Who was Gordon Parks?
See his official biography here:
http://www.gordonparksfoundation.org/biography/
TIDBITS:
-
Malcolm X honored Parks when he asked him to be the godfather of his daughter,
Qubilah Shabazz.
- For many years, Parks was romantically involved with
Gloria Vanderbilt, the railroad heiress and designer.
[25] Their relationship evolved into a deep friendship that endured throughout his lifetime.
- He was the first African American to work at
Life magazine and the first to write, direct, and score a Hollywood film.
- Parks said that freedom was the theme of all of his work. He
described it as, "Not allowing anyone to set boundaries, cutting loose
the imagination, and then making the new horizons."
[13]
- Parks' son,
Gordon Parks, Jr. (1934–1979) also directed films, including
Super Fly,
Three the Hard Way, and
Aaron Loves Angela. His career was cut short when he died in a plane crash in Africa.
- He was profiled in the 1967 documentary,
"Weapons of Gordon Parks", by American filmmaker
Warren Forma.
Gordon Roger Alexander Buchanan Parks (November 30, 1912 – March 7, 2006) was an
American photographer, musician, writer and
film director. He is best remembered for his photographic essays for
Life magazine and as the director of the 1971 film,
Shaft.
Parks was born in
Fort Scott, Kansas, the son of Sarah (
née Ross) and Jackson Parks.
[3]
He was the last child born to them. His father was a farmer who grew
corn, beets, turnips, potatoes, collard greens, and tomatoes. They also
had a few ducks, chickens, and hogs.
[4]
He attended a segregated elementary school. The town was too small to
afford a separate high school that would facilitate segregation of the
secondary school, but blacks were not allowed to play sports or attend
school social activities,
[5]
and they were discouraged from developing any aspirations for higher
education. Parks related in a documentary on his life that his teacher
told him that his desire to go to college would be a waste of money.
When Parks was eleven years old, three white boys threw him into the
Marmaton River, knowing he couldn't swim. He had the presence of mind to duck underwater so they wouldn't see him make it to land.
[6]
His mother died when he was fourteen. He spent his last night at the
family home sleeping beside his mother's coffin, seeking not only
solace, but a way to face his own fear of death.
[7]
At this time, he left home, being sent to live with other relatives.
That situation ended with Parks being turned out onto the street to fend
for himself.
In 1929, he briefly worked in a gentlemen's club, the Minnesota Club.
There he not only observed the trappings of success, but was able to
read many books from the club library.
[8] When the
Wall Street Crash of 1929 brought an end to the club, he jumped a train to Chicago,
[9] where he managed to land a job in a flophouse.
Photography career
At the age of twenty-five, Parks was struck by photographs of migrant workers in a magazine and bought his first camera, a
Voigtländer Brillant, for $12.50 at a Seattle, Washington, pawnshop.
[11]
The photography clerks who developed Parks' first roll of film,
applauded his work and prompted him to seek a fashion assignment at a
women's clothing store in
St. Paul, Minnesota, that was owned by Frank Murphy. Those photographs caught the eye of
Marva Louis, the elegant wife of heavyweight boxing champion
Joe Louis. She encouraged Parks to move to
Chicago in 1940,
[12] where he began a portrait business and specialized in photographs of society women.
Over the next few years, Parks moved from job to job, developing a
freelance portrait and fashion photographer sideline. He began to
chronicle the city's
South Side black ghetto and, in 1941, an exhibition of those photographs won Parks a photography fellowship with the
Farm Security Administration (FSA).
American Gothic, Washington, D.C. - a well-known photograph by Gordon Parks
Working as a trainee under
Roy Stryker, Parks created one of his best-known photographs,
American Gothic, Washington, D.C.,
[13] named after the
iconic Grant Wood painting,
American Gothic.
The photograph shows a black woman, Ella Watson, who worked on the
cleaning crew of the FSA building, standing stiffly in front of an
American flag hanging on the wall, a broom in one hand and a mop in the
background. Parks had been inspired to create the image after
encountering
racism repeatedly in restaurants and shops in the segregated capital city.
A later photograph in the FSA series by Parks shows Ella Watson and her family
Upon viewing the photograph, Stryker said that it was an indictment
of America, and that it could get all of his photographers fired.
[14]
He urged Parks to keep working with Watson, however, which led to a
series of photographs of her daily life. Parks said later that his first
image was overdone and not subtle; other commentators have argued that
it drew strength from its polemical nature and its duality of victim and
survivor, and so has affected far more people than his subsequent
pictures of Mrs. Watson.
[15]
After the FSA disbanded, Parks remained in Washington, D.C. as a correspondent with the
Office of War Information.
[16] Finally, disgusted with the prejudice he encountered, however, he resigned in 1944. Moving to
Harlem, Parks became a freelance fashion photographer for
Vogue. He later followed Stryker to the
Standard Oil Photography Project
in New Jersey, which assigned photographers to take pictures of small
towns and industrial centers. The most striking work by Parks during
that period included,
Dinner Time at Mr. Hercules Brown's Home, Somerville, Maine (1944);
Grease Plant Worker, Pittsburgh, Pennsylvania (1946);
Car Loaded with Furniture on Highway (1945); and
Ferry Commuters, Staten Island, N.Y. (1946).
Parks renewed his search for photography jobs in the fashion world. Despite racist attitudes of the day, the
Vogue editor,
Alexander Liberman, hired him to shoot a collection of evening gowns. Parks photographed fashion for
Vogue
for the next few years and he developed the distinctive style of
photographing his models in motion rather than poised. During this time,
he published his first two books,
Flash Photography (1947) and
Camera Portraits: Techniques and Principles of Documentary Portraiture (1948).
A 1948 photographic essay on a young Harlem gang leader won Parks a staff job as a photographer and writer with
Life magazine. For twenty years, Parks produced photographs on subjects including fashion, sports,
Broadway, poverty, and racial segregation, as well as portraits of
Malcolm X,
Stokely Carmichael,
Muhammad Ali, and
Barbra Streisand. He became "one of the most provocative and celebrated photojournalists in the United States."
[17]
