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Post an artwork by Theaster Gates from a museum website or online article. In your own words, describe how it relates to the ideas and content from this week's videos and readings. Please sign your name on your post.

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Theaster Gates, Afro Mingei, 2022–23, installation view, Nasher Sculpture Center, Dallas. Photo by Kevin Todora

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Theaster Gates' "Afro Mingei" (2022-23) was open from October 2022 through April 2023 at the Nasher Sculpture Center in Dallas, and gosh do I wish I could have gone to see it!!

“Afro Mingei” blended three things Gates is really great at: food, ceramics, and music. This installation was a vibrant community space that had a DJ booth and even a café that served Japanese and Southern African American dishes, all of which were presented on plates designed by Gates' studio- this ties into "Plate Convergence," from our lectures!  Something that is seen throughout everything he does, is just how much his work embodies themes of community, vibrancy, and interactiveness. “Afro Mingei” wonderfully highlighted an intersection of Black and Japanese cultures and offered a platform for emerging artists to come together. This connects right back to our class discussion on Gates' ability to transform spaces into cultural and community hubs through his innovative and multidisciplinary approach.

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TATE LIVERPOOL + RIBA NORTHE XHIBITION THEASTER GATES: AMALGAM13 DECEMBER 2019 – 3 MAY 2020

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Theaster Gates's "Amalgam" is a culmination of sculpture, installation, film, and dance that explores not only the historical context of race, territory, and inequality faced by non-white people within the United States but also encourages activism and engagement, as most of his archives do. The term "amalgam", according to the Oxford English Dictionary, can be defined as a mixture or blend. When applying this definition to the historical context of "Amalgam" which corresponds with the history of Malaga, the title of this exhibition starts to make sense. Initially, what drew me to this piece was that the term "amalgam" reminded me of a similar term but with an added suffix, "amalgamation"; meaning the action, process, or result of combining or uniting.

From what I understand, during the 19th century, this small island off the coast of Maine, USA, called Malaga, was home to an ethnically-mixed community. In 1912, on the orders of the state governor, Malaga's inhabitants were forcibly removed to the mainland, and they were offered no housing, jobs or support.

In this sense, I can see why Gates choose to title this exhibition why he did, as it is an accurate representation of those who lived on Malaga. In that same breath, however, I can see how those impacted by such state-sanctioned orders feel unified in their mutually endured and forced removal, and how from a cultural and social perspective, have formed bonds rooted in trauma and pain.

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Theaster Gates, Chief Vestment in Red and Yellow, 2022, industrial oil-based enamel, rubber torch down, bitumen, wood, and copper, 84 x 84 inches

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In November and December of 2022, Theaster Gates constructed an exhibition in NYC titled Vestment, which was an installation of compositions made from tar and other materials used in roofing, and then torched. The exhibition tackles a wide range of topics and ideas. His works in this collection pay homage to his father's work as a roofer, and the preservation and honoring of that knowledge, craft, and skill that was passed down to him. All the works are made at the scale of roofing, and Gates also uses the torch to show the power of the flame in the stylistic manipulation of simple materials and those often associated with manual labor. Further, the works all feature the Christian cross somewhere within themselves, and he meditates on the importance of spirituality not only to the individual but also to the nation. He uses colors such as green, red, yellow, black, and white, who each symbolize something on their own, but it is also important to consider that the flags of many nations contain these colors throughout the entire globe. I believe Gates, in this way, references nations that are majority Christian and the differences and similarities in which they practice spirituality, ritual, and worship. Moving back to the torch, Gates' other goal in this exhibition was to explore and display careful skill and technique in using flame and fire to preserve, redefine, and highlight certain "antiquated" labor practices.

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Theaster Gates' "In Case of Riot" depicts a simplistic image of a wound up fire hose. Innocent enough on its own, the fire hose actually hints at a much darker history in which fire hoses were used to violently disperse peaceful protests held by activists for social justice. However, Gates has found a way to reclaim the implications of the fire hoses, and incorporates them into many of his pieces. Gates does a wonderful job of bringing in a bit of real history into his works, allowing for people to tie real world instances into the art they are looking at.

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Theaster Gates "Tarred Vessel" 2015, Ceramic, wood, metal and tar.

