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Theaster Gates Bibliography THEASTER GATES BIBLIOGRAPHY Selected Monographs: 2019 Gates, Theaster. Theaster Gates: Black Madonna, published by Buchhandlung Walther König and Kunstmuseum Basel, Basel, 2019 2018 Gates, Theaster, ed., Theaster Gates: The Black Image Corporation, published by Fondazione Prada, Milan, Italy, 2018 Gates, Theaster, Theaster Gates: Black Madonna Press, published by Black Madonna Press, Chicago, IL, and The Store X with Kunstmuseum Basel, Switzerland, 2018 Scott, Kitty, ed., Theaster Gates: How To Build a House Museum, published by Art Gallery of Ontario, Toronto, Canada, 2018 Gates, Theaster, and Devin Mays, eds., Black Artists Retreat: Reflections on Convening, published by Black Madonna Press, Chicago, IL, 2018 Gates, Theaster, ed., Land-Art: Theaster Gates Art and Space Initiatives, published by Theaster Gates, 2018 2017 Crawford, Romi, Theaster Gates, and Thomas D. Trummer, Theaster Gates: Black Archive, published by Kunsthaus Bregenz, Bregenz, Austria, 2017 2015 Becker, Carol, Theaster Gates, Achim Borchardt-Hume, and Lisa Lee, Theaster Gates, published by Phaidon Press, London, UK, 2015 2014 Gates, Theaster, The Black Monastic, published by Serralves Foundation, Porto, Portugal, 2014 2013 Theaster Gates, Published by Kavi Gupta Gallery, Chicago, IL, and Berlin, Germany, 2013 2012 Brown, Bill, Honey Luard, Fred Moten, and Jacqueline Terrassa, Theaster Gates: My Labor Is My Protest, published by White Cube, London, UK, 2012 Christov-Bakargiev, Carolyn, Michael Darling, Theaster Gates, Madeleine Grynsztejn, Matthew Jesse Jackson, and John Preus, Theaster Gates: 12 Ballads for Hugenot House, published on the occasion of “dOCUMENTA (13),” by Walther König, Cologne, Germany, 2012 Theaster Gates, Published by Kavi Gupta Gallery, Chicago, IL, and Berlin, Germany, 2012 2011 Theaster Gates, Published by Kavi Gupta Gallery, Chicago, IL, and Berlin, Germany, 2011 2010 David, Bruno L., and Alana Downie, Theaster Gates: Dry Bones and Other Parables from the North, published by Bruno David Gallery, St. Louis, MO, 2010 Lasser, Ethan W., Dan S. Wang, and Rebecca Zorach, My Name Is Dave: A Hymnal, published by Milwaukee Art Museum, and The Chipstone Foundation, Milwaukee, WI, 2010 Selected Catalogues and Publications: 2020 Enwezor, Okwui, ed., Grief and Grievance: Art and Mourning in America, published by Phaidon, New York, NY, 2020, pp. 86 – 89 [ill.] Beckwith, Naomi, Valerie Steele, Ekow Eshun, Valerie Steele, Lynette Yiadom-Boakye, and Thelma Golden, Duro Olowu: Seeing, published by the Museum of Contemporary Art Chicago and Prestel, 2020 2019 There will never be a door. You are inside. Works from the Coleção Teixeira de Freitas, published by Santander Fundación, Madrid, Spain, 2019 2018 Pedrosa, Adriano, and Tomás Toledo, eds., Historias Afro-Atlanticas: Vol. 1 Catalog, published by Tomie Ohtake Institut, and Museu de arte de São Paulo Assis Chateaubrian, São Paulo, Brazil, 2018, p. 379 [ill.] 2017 Phillips, Lisa, ed., 40 Years New, published by New Museum, New York, NY, and Phaidon Press, London, UK, 2017, p. 294 [ill.] Mead, Fionn, ed., Question the Wall Itself, Walker Art Center, Minneapolis, MN, 2017, pp. 106 – 107, 220 – 221 [ill.] 2016 Lash, Miranda, and Trevor Schoonmaker, eds., Southern Accent: Seeking the American South in Contemporary Art, published