GALLERY

Contact: Gordon Parks

Howard Greenberg Gallery

New York, NY

September 14 – October 27, 2012

Art News September 2012
Husband and Wife on Sunday Morning, Fort Scott, Kansas, 1949 by Gordon Parks © The Gordon Parks Foundation
The Howard Greenberg Gallery
Glenn Ligon
Marisa Cardinale, Mario and Adrienne Sprouse
? and Howard Greenberg
Oscar Tang and Peter Kunhardt
Leslie Parks and Emanuel Leroy
Cissy Viebranz, Peter Kunhardt, Curt Viebranz, and Suzy Kunhardt
Thelma Golden and Duro Olowu
Johanna Fiore and Howard Greenberg
Charles Revson, Keiren and Thomas Schwarz
Eddie and Sallie Stern, Suzy Kunhardt, Peggy Rice, and Peter Kunhardt
? and Karen Marks
Hank Thomas, Deborah Willis
Mai Morson and Maurice DuBois
?, Ralph Gardner, Peter Kunhardt, and Peter Kunhardt Jr.
?, Mario Sprouse, and Peter Kunhardt Jr.
Peter Kunhardt Jr., Sarah Arison, and Diana Revson
Thelma Golden, Duro Olowu, and Marisa Cardinale
Mario Sprouse and Dr. Adrienne Sprouse
Karen Marks
Jackie Phillips, George Kunhardt, Lewis Hart III, and Teddy Kunhardt
Howard Greenberg, Glenn Ligon, and Peter Kunhardt Jr.
Maurice DuBois
Peter Kunhardt, Matt Goldman, and
Dionne Thornton
Glenn Ligon and Peter Kunhardt Jr.
Howard Greenberg and
Jon and Wendy Smith
Charles Revson and Georgette Mallory
Howard Greenberg, Leslie Parks, and Mai Morson
Peter MacGill and
and Karen Marks
Thelma Golden, Allison Levy, and Peter Kunhardt Jr.
Gene Young and Diana Revson
Diana Revson and Marcus Samuelsson
Elizabeth Kneiling
Peter Kunhardt, ?, and ?
? and Howard Greenberg
Heidi Leiser and daughter
? and Philip Kunhardt III
Diana Revson and Marisa Cardinale
Diane Marshall, Jean Denoyer, and Diana Revson
and Howard Greenberg
Johanna Fiore and Peter Kunhardt Jr.
Howard Greenberg, Leslie Parks, Thelma Golden, and Duro Olowu
Wendy Goodman, Elizabeth Kneiling, Tripp Revson, and Diana Revson
Diana Revson, Abbie Wyman, and Bob Hiemstra
Marcus Samuelsson and Howard Greenberg
Delia Roche-Kelly, Belle McIntyre and
Peter Kunhardt Jr.
Zoltan Kovacs
Sarah Friedman and
Victoria Leeds and Peter Kunhardt Jr.
Peter Kunhardt Jr. and Vince Aletti

Press Release

NEW YORK, NY - In honor of the 100th anniversary of the birth of Gordon Parks, widely recognized as the most influential African American photographer of the 20th century, Howard Greenberg Gallery in collaboration with The Gordon Parks Foundation will present two simultaneous exhibitions of his work.

Contact: Gordon Parks, Ralph Ellison, and “Invisible Man,” curated by Glenn Ligon, and Gordon Parks: Centennial will be on view from SEPTEMBER 14 – OCTOBER 27, 2012.

 

Parks, a remarkable Renaissance man who was also a writer, filmmaker, and composer, brought poetic style to street photography and portraiture, while exploring the social and economic impact of racism. Most noteworthy in the exhibitions will be a number of color prints from Segregation Story, 1956, a limited edition portfolio with an essay by Maurice Berger. On exhibition for the first time, they were produced in 2012 from a group of transparencies only recently discovered in a storage box at the Gordon Parks Foundation.

 

Contact: Gordon Parks, Ralph Ellison, and “Invisible Man,” curated by the artist Glenn Ligon, examines a series of works by Gordon Parks entitled Invisible Man. Many were first published in Life magazine upon the release of Ralph Ellison's award winning novel, which explored racial and social issues facing African Americans in the 20th century. A milestone in American literature, the novel is narrated by a black man who feels socially invisible. The exhibition includes the gelatin silver print The Invisible Man, Harlem, New York, 1952, a striking image of a man peering out from underneath a manhole cover in the middle of a deserted street. As Ligon notes, “The photos for Invisible Man veered back and forth between an attempt to illustrate some of the feverish scenes in the novel and the “reality” of Harlem, which Parks had tried to document in his previous work. Indeed, many of the photos in the exhibition were seemingly created in relationship to Parks’ photo assignments in Harlem, not as illustrations for the novel, although it is hard to distinguish between the two. It is the tension between these motives—to illustrate a fiction and to document a reality—that is the basis of this exhibition.”