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Theaster Gates "Tarred Vessel" 2015 | Nyla Hernandez

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Theaster Gates "Tarred Vessel" 2015 | Nyla Hernandez

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In Theaster Gates' "Tarred Vessel", he uses the materials of clay to create a hollow vessel hand-shaped that is then reinforced with cotton, plastic, and metal. He fires and glazes the pot and then coats it in black tar it for the final effect. Gates then positioned his sculpture off-center on a pedestal made from wooden railway pieces found on a railway in Chicago. The meaning behind the black tar exterior relates to Gates' personal history. Still, another way to look at it is how he emphasizes the exterior of the pot rather than all the steps he took to reinforce the inside of the pot we cannot see.

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Theaster Gates, Civil Tapestry 4, 2011, © Theaster Gates

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In this piece by Theaster Gates, it may be difficult to notice at first but recycled fire hoses are the main focus of his artwork. Theaster Gates' inspiration for this piece took place in Alabama in 1963 during peaceful protests when water hoses were used to deter protesters which ultimately injured children. From this week's readings, Theaster Gates' artwork can be seen as more of an informational artist than an archival history artist.

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Theaster Gates, Plate Convergence, Hyde Park Art Center, 2007, Conceptual ceramic exhibition and performance

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In 2007, Gates presented his exhibition Plate Convergence, which involved the story of a fictional Japanese potter and an event in which dinner guests were provided traditional southern soul food and sushi in Gates' handmade ceramic dishes. Gates was inspired for this work when visiting Japan, where he was encouraged to not learn and mimic the art of Japanese potters but instead look towards artists in his own community. This is an early work that emphasizes Gates' desire to engage with the community and serve as a facilitator and organizer of conversation and gathering, a principle that he continues through all of his exhibitions and performances. This piece also reflects Gates' connections to ceramics as an art form and his interest in both creating his own shows and serving as a curator and archivist, forming space for other black artists to present their work.

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Theaster Gates, "Hardware Store Painting", 2021, steel pegboard, pegs, and hardware store inventory, 230 ⅝ by 425 ½ by 15 in.Photo: James Prinz Photography. Courtesy Gray Chicago/New York. ©Theaster Gates Studio

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Hardware Store Painting (2021) by Theaster Gates - N.Olidan

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Hardware Store Painting (2021) by Theaster Gates - N.Olidan

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Theaster Gates' "Hardware Store Painting" transforms ordinary hardware into visually striking art pieces, reflecting his innovative approach to reimagining everyday objects. By reinterpreting items such as scrub brushes, curtain rods, and extension cords as a vibrant, geometric artwork, Gates mirrors his practice of elevating overlooked materials to cultural significance. This approach parallels his work with archival collections, where he treats historical materials as sacred and interactive. Just as Gates redefines consumer goods into an abstract canvas, he infuses archival materials with new meanings and aesthetic value, making them accessible and relevant to modern audiences. Through this piece, Gates challenges conventional notions of utility and aesthetics, captivating us in a dialogue about material worth and the transformative potential of art. This piece connects to this week's themes by highlighting Gates' knack for reinterpreting objects and archives, revealing their cultural and artistic significance.

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“Black Chapel is about Blackness,” Gates told the New York Times “For me, Blackness has something to do with the ability to remain open, to remain optimistic, to remain active in one’s cultural and spiritual life.” "Black Chapel" is deeply rooted in the exploration of Black cultural and spiritual traditions. The installation merges architectural elements with symbolic references to African American history, reflecting Gates' commitment to preserving and honoring cultural heritage. Gates often emphasizes the importance of community in his work. "Black Chapel" aligns with Gates' emphasis on community engagement, seen in projects like the Dorchester Projects and his performances. The installation serves as a space for collective reflection and interaction, resonating with his broader practice of integrating art with community-building and performance.

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Serpentine Pavilion 2022 Black Chapel by Theaster Gates - Serpentine Galleries

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The Serpentine Pavilion 2022: Black Chapel draws inspiration from the architectural typologies of chapels and the great kilns of Stoke-on-Trent, England.

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Week 5: Theaster Gates - Madeline Harris

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Week 5: Theaster Gates - Madeline Harris

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Theaster Gates created a massive archival art installation of collections of artists work from all over the world within an abandoned bank on the south side of Chicago. The building is from the 1920s, but artist, urban planner, and chicago resident himself, Theaster Gates, saw the potential. He installed historically important and inspiring pieces from black artist, as well as artists from all parts of the globe, to put on display for viewers to digest in contextualized environments. There are art collections, library and media collections, community archives and historic records to be seen. The arts bank functions as a historic record as well as a community space for people to come together and learn as well as appreciate important art. This week's themes of art serving the public while being on display, and how artistry plays into these public history practices, can be represented by this installation building because it brings all of these ideas together.

