Welcome to Wet Paint in the Wild, the freewheeling—and free!—spinoff of Artnet News Pro’s beloved Wet Paint gossip column, where we give art-world insiders a disposable camera to chronicle their lives on the circuit. To read the latest Wet Paint column, click here (members only).

Among the best shows on view from my perspective here in Los Angeles—which is pretty sleepy right now—is the fabulous survey of photographs by Gordon Parks at Pace. The show was organized by the gallery’s beloved curatorial director Kimberly Drew. I asked her to take you, my readers, on a little tour, via a disposable camera. Let’s see the show from her perspective… —Annie Armstrong

It’s with great excitement and sadness that I share that we’re in the final week of “Gordon Parks” at Pace Los Angeles. This last week has me feeling nostalgic and so I would like to share outtakes from the opening celebrations for the exhibition. Gordon Parks, who was born in Fort Scott, Kansas, in 1912,  remains one of the most important photographers of the 20th century, however, as you’ll see, I am a curator who is more or less incapable of using a disposable camera. I shot two rolls of film, but got about seven successful captures. As Toni Morrison once said, “At some point in life the world’s beauty becomes enough. You don’t need to photograph, paint, or even remember it. It is enough.”

When conceptualizing this exhibition, I was constantly taken aback by the patience and presence within  each of Parks’s works and series. In thinking about opening events, it felt important to begin with a meditation session that could invite guests to pause and really take time both in their visit to the show and beyond. Led by Manoj Dias, who is a teacher, speaker, and dear friend, we meditated on justice, grief, and what it means to be present. We were able to welcome about 30 guests to sit, breathe, and cry. I like to think that this energy remains in the gallery. 

The show includes just under 40 photographs, which represent four decades of Parks’s life and career.  Pace’s Los Angeles space is bifurcated into two spaces and for the smaller, south gallery, I wanted to zoom in on Parks’s reverence for faith and faith-based spaces. Over his life, he visited Benedictine Monks, Black Muslims, and AME Churches, and had a very clear understanding that spaces of worship are also spaces for some of our deepest and most human selves. Here, one of my best friends, Alex, is looking at an untitled portrait of Muhammad Ali from 1966. Ali and Parks were both at the center of  conversations about racial equality. Though the two met while Parks was working on a story for Life magazine, their bond would transcend a working relationship and become so much more. 

Later that evening, we welcomed 600 guests to our opening reception. Now don’t get me wrong, I love Los Angeles and its citizens, but my hopes for attendance were intentionally humble. I’m so honored that we were able to assemble to celebrate this truly exceptional figure in art history. While Gordon Parks visited L.A. frequently throughout his life and was the first Black director of a major Hollywood film, there has only been one exhibition of his work in Los Angeles, at the Getty, so it was a distinct honor to mount this exhibition and invite people to see the work in person.

Just a selection of some of Pace Los Angeles’s valiant team. Thank you all for your energy and support with everything! True champions.

Another highlight of the opening was tunes from Melo-X, DJ, producer, and vibe specialist. After weeks of  hard work, singing along to a mix of Tinashe, Kelly Rowland, and others was a much-needed release. The courtyard was electrified with singing and dancing, and I wouldn’t have it any other way.

After the opening, of course, there were celebrations! My dear friends Yashua Simmons and Darnell Moore opened their gorgeous home to a small group of friends and family. Here, L.A. legends Lauren Halsey, Delfin Finley, and Kohshin Finley all pose together. Back in 2016, on my first trip to L.A., I got the best introduction to the city on Lauren’s float for the MLK Day parade with her family. That day cements how I think about L.A. and especially L.A.’s vibrant Black community. This photo was taken by L.A.-based photographer McKayla Chandler. Thank you, McKayla!

In all, working on this show in partnership with the Gordon Parks Foundation and my amazing colleagues will remain a highlight of my life and career. Thank you to all my family and friends in L.A. for showing up and showing support. Please go see the show if you’re in the L.A. area!