by the Nasher Museum of Art at Duke University, Durham, NC, 2016, pp. 86 – 87 [ill.] Martin, Courtney J., ed., Four Generations: The Joyner/Giuffrida Collection of Abstract Art, published by Gregory R. Miller & Co., New York, NY, 2016, pp. 220 – 227 [ill.] 2015 Enwezor, Okwui, All the World's Futures: 56 International Art Exhibition. La Biennale di Venezia, published by Marsilio Editori, Venice, Italy, 2015 Alexander, Elizabeth, Romi Crawford, Siobhan Carter-David, Thelma Golden, Lauren Haynes, and Hank Willis Thomas, Speaking of People: Ebony, Jet and Contemporary Art, published by Studio Museum Harlem, New York, NY, 2015 Haines, Chelsea, and Carin Kuoni, eds., Entry Points: The Vera List Center Field Guide on Art and Social Justice No. 1, published by Duke University Press, Durham, NC, 2015 Hurst, Ellen, ed., Art in Embassies, published by United States Embassy, Madrid, Spain, 2015, pp. 36 – 37 [ill.] AP, Lars, Fucking Flink Dig Selv, published by People’s Press, Copenhagen , Denmark, 2015, pp. 146 – 147 Garret, Craig , Akademie X: Lessons in Art + Life, published by Phaidon Press, London, UK, 2015 Asbury, Michael, Kaira M. Cabañas, Kelly Gordon, Sérgio B. Martins, Nadja Rottner, and Mika Yoshitake, Impulse, Reason, Sense, Conflict: Abstract art from the Ella Fontanals-Cisneros Collection, published by Cisneros Fontanals Art Foundation (CIFO) , 2014 2014 Crawford, Romi, and Hamza Walker, Retreat, published by Valerie Carberry Gallery and Richard Gray Gallery, 2014 Gonzalez, Rita, David C. Hunt, Christine Y. Kim, Rickey Laurentiis, Mary A. McCay, Franklin Sirmans, and Melissa A. Weber, Prospect 3: Notes for Now, published by Prospect New Orleans, New Orleans, LA/U.S. Biennial Inc., New York, NY, and DelMonico Books/Prestel, New York, NY, 2014, p. 78 – 79 [ill.] Feito Por Brasileiros/Made By Brazilians, published by Enrico Navarra, Paris, France, and Editoria Capivara, Rio de Janeiro, Brasil, 2014 Ballard, Jr., Horace D., Thelma Golden, Katherine Jentleson, Thomas J. Lax, Scott Romine, and Lowery Stokes Sims, When the Stars Begin to Fall: Imagination and the American South, published by Studio Museum Harlem, New York, NY, 2014 Ermacora, Beate, and Sylvia Martin, eds., Living in the Material World: Materiality in Contemporary Art, published by Snoeck Verlag, Cologne, Germany, 2014, pp. 84 – 91 [ill.] Helfenstein, Josef, and Joseph N. Newland, eds., Experiments with Truth: Gandhi and Images of Nonviolence, published by The Menil Collection, Houston, TX, and Yale University Press, New Haven, CT, 2014 Downey, Anthony, Art and Politics Now, published by Thames & Hudson , London, UK, 2014 Kirschenmann, Johannes and Frank Schulz, Moderne Kunst: Zugänge zu ihrem Verständnis, published by Ernst Klett Verlag, Stuttgart, Germany, 2014 , p. 266 Beard, Lee and Rebecca Morrill, eds., The Twenty-First Century Art Book, published by Phaidon Press, London, UK, 2014, p. 95 [ill.] Francis, Jacqueline, Point of View: African American Art from the Elliot and Kimberly Perry Collection, published by Charles H. Wright Museum of African American History, Detroit, MI, and Flint Institute of Art , Flint, MI, 2014 2013 Backer, Yona, Naomi Beckwith, Tavia Nyong'o, Valerie Cassel Oliver, Clifford Owens, and Franklin Sirmans, Radical Presence: Black Performance in Contemporary Art, published by Contemporary Arts Museum Houston, Houston, TX, 2013, pp. 58 – 59, 