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One might think that an abandoned 1920s bank on Chicago's South Side, crumbling from top to bottom-the roof long collapsed, exposing the interior to snow and rain for years-would be destined for a wrecking ball. Like so many other decaying structures in the area, that was certainly the fate of the Stony Island Savings & Loan building before artist, urban planner, and Chicago resident Theaster Gates intervened.

Armed with only a vision to carry him through, Gates acquired the 20,000-square-foot bank for $1.00 from the city of Chicago and set about an unbelievable restoration. This month, amidst all the hubbub of Chicago's Architecture Biennale, the doors were thrown open and the public was given the opportunity to walk through the new Stony Island Arts Bank. While construction is complete, several details of the bank's history including peeling paint and damaged ceiling tiles have been preserved to physically merge the past and present.

The Stony Island Arts Bank is a place that proudly defies convention. A community savings and loan bank shuttered since the 1980s turned into a world-class arts center in the middle of a greatly under-resourced community most in need of bold ideas. It's the kind of place that civic leaders propose and residents dream of, but for a thousand reasons it never seems to materialize. And yet here it is.

Gates' idea has now manifested itself as a platform for site-specific exhibitions and commissions, artist residencies, and as a home for the Rebuild Foundation, a nonprofit organization founded by the artist in 2010 that seeks specifically to foster culture and development in underinvested neighborhoods. In addition, the arts bank houses the vinyl archive of Frankie Knuckles, regarded as the "Godfather of House Music," as well as 60,000 glass lantern slides from the University of Chicago and the School of the Art Institute. You can also find the personal magazine and book collection of John H. Johnson, founder of Ebony and Jet magazines.

In a press release Gates describes the Arts Bank as "an institution of and for the South Side," "a repository for African American culture and history, a laboratory for the next generation of black artists," and "a space for neighborhood residents to preserve, access, reimagine and share their heritage, as well as a destination for artists, scholars, curators, and collectors to research and engage with South Side history."

The building's first exhibition is by Portuguese artist Carlos Bunga, whose installation Under the Skin introduces towering cardboard columns to the bank's towering first-floor gallery. The facility will undoubtedly be used as a place for black artists, community members, and other individuals to experiment with and engage with the South Side, in an environment Gates refers to as a "laboratory."

"Projects like this require belief more than they require funding," Gates tells Fast Company. "If there's not a kind of belief, motivation, and critical aggregation of people who believe with you in a project like this, it cannot happen. The city is starting to realize that there might be other ways of imagining upside beside 'return on investment' and financial gain."

You can visit the new arts bank Tuesday through Saturday, 11am-6pm. (via Fast Company, the Chicago Reader).

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Artist Theaster Gates Bought a Crumbling Chicago Bank for $1 and Turned it Into a World-Class Arts Center

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One might think that an abandoned 1920s bank on Chicago's South Side, crumbling from top to bottom-the roof long collapsed, exposing the interior to snow and rain for years-would be destined for a wrecking ball.

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Installation shot of 'A Clay Sermon' by Theaster Gates

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Theaster Gates' exhibition "A Clay Sermon" at Whitechapel Gallery features a range of ceramics, including a jar by enslaved potter David Drake, showcasing Drake's defiance and creativity. Gates, a Research Fellow at the V&A, presents works that blend Japanese, African, and African-American traditions, termed Afro-Mingei. His pieces, like Tokaname Vessel and House Structure, highlight his personal history and connection to the building trade. The exhibition includes dramatic black masks, vessels coated in tar, and ceramics produced in Montana. Gates' work emphasizes clay's primal significance and its role in religious, social, and creative contexts.

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TG, Glay Sermon, Upstairs Install uncropped

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Theaster Gates, In Case of Race Riot II, 2011, wood, paint, plastic, metal, adhesive, 33 1/2 × 26 5/8 × 6 inches. Photo : Brooklyn Museum

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Similar to the works produced by Gates in the Civil Tapestries series, this piece repurposes an old fire hose. An object may be perceived as losing its value, but Gates mentions in the WGN video that he strives to show his audience the object's purpose in a new way. Despite this fire hose being decommissioned, Gates' piece makes use of it in light of the historical context of fire hoses being used against protestors. It is an intriguing composition given the way that the fire hose is wound up in a coil, ready to be used. In addition, the fire hose appears to be stored behind a glass case, ready to be broken "in case of an emergency" which enhances the true meaning behind the piece's evocative title - In Case of Race Riot II.

