is perhaps no individual who embodies the power of photography more than Gordon Parks
Courtesy of and copyright The Gordon Parks Foundation Parks moved to Chicago
Photographer Gordon Parks captured life in the United States across six decades.
Displaying 1 – 12 of 244 Results Artwork Sculpture Sculpture Gordon Parks
Exhibition Sales for Middlebrow America (A Detective Story) Josh T Franco, College Park
Photographer Gordon Parks captured life in the United States across six decades.
Displaying 1 – 12 of 244 Results Artwork Sculpture Sculpture Gordon Parks
In this photograph, journalist and musician Celeste Headlee hears Lenox Avenue, a suite her grandfather William Grant Still named after Harlem’s main street. This portrait captures the pride of Black Americans achieving success during the Harlem Renaissance despite systemic injustice.Â
and he wrote the suite Lenox Avenue to honor the neighborhood north of Central Park
Edouard Manet offers an intriguing study in contrasts and ambiguity in The Railway , starting with the relationship between the two figures. Are they mother and daughter?
University Park and London, 1975: 159 Weisberg, Gabriel P.
This painting and the Enthroned Madonna and Child are the oldest paintings on the National Gallery of Art’s walls.
University Park, PA, 1997: 77. Martin, Frank, and Gerhard Ruf.
A ragtag group of people gathers around an elderly man holding a violin. He pauses, as if interrupted mid performance, and gazes directly at us.
University Park, PA, and London, 1975:2, 18, 46-79, 88, 94, 148. 159, 170, 202.
Composer and multi-instrumentalist Bora Yoon considers whether we carry the sounds and memories of our people within us. In her response to Nam June Paik’s video sculpture, she brings together both traditional Korean instruments and eclectic electronic music.
the word ommah being called—even when I’m at the grocery store or even at the park
The man’s surroundings are blurred, but his illuminated face is finely detailed. The sad eyes fix on us intently.
University Park, PA, 1997: no. 1-5, repro.