114 [ill.] Adamson, Glenn, William Gibson, Julie Joyce, and Britt Salvesen, Labour and Wait, published by RAM Publications, Santa Monica, CA, 2013 Janssen, Hans and Bert Kreuk, Transforming the Known: Works from The Bert Kreuk Collection, published by Bert Kreuk and Gemeentemuseum Den Haag, Den Haag, Netherlands, 2013 Bourgeois, Caroline and Michael Govan, Prima Materia, published by Palazzo Grassi, Venice, Italy, 2013 Smith, Stephanie, ed., Feast: Radical Hospitality in Contemporary Art, published by Smart Museum of Art, and University of Chicago Press, Chicago, IL, 2013, pp. 188 – 199, 389 Obrist, Hans Ulrich, Do It: The Compendium, published by Independent Curators International/D.A.P., New York, NY, 2013 2012 Bell, Nicholas R., Douglas Copeland, Bernard L. Herman, Michael J. Prokopow, and ulia Bryan-Wilson, 40 Under 40: Craft Futures, published by Renwick Gallery of the Smithsonian American Art Museum, Washington, D.C., and Yale University Press, New Haven, CT, 2012 Artoni, Margherita, The Sound of Painting, published by Palazzo Saluzzo Paesana, Turin, Italy, 2012 [ill., cover] The Armory Show 2012, published by The Armory Show, New York, NY, 2012 2010 Bonami, Francesco, and Gary Carrion-Murayari, 2010: Whitney Biennial, published by Whitney Museum of American Art, New York, NY, 2010 2009 Esche, Charles, Kerstin Neimann, and Stephanie Smith, eds., Heartland, published by Smart Museum of Art, The University of Chicago, and The University of Chicago Press, Chicago, IL, 2009 Selected Articles and Reviews: 2021 Veiga, Marcia. “Theaster Gates’ immersive ‘China Cabinet ‘exhibition takes over Prada Rong Zhai.” The Spaces (April 8, 2021) [ill.] [online] Sargent, Antwaun. “A Photographic Archive’s Extraordinary Portrait of Black Femininity.” Aperture (February 4, 2021) [ill.] [online] 2020 Yau, John. “Theaster Gates and the Shapes of Black History.” Hyperallergic (November 7, 2020 [ill.] [online] Feinstein, Laura. “Theaster Gates: 'Art and protest are forms of political thought.'” The Guardian (October 22, 2020) [ill.] [online] “Theaster Gates turns discarded objects into art.” The Economist (October 10, 2020) [ill.] [online] Luckel, Madeleine. “The Show That Ceramics Lovers Need to See This Fall.” Architectural Digest (October 8, 2020) [ill.] [online] Kenney, Nancy. “Fulfilling a legendary curator’s vision, New Museum will present an exhibition on grief in black communities.” The Art Newspaper (October 6, 2020) [online] Rockett, Darcel. “Equitable real estate development on Chicago’s South Side is possible. Artist Theaster Gates has shown the way.” Chicago Tribune (September 29, 2020) [ill.] [online] Williams, Erick. “This Chicago Restaurant Celebrates Black Artists.” Food & Wine Magazine (July 9, 2020) [ill.] [online] Estiler, Keith. “Theaster Gates Addresses the Black Madonna in 'Do you hear me calling?' Film.” Hypebeast (July 8, 2020) [ill.] [online]
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  • THEASTER GATES Education Solo Exhibitions
