Studies, and other curricula that educate students on the history of race relations in the U.S. and worldwide, Parks's Segregation Story—a series he created in 1956 featuring more than 70 color photographs of Black life—reminds us of the power of art. By presenting these images in color, rather than black and white, Parks challenged the notion that Jim Crow and other inhumane American policies are relics of the past, insisting instead on their continued relevance. The show also included a video installation of his 1967 short film Diary of a Harlem Family, underscoring Parks' multi-hyphenate artistry as a photographer-filmmaker-writer.
I've seen Parks' photographs in person before, most recently at Pace's booth at this year's Frieze LA and at Alicia Keys and Swizz Beatz's Giants exhibition at Brooklyn Museum. The latter was the first time I’d seen dozens of Parks' works displayed in one location (the famous art collecting couple has the largest collection of Gordon Parks' work.) Still, my experience at the Pace exhibition was just as emotional, stirring a mix of pride, anger, love, rage, admiration, happiness, joy, sadness, melancholy, and more. I spent some extra time lingering before the extra large photographs that dwarfed my 5’2” self. I imagined stepping through the frames, into a time where I would have to drink from a Colored water fountain, like the small, thirsty children pictured in At Segregated Drinking Fountain, Mobile, Alabama, 1956, or stand impeccably dressed beneath a neon “Colored Entrance” sign outside a department store in Department Store, Mobile, Alabama, 1956. Then there were the smaller images, the minimal dimensions distilling significant events and figures. The striking side profile of a seated, gray-haired Rosa Parks. The silhouette of a young Muhammad Ali mid-strike. Each window inviting me to lean in, to feel the relatable human subtext of these monumental moments.
The evening wrapped up with an after-party hosted by Darnell Moore at a private residence in Hancock Park. The home, filled with a fresh collection of contemporary Black art, provided the perfect setting for an intimate gathering. We enjoyed chill vibes, delicious sips and bites (seriously, those oxtail tacos…major props to the caterers), and pitch-perfect sounds provided by none other than the homie, Black House Radio founder Michael Donté. How fitting that the I ended my Gordon Parks day in a Black-owned haven, surrounded by intentionally curated Black art and an eclectic mix of Black folks. In a time when community support and advocacy for justice, equality, and humanity are crucial, this celebration of Parks' work and the community his legacy continues to fosters felt more poignant and meaningful than ever.
Gordon Parks is currently on view at Pace Gallery at 1201 South La Brea Avenue in Los Angeles, CA through August 30.
