Norman Fontenelle 1967

Editor: So, here we have Gordon Parks’ 1967 gelatin silver print, "Norman Fontenelle." It depicts a young boy sleeping under a blanket, but what really strikes me is the condition of the room – the damaged walls. What's your take on this work? Curator: This photograph isn't just a portrait; it’s a document of the material realities shaping Norman's life. Parks, rooted in social realism, shows us the consequences of poverty through the physical decay of the space. Consider the walls - what do the multiple layers of patch and repair jobs reveal about repeated neglect, or perhaps even failed attempts at improvement? Editor: I see what you mean. The focus isn’t just on Norman himself, but also on his environment as a kind of material witness to his circumstances. Do you think the choice of black and white helps amplify this? Curator: Absolutely. Stripping away the color highlights the textures: the rough wall, the worn blanket. It makes us acutely aware of the tactile experience of living in such a space. What’s the contrast between the damaged walls and the neatly striped pillow telling us about the effort to create normalcy amidst hardship? Is the pillow made of cotton or something else? What would that communicate to the viewer? Editor: That’s a compelling point – it emphasizes resilience, maybe. It's interesting how focusing on these materials brings so much more to the surface. I'm so used to considering subject first and context second! Curator: Exactly. Parks asks us to consider how these objects shape identity and opportunity. Understanding the means of survival provides critical insights. Editor: I never would have thought about it that way. Thank you. This photograph now speaks volumes about the intersection of poverty, materiality, and human dignity. Curator: It's a testament to how careful examination of material culture illuminates larger societal structures. Always consider the material, its origins, its making and unmaking; the artist and the context in which they work, and for whom.