    THEASTER GATES 1973 Born in Chicago Lives and works in Chicago Education 2006 Iowa State University, M.S. Urban Planning, Ceramics, Religious Studies 1998 University of Cape Town, M.A. Fine Arts, Religious Studies 1996 Iowa State University, B.S. Urban Planning, Ceramics Solo exhibitions 2019 Black Madonna, Martin Gropius Bau, Berlin Every Circle Needs a Square, Richard Gray Gallery, Chicago Amalgam, Palais de Tokyo, Paris 2018 The Black Image Corporation, Fondazione Prada, Milan Black Madonna, Sprengel Museum, Hannover Black Madonna, Kunstmuseum Basel, Switzerland 2017 In the Tower, National Gallery of Art, Washington, DC Tarry Skies and Psalms for Now, White Cube, Hong Kong The Minor Arts, National Gallery of Art, Washington, DC But to be a Poor Race, Regen Projects, Los Angeles The Black Monastic, IHME Festival, Helsinki 2016 Heavy Sketches, Richard Grey Gallery, Chicago How to Build a House Museum, Art Gallery of Ontario, Toronto Black Archive, Kunsthaus Bregenz, Austria True Value, Fondazione Prada, Milan Processions (performance residency), Hirshhorn Museum and Sculpture Garden, Washington, DC 2015 Sanctum, Situations, Bristol, UK Freedom of Assembly, White Cube, London 2013 Accumulated Effects of Migration, Kavi Gupta, Chicago A Way of Working, Vera List Center for Arts and Politics, New York My Back, My Wheel and My Will, White Cube, São Paulo and White Cube, Hong Kong 13th Ballad, Museum of Contemporary Art, Chicago To Make the Thing that Makes the Things, Fabric Workshop and Museum, Philadelphia 2012 Soul Manufacturing Corporation, Locust Projects, Miami My Labor is My Protest, White Cube, London 2011 Theaster Gates: The Listening Room, Seattle Art Museum, Washington An Epitaph for Civil Rights, Museum of Contemporary Art, Los Angeles An Epitaph for Civil Rights and Other Domesticated Structures, Kavi Gupta, Chicago 2010 To Speculate Darkly: Theaster Gates and Dave, the Slave Potter, Milwaukee Art Museum, Wisconsin Dry Bones and Other Parables From the North, Brunno David Gallery and the Pulitzer Museum of Art, St.
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  • Extended Through January 23, 2021 Black Vessel
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  • Tate Annual Report 2019/20 Chairman’S Foreword
    TATE ANNUAL REPORT 2019/20 CHAIRMAN’S FOREWORD Until the coronavirus pandemic struck in early Despite the pandemic, we are resolved to TATE TRUSTEES spring, we lived in a familiar world of open continue to bring world-class programmes to As of 31 March 2020 borders, seamless travel and packed galleries. a diverse and engaged audience. By the end This world has been turned upside down by of the reporting period, Tate Membership had John Akomfrah, CBE an economic and public health crisis which grown to 159,000, and there were almost as Lionel Barber (chairman) has had a devastating impact on the arts and many sign-ups in Tate Collective, our special John Booth cultural sector. offer to 16 to 25-year-olds. At the time of our Farooq Chaudhry I would like to thank all at Tate who have forced closure, Warhol and Steve McQueen Tim Davie, CBE helped the institution navigate the most testing were on display at Tate Modern, and Aubrey Dame Jayne-Anne Gadhia, DBE time in generations. We are grateful for their Beardsley at Tate Britain. In July it was a delight Dame Moya Greene, DBE support, especially colleagues within DCMS to give audiences the chance to visit these Katrin Henkel and HM Treasury. Our many friends have been shows anew. Anna Lowe generous with gifts, donations and other forms Along with his exhibition at Tate Modern, Michael Lynton of assistance. They continue to be so, and we Steve McQueen’s remarkable Year 3 project at Dame Seona Reid, DBE are deeply indebted to them all.
