We couldn’t be more excited about the Gordon Parks exhibition opening at the High Museum of Art on Nov. 15th. Can’t wait to see the exhibition catalogue, too!
The High Museum of Art will present rarely seen photographs by trailblazing African American artist and filmmaker Gordon Parks in “Gordon Parks: Segregation Story,” on view Nov. 15, 2014 through June 7, 2015.
The exhibition, presented in collaboration with The Gordon Parks Foundation, will feature more than 40 of Parks’ color prints – most on view for the first time in over half a century – created for a powerful and influential 1950s Life magazine article documenting the lives of an extended African-American family in segregated Alabama. The series represents one of Parks’ earliest social documentary studies on color film.
Coinciding with “Gordon Parks: Segregation Story,” the High will acquire 12 of the color prints featured in the exhibition, supplementing the two Parks works – both gelatin silver prints – already owned by the High. These works will augment the Museum’s extensive collection of Civil Rights era photography, one of the most significant in the nation.
Following the publication of the Life article, many of the photos Parks shot for the essay were stored away and forgotten for more than 50 years, presumed lost until they were rediscovered in 2012 (six years after Parks’ death). Though a small selection of these images has been previously exhibited, the High’s presentation brings to light a significant number that have never before been displayed publicly.
As the first African-American photographer for Life magazine, Parks published some of the 20th century’s most iconic social justice-themed photo essays and became widely celebrated for his work in black-and-white photography, the dominant medium of his era. The photographs that Parks created for Life’s 1956 photo essay “The Restraints: Open and Hidden” are remarkable for their vibrant color and showcase a little-known and seldom explored segment of his work.
The images provide a unique perspective on one of America’s most controversial periods. Rather than capturing momentous scenes of the struggle for civil rights, Parks portrayed a family going about daily life in unjust circumstances. Parks believed empathy to be vital to the undoing of racial prejudice. His corresponding approach to the Life project eschewed the journalistic norms of the day and represented an important chapter in Parks’ career-long endeavor to use the camera as a “weapon of choice” for social change. “The Restraints: Open and Hidden” gave Parks his first national platform to challenge segregation. The images he created offered a deeper look at life in the Jim Crow South, transcending stereotypes to reveal a common humanity.
“Parks’ images brought the segregated South to the public consciousness in a very poignant way – not only in color, but also through the eyes of one of the century’s most influential documentarians,” said Brett Abbott, exhibition curator and Keough Family curator of photography and head of collections at the High. “To present these works in Atlanta, one of the centers of the Civil Rights Movement, is a rare and exciting opportunity for the High. It is also a privilege to add Parks’ images to our collection, which will allow the High to share his unique perspective with generations of visitors to come.”
Photo credit: Gordon Parks (American, 1912–2006), Outside Looking In, Mobile, Alabama, 1956, courtesy of and copyright The Gordon Parks Foundation.
Marcia Wood Gallery is pleased to host:
Kim Anno presents
The Albertine Workout
a collaboration between artist Kim Anno and poet Anne Carson
October 29, 7:30 pm – 9:00 pm
Kim Anno will present the beautifully produced artist book created in collaboration with the poet Anne Carson. Anno’s haunting photogravure images illustrate the book The Albertine Workout by author Anne Carson. This is the second collaboration by Anno and Carson. In 2003 they published The Mirror of Simple Souls. The Albertine Workout was published by One Crow Press at the College of Saint Benedict, is an edition of forty, with sixteen images, forty-one pages of text, in a hand-made clamshell case.
Anne Carson is one of the most celebrated poets and translators in the English-speaking world. Her most recent book, RedDoc>, follows the acclaimed The Autobiography of Red. Carson has received Guggenheim and MacArthur Fellowships, the T.S. Eliot Prize, a Lannan Literary Award, and a Pushcart Prize, among others.
Kim Anno is a noted painter, printmaker, photographer and film maker based in Berkely, CA where she is a professor of painting at the California College of the Arts and is represented in Atlanta by Marcia Wood Gallery. Anno is also passionately devoted to expanding the function of art in society. In July 2012 she had a solo exhibition at the Goethe Institute in Johannesburg. Also in July 2012, her video work was screened at the Asian Art Museum in San Francisco, as well as in Cape Town, SA in Letters from the Sky. In Fall 2011, she screened her video Men and Women in Water Cities, Chapter 1 on a monumental scale – 67’x15’, in Flux Projects, Atlanta, as well as showed her photography in Don’t Panic Bartel Trust Centre Gallery in Durban, South Africa. In 2012 she was awarded an Open Circle Foundation Fellowship supporting Men and Women in Water Cities, Chapter 3. In 2010 her video was presented at the 2010 Site Santa Fe Biennale’s One Night Stand Video screening, The Berkeley Art Center, the Bedford Gallery, and Launch pad Brooklyn in New York.
The Albertine Work Out
“It is always tricky, the question whether to read an author’s work in light of his life or not.”
The Albertine Workout is collaboration between artist Kim Anno and author Anne Carson. The book combines text and images exploring the life and times of Proust’s character Albertine, the unique and unforgettable “captive” from Book V of Remembrances of Things Past. Albertine may or may not have been based on a real person in Proust’s life, his erstwhile chauffeur, Alfred Agostinelli. There is a deep, sweet pathos in the unknowable relation between these two beloveds, with Proust in between.
Kim Anno swore on “pain of death” not to illustrate the text. There is a page of the image of a torn tweed suit, a fire red velvet diagonal fold, some green plant fronds, two portraits, and a series of folds, wrinkles and cuts in what appear to be pages of a book. One is never sure if the cuts are fragmented or the whole.
The fine folks at The Low Museum are having their 2nd annual print swap, and this year it’s for 4x6s!
We often receive notices about events & exhibitions that are not officially part of the Festival, and here are a few of those!
© David Foster
David Foster – an award-winning local nature photographer, and ACP Festival regular – has a new solo exhibit, entitled “Joy”, currently at the Clarkston Community Center [3701 College Ave., Clarkston]. The exhibit includes a number of new images along with an array of viewer favorites. You are cordially invited to the Meet the Artist reception next Wednesday, September 17th, from 5:00 to 7:00pm. The exhibit continues at the Clarkston Community Center until October 28th.
Local photographer Judy Kuniansky has photographs in this show at Georgia Perimeter College, which opens tonight (Thursday!) in Clarkston:
Layers – a curated exhibit of works by members of Women’s Caucus for Art of Georgia: August 11 — September 26, 2014
Thursday, September 11, 6:00-8:00 PM
in the 4th Floor Jim Cherry Learning Resources Center Gallery
Library Building – Building L — Clarkston Campus
Georgia Perimeter College
555 North Indian Creek Drive
Clarkston, GA 30021
And photographer Mary Anne Mitchell is participating in a group show that opens on Friday night at Cherrylion Gallery.
Check out Oxford American for a preview of Slow Exposures from Chris Curry!
“This year, Alexa Dillworth from the Center for Documentary Photography at Duke and Aline Smithson from L.A. chose seventy images that will hang in the 1895 R.F. Strickland Building in Concord. The wood floor creaks and dust motes from one hundred years of groceries, dry goods, cotton filter through the late afternoon sun. This setting provides a unique context for the work—standing in front of an image, the visitor hears the cadences of an elderly man reminiscing about picking cotton. People resonate with images of food, red clay, and dogs. The changing relationship with the land echoes in pictures of scalded subdivision tracts, abandoned farms, and small town industry. The profits from the show go to help preserve historic buildings in the county—this year’s beneficiary is the 1870 Whiskey Bonding Barn that is, like all the venues, on the National Register of Historic Places.”