A Quote by Gordon Parks
The man at Kodak told me the shots were very good and if I kept it up, they would give me an exhibition. Later, Kodak gave me my first exhibition.
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I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.
I was a consultant for Kodak back in the late 80's. There were engineers there who told me that in the future, most photographs would be taken on telephones. They weren't able to do anything with that. They were engineers, not management.
Back in the 1970s, Kodak tried to give $25m to a black civil rights organisation in Rochester, New York. The company's shareholders rose up in arms: making this politically charged offering wasn't the reason they had entrusted Kodak with their money. The donation was withdrawn.
If one or two works from a body of work for an exhibition are what you would like to be remembered by, it is a good exhibition.
I'm so immersed in my little world that I don't often sit back and pay attention to what's going on around me. It truly stuns me when people recognize me. Obviously, I'm not a film star, but even at a design exhibition or art exhibition, if someone comes up to me, I'm sort of taken aback. I don't think of myself like that. But if I can have an effect on young designers, that's great - particularly young designers coming from Australia. Europeans grew up with design. The rest of us lived on tidbits of information.
Philologically, the word Kodak is as meaningless as a child's first goo. Terse, abrupt to the point of rudeness, literally bitten off by firm and unyielding consonants at both ends, it snaps like a camera shutter in your face. What more would one ask. (Explaining why he named his company Kodak.)
I think that the exchange is very important. Before I did the exhibition in Shanghai, I was a judge for the John Moores Painting Prize and that was very interesting for me, because some of the judges are Chinese and some are British, and we look at the work together. It was fascinating that most of the time we were in complete agreement, but some of the time we were not. People send their works from all over China. For a foreigner, this gave me a very good picture about what is happening in China and its art today.
Did you know that Kodak actually invented the digital camera that ultimately put it out of business? Kodak had the patents and a head start, but ignored all that.
It is heartbreaking to me that I wasn't told the truth. I'm a very loyal guy, and I expect loyalty in return. And lying to me is not an exhibition of loyalty.
When I was growing up, there was a man who gave me lessons and things. I'm very dyslexic so he used to give me extra reading and writing. And he always knew that I was interested in stuff but he never told me that he was in the Second World War himself. One day he gave me his helmet that he had worn through the North Africa Campaign. It was just before he died. So I've got his helmet. That was pretty special to me.
I didn't have an exhibition anywhere until I was 30. My first exhibition was at 30, and then for my first show in America, I'm 50. It's kind of all right: I'm just a slow burner.
The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.
Wenger gave me the opportunity to be where I am today. He's a coach that helped me a lot, who gave me a chance, who's always been there for me in the bad moments. He called me, consoled me, gave me good advice, told me what I had to do to become a great player. I can only thank him.
My stepfather gave me a Kodak camera when I was 17 years old. I started working at a local photo store in Le Havre, France, taking passport pictures and photographing weddings.
I look at the character of the exhibition and I treat it as I would a painting or an installation. When I did the Summer Exhibition at Royal Academy, I did it exactly as I would when making a new work.
One teacher told me that my work belonged in the trash. That day I ran out of the classroom and ended up in the library, where there happened to be a black and white photography exhibition of Robert Rauschenberg's photographs of the streets of New York. The subject of his photos were exactly what I was painting about.
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