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  • Gagosian Gallery
    The New York Times November 25, 2020 GAGOSIAN Theaster Gates Turns the Stain of the Past Into Art In his show at Gagosian, he merges the language of abstract art with the legacies of racial injustice. Yinka Elujoba “Top Heavy,” 2020, detail, by Theaster Gates. One of his “tar paintings,” it incorporates industrial oil-based enamel, rubber torch down, bitumen, wood, and copper.© Theaster Gates and Gagosian; Jacob Hand Theaster Gates, a social practice installation artist based in Chicago, is turning the history of Black labor in America on its head. Born in 1973 to a father who was a roofer, Mr. Gates embraced, too, a life of working with his hands. After graduating from Iowa State University with a degree in urban planning and ceramics, he proceeded to Japan to study pottery. In “Black Vessel,” his first New York solo show at Gagosian on West 24th Street, he succeeds in celebrating the rugged, hard work of artisans today. In “Civil Tapestries,” his seminal series from 2011, the artist used decommissioned fire hoses to link to the actions taken against protesters during civil rights demonstrations. Here, in a new series, “Tar paintings,” installed in two galleries, he employs roofing techniques to move beyond conceptualism into the future. He engages the country’s history — and his own personal one — in this set of works that unfurl with gritty magnificent broad strokes. By creating these pieces with industrial materials such as torch down and tarred fragments, he is able to merge the language of abstract art with the legacies of racial injustice, while simultaneously engaging with the history of painting itself.
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  • Grain of Emptiness: Exhibition Press Release
    FROM: Rubin Museum of Art 150 West 17th Street, NYC, 10011 Contact: Anne-Marie Nolin Phone: (212) 620 5000 x276 E-mail: [email protected] FOR IMMEDIATE RELEASE July 2010 BUDDHISM’S INFLUENCE ON CONTEMPORARY ARTISTS EXPLORED BY THE RUBIN MUSEUM OF ART New York, NY—From November 5, 2010 to April 11, 2011, the Rubin Museum of Art will present works by five artists of different generations and ethnicities, working between 1960 and the present, whose oeuvres have been influenced by the tenets of Buddhism, including its central principles of emptiness and the fleeting nature of all things. Grain of Emptiness: Buddhism-Inspired Contemporary Art assembles videos, paintings, photographs, and installations dating from 1961 to 2008 by Sanford Biggers (b. U.S., 1970); Theaster Gates (b. U.S.,1973); Atta Kim (b. Korea, 1956); Wolfgang Laib (b. West Germany, 1950); and Charmion von Wiegand (U.S., 1896-1983). Biggers and Gates will each present new site-specific performance works. The exhibition highlights the continuously evolving nature of art inspired by Buddhist ideas and themes. “These artists are inheritors of a rich tradition that threads throughout modern and contemporary art,” says Martin Brauen, organizer of Grain of Emptiness and Chief Curator at the Rubin Museum of Art. “The ideas of emptiness and impermanence, embraced by the Abstract Expressionists in the 1950s, have since been taken up by such cultural icons as John Cage and Merce Cunningham, as well as by conceptual and performance artists and others who have sought to explore in art how the insights of Buddhism intersect with everyday life.” In the exhibition, the viewer will encounter several paintings by Charmion von Wiegand, an undeservedly little known painter, critic, and journalist.
