A Language We Share: Beverly Price and Gordon Parks

The Center for Art and Advocacy in Brooklyn is currently hosting a compelling exhibition, "A Language We Share: Beverly Price and Gordon Parks," which offers a profound dialogue between two distinct yet resonant photographic voices. This exhibition, running through June 19, places the contemporary work of Washington D.C. native Beverly Price alongside the iconic legacy of Gordon Parks, the pioneering photographer, filmmaker, and activist. The show serves as a poignant exploration of Black American life, resilience, and the enduring spirit of communities, particularly within the urban landscape of Washington D.C.

Beverly Price, who describes her role as a "channel" rather than strictly a photographer, imbues her portraits with an intimate sincerity. Her work focuses on capturing moments that she feels are "real" and speak to fundamental truths. This approach is powerfully showcased in "A Language We Share," where her intimate images of life in her hometown are juxtaposed with the groundbreaking documentation of Black American existence by Gordon Parks, who rose to prominence in the 1940s.

Parks, a figure whose influence spans photography, film, and literature, began his career by documenting the stark realities of segregation and racial inequality in America. His early photographic assignments with government agencies and publications like Life magazine provided him with a platform to expose the injustices faced by Black Americans. For Price, discovering Parks in the eighth grade, while researching a school project, was a formative experience. "I don’t remember exactly what I was writing about, but I remember the photographs touching me," Price stated in a recent interview. This early encounter foreshadowed a lifelong connection to Parks’ vision and his profound ability to translate the human experience through his lens.

The exhibition’s curation intentionally draws parallels between Parks’ mid-20th-century Washington D.C. and Price’s contemporary observations of the same city. Parks, who lived and worked in the capital, captured the pervasive bigotry and segregation of the 1940s, a period marked by Jim Crow laws and systemic discrimination. Price notes a striking continuity between the challenges Parks documented and the present-day realities of Washington D.C. "I think he saw something in D.C. that I still see in D.C. today," she remarked, underscoring the persistent societal issues that continue to affect its communities.

A Shared City, A Shared Legacy

The timing of "A Language We Share" is particularly resonant. The exhibition not only marks the 20th anniversary of Gordon Parks’ passing but also coincides with the 20-year milestone of Beverly Price’s return home from incarceration in 2006. This personal chronology adds a profound layer of depth to Price’s photographic contributions. The works she presents in the exhibition were created in the wake of her release, focusing on the city’s youth in moments that oscillate between youthful exuberance and acts of resistance.

Price’s artistic impulse is deeply rooted in her personal journey. "I feel like what drew me to youth is that I lost my innocence pretty young," she confided. "I saw something in those kids that I wish someone had seen in me." This empathetic connection fuels her commitment to what she terms "preventive justice," a philosophy that champions the essential need for children to experience their childhoods unburdened. Her photographs, therefore, are not merely observational; they are affirmations of a right to innocence and a testament to the potential residing within young lives.

Geographically, Price’s lens has focused on the Southeast Anacostia and Barry Farms neighborhoods of D.C. These are the very same areas that Gordon Parks documented decades earlier. While Price did not initially realize this direct spatial connection, her attraction to these neighborhoods stemmed from the palpable sense of community she found there, a feeling that had become increasingly elusive in a city undergoing rapid gentrification.

"I didn’t feel welcome in my old neighborhood," Price said, referring to Capitol Hill, her childhood home. Since her family sold their residence, Capitol Hill has experienced a significant demographic shift, with a marked decrease in its Black population. In contrast, her move to Anacostia offered a sense of belonging. "Moving to Anacostia later on, I was able to feel like I was back at home again because of all the Blackness in the community over here." The significance of this location is further amplified by her personal history. "At one time, too, when I was locked up, I would look out the window from D.C. Jail at [Anacostia] park – so, I just think there’s just a lot of correlation that connects me to this community," she added, weaving a complex tapestry of personal and historical ties.