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Theaster Gates "Bank Bonds" 2013 - Jordan Rampulla

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Theaster Gates "Bank Bonds" 2013 - Jordan Rampulla

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Theaster Gates's work often portrays places and objects as filled with untapped potential. This is the case for the 1920s Stony Island Bank Gates purchased for $1 from the city. He used the marble from the dilapidated building and created an edition of 100 engraved pieces. Each block is inscribed with a message that describes the mission of the project and names the buyer as a participant. These artworks were sold for $5,000 each at Art Basel, with all proceeds directed towards restoration of the building. Gate’s ambitious plans were to turn the old bank into a cultural hub for artists and the surrounding community and a house for archives. This project is a prime example of Theaster Gates' themes of connection, community, and restoration. They symbolize both the rejuvenation of the place and its people.

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Theaster Gates work done in Chicago called the Dorchester Projects is quite fascinating to me, he reimagines the use of abandoned buildings in the South Side neighborhood. Repurposing a former church into a community cultural center and creating a series of interconnected spaces that serve as art galleries, performance venues, and gathering places. One of the central elements of the Dorchester Projects is the archival of Black History and local narratives, which collects and preserves artifacts, stories, and historical materials related to the local community. This archive serves the public by providing access to the rich history of Black residents in the area, offering a space for community members to share their experiences and engage with their cultural heritage. By fostering a sense of ownership over these narratives, Gates empowers individuals and promotes a shared identity among residents.Gates seamlessly blends art, community engagement, and historical preservation with this project. The Dorchester Projects is not just about preserving history; it is about creating a vibrant, community where art and culture thrive. Through his innovative approach, Gates redefines the relationship between art, history, and community, showcasing the power of artistic practice as a catalyst for social change and empowerment.

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Week 5 - Theaster Gates - Diego Gonzalez

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Week 5 - Theaster Gates - Diego Gonzalez

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Theaster Gates' Clay Sermon is a multifaceted project that explores the deep cultural, historical, and spiritual significance of clay as a material. Through a series of sculptures, installations, and performances, Clay Sermon delves into the ways in which clay has been used across different cultures, particularly within African and African American traditions, to tell stories, preserve history, and create community. The project also reflects Gates' broader artistic practice of repurposing and recontextualizing materials to engage with social issues and cultural memory. In Clay Sermon, Gates invites viewers to consider the layers of meaning embedded in a humble material, transforming it into a powerful medium for artistic and cultural expression.

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A Maimed King,Theaster Gates, 2017,  Reclaimed wood and found objects

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This piece by Theaster Gates is a thought-provoking sculpture made from reclaimed wood and found objects, materials that might otherwise be discarded. This piece is significant because it reflects Gates's interest in the themes of recovery, resilience, and the preservation of African American cultural heritage. By transforming old, forgotten materials into a powerful artwork, Gates highlights the beauty and importance of histories and identities that have endured despite adversity. Though less well-known, this work captures Gates's dedication to reviving and honoring lost or overlooked cultural narratives.

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Theaster Gates' Tar Paintings such as “Flag” (2014) hold significant cultural and symbolic meaning within his body of work. Created using roofing tar, these paintings are both an exploration of materiality and a commentary on the histories of labor, race, and urban environments. The tar itself is a substance often associated with roofing, a trade linked to Gates’ own father, who worked as a roofer. In fact the pieces are displayed next to his father’s tar kettle. By using this material, Gates connects his art to personal and collective histories of Black labor and the working class, transforming a utilitarian substance into a medium for high art. Furthermore, the Tar Paintings reflect Gates' interest in urban landscapes, particularly in cities like Chicago, where he lives and works. Gate’s also is famous for repurposing abandoned buildings and even earned a degree in city planning. The tar can be viewed as a metaphor for the built environment, speaking to the decay and renewal that characterizes many urban spaces, especially those affected by systemic neglect or gentrification. Overall, the Tar Paintings show Gate’s ability to bridge the personal and political, the material and metaphorical, and offer commentary on race, labor, and the urban experience.