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  • Theaster Gates
    THEASTER GATES Born in Chicago, IL, 1973. Lives and works in Chicago, IL. EDUCATION M.S. Urban Planning, Ceramics, Religious Studies, Iowa State University, 2006 M.A. Fine Arts, Religious Studies, University of Cape Town, 1998 B.S. Urban Planning, Ceramics, Iowa State University, 1996 ACADEMIC AND PROFESSIONAL POSITIONS 2018 – present Distinguished Visiting Artist and Director of Artist Initiatives, Lunder Institute for American Art, Colby Museum of Art, Colby College, Waterville, ME 2018 – present Senior Advisor for Cultural Innovation and Advisor to the Dean of Harris Public Policy, The University of Chicago, IL 2014 – present Professor, Department of Visual Arts, Humanities Department, The University of Chicago, IL 2009 – present Chairman and Founder of The Rebuild Foundation, NFP, Chicago, IL • Archive House, Chicago, IL • Black Cinema House, Chicago, IL • Dorchester Art + Housing Collaborative, Chicago, IL • Listening House, Chicago, IL • Stony Island Arts Bank, Chicago, IL 2008 – 2018 Director, Arts and Public Life Initiative, Office of the Provost, The University of Chicago, IL • Arts Incubator • Place Lab 2006 – 2008 Humanities Division, Office of the Dean, The University of Chicago, IL 2008 – 2014 Lecturer, Department of Visual Arts; Affiliated Lecturer, Department of Humanities, Universityof Chicago, IL CURRENT BOARD MEMBERSHIPS Cultural Advisory Council, City of Chicago Department of Cultural Affairs and Special Events Graham Foundation Hirshhorn Museum and Sculpture Garden Hyde Park Art Center Seminary Co-op South Chicago
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  • Sholette Art After Gentrification
    PROOF – Property of Pluto Press – not for unauthorised use 7 Art After Gentrification The practice of repurposing resources that already exist—versus innovating or engineering new ones—is an area of significant overlap between contemporary art and twenty-first-century capitalism. Low-risk and relatively low-cost, the process of creative reuse generates fantastic value-adding possibilities. Or so it seems. Where a defunded inner-city neighborhood previously lay in tatters, a rising spirit of self-repair and hope now emerges, and where once the overlooked working class was forced to Figure 22 Assemble collective’s Yardhouse studios for London creatives under construction (Courtesy Assemble) 127 Sholette 127 16/01/2017 12:39 PROOF – Property of Pluto Press – not for unauthorised use delirium and resistance devise survival tactics along the edges of formal capitalist markets, they are now part of the urban “place-making” paradigm, if not in the flesh, then at least evoked in post-industrial, upcycled decor. At the same time, “change agents” orchestrate redundant populations (viewed from capital’s perspective), and discarded assets (unrealized profits) into art projects that symbolically resolve decades of racial and class-based maltreatment by police and abandonment by city planners in post-industrial regions such as Toxteth, Pittsburgh and Chicago. Just as real estate speculators and city planners discovered the value of culture for upgrading urban infrastruc- tures, so too have a growing number of contemporary artists learned to mimic and perhaps intentionally mistranslate neoliberal enterprise culture into a repertoire of ex-onomic tools and “art+realty” hybrids that game the system against itself.
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  • African American Designers in Chicago
    Figure 1 Russell Lee, “Candy stand run by Negro. Southside, Chicago, Illinois” (April 1941). Library of Congress, Prints & Photographs Division, FSA/OWI Collection, LC- USF34- 038629-D [P&P] LOT 1082. that lynching was a spectacle at home in modern America. Wells designed the pamphlet to shock A THING OF BEAUTY fairgoers’ celebration of progress and move them to action on behalf of African American civil rights. It was an indictment of the racism that festered within the industrial society that had triumphed over Southern slavery. It also reflected Wells’s beliefs that mass-produced print media IS A JOY FOREVER would raise the nation’s consciousness, and that there were entrepreneurs and tradespeople in Chicago to trumpet her political vision.3 A Short History of African American Design in Chicago The publication of The Reason Why illuminates the deep roots of African American design in Chicago. Wells produced and printed the pamphlet with prominent lawyer (and her future husband) Ferdinand L. Barnett, who had been editing the radical Conservator newspaper in The first black designer in Chicago was likely a sign painter—or a milliner, hairdresser, tailor, Chicago since 1878. Born in Nashville in 1859, Barnett was among the first wave of free people barber, printer, typographer or bricklayer.1 When African Americans began to enter the city in of color and freed slaves who settled in Chicago after the Civil War. These early settlers supported significant numbers at the turn of the 20th century, many brought along artistic and practical themselves as merchants and domestic workers who provided services to a mostly white clientele.
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  • Exhibition Guide for High School Teachers
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