Juxtaposing Freedom and Confinement

Beyond shared geography, the exhibition masterfully draws thematic threads between Price and Parks. A particularly striking pairing illustrates this convergence: Gordon Parks’ "Untitled, Chicago" (1957) is placed alongside Beverly Price’s "Air" (2018). Parks’ photograph captures a young man within the confines of a jail cell, his presence only discernible through his hands emerging from a haze of cigarette smoke. This image speaks volumes about the dehumanizing effects of incarceration.

Complementing this, Price’s "Air" features a young man wearing Nike sneakers, his ankle tethered by a visible monitor. The word "AIR" emblazoned on his shoe stands in stark contrast to the physical restraint. For Price, this juxtaposition is deeply resonant. "For me, the pairing reflects both the experience of incarceration and the reality of returning home and living under systems like probation," she explained. "It shows how freedom and restriction can exist at the same time." This powerful visual dialogue underscores the lingering impact of the justice system, even after formal release, and the complex negotiation of liberty within its shadow.

This deliberate juxtaposition of ease and unrest is a recurring motif throughout the exhibition. Price’s vibrant images of children cycling through their neighborhoods and participating in a marching band are placed in dialogue with photographs of young people holding protest signs and streets alive with demonstrations. This dynamic presentation reflects the multifaceted reality of her city, capturing both its inherent joy and its urgent social and political landscape.

In this regard, Price mirrors the overarching concern of her esteemed predecessor, Gordon Parks. Both artists, in their distinct eras and through their unique lenses, have dedicated their work to exploring the complexities of human nature and the enduring spirit of those who navigate challenging circumstances. Parks, often lauded for his ability to humanize subjects often marginalized by society, sought to reveal the dignity and resilience in the face of adversity. Price, in turn, continues this legacy by seeking to "see people’s spirit, not just the surface."

Broader Context and Implications

The exhibition arrives at a critical juncture, highlighting ongoing conversations about race, justice, and urban community in America. Gordon Parks’ legacy is particularly pertinent in contemporary discussions about systemic inequality and the role of art in social change. His work in the mid-20th century laid crucial groundwork for subsequent generations of artists and activists who sought to document and challenge racial injustice. The fact that his photographs from the 1940s still resonate with Price’s observations of 21st-century Washington D.C. speaks to the persistent nature of these societal issues.

Beverly Price’s narrative adds a crucial contemporary perspective, bringing to light the experiences of those who have navigated the criminal justice system and are working to rebuild their lives and communities. Her focus on youth and the concept of "preventive justice" offers a forward-looking approach, emphasizing the importance of investing in young people and creating environments where they can thrive. Her work implicitly argues for a re-evaluation of societal approaches to youth development and the consequences of systemic disenfranchisement.

The exhibition’s venue, The Center for Art and Advocacy, itself underscores the thematic concerns of the show. By providing a platform for artists whose work engages with social justice issues, the center amplifies the voices and narratives that might otherwise be overlooked. The decision to host "A Language We Share" in Brooklyn, a borough that has also experienced significant demographic shifts and gentrification, further contextualizes the exhibition within broader urban realities across the United States.

Conclusion

"A Language We Share: Beverly Price and Gordon Parks" is more than just a photographic exhibition; it is a testament to the enduring power of visual storytelling to bridge time, experience, and perspective. It celebrates the artistic lineage that connects Gordon Parks’ pioneering work to Beverly Price’s vital contemporary vision. Through their shared commitment to revealing the complexities of human experience, particularly within the Black community and urban landscapes, both artists offer profound insights into the resilience, struggles, and unwavering spirit that define the human condition. The exhibition serves as a vital reminder of the ongoing need for empathy, justice, and the recognition of individual spirit in a world that often prioritizes surface over substance.

The exhibition is on view now through June 19 at The Center for Art and Advocacy in Bed Stuy, Brooklyn.