Theaster Gates, a prominent figure in art and urban development, consistently challenges conventional distinctions in his multifaceted career. This interview explores his philosophical framework, particularly his concept of "Afro-Mingei," which merges African American historical and cultural narratives with the Japanese craft tradition of mingei. Gates emphasizes the importance of recognizing and celebrating the inherent value and energetic life within everyday objects and materials, viewing them as central to both artistic expression and community building. His work spans diverse fields, from transforming urban spaces to preserving archives, all united by a commitment to purpose, excellence, and the creation of environments that foster shared experiences and cultural understanding beyond commercial interests.
Gates's artistic philosophy is deeply rooted in his experiences and observations. He recounts his initial humbling encounter with Japanese ceramic traditions in Tokoname in 2004, which instilled in him a profound appreciation for skill, discipline, and the pursuit of lifelong learning. This experience laid the groundwork for his "Afro-Mingei" concept, where craft is not merely a technical skill but a pathway to spiritual and aesthetic insight. He sees materials like clay as having a rich history and a narrative potential that transcends their immediate functional purpose, capable of embodying imaginative thought and storytelling, much like the ancient Greek vessels. This perspective allows him to elevate the craft beyond an artisanal pursuit, linking it to broader cultural and philosophical discussions.
A core aspect of Gates's work is his engagement with "energetic life" within objects, a concept he connects to Shintoism. He believes that by carefully interacting with and presenting materials, one can awaken their inherent vitality. This is evident in his projects, such as the transformation of distressed buildings into cultural centers through his Rebuild Foundation, or the establishment of the Black Image Corporation, which aims to promote a collective Black imaginary. He endeavors to move beyond the "either/or" dichotomies often found in contemporary art, instead embracing a "both/and" approach that integrates craftsmanship with conceptual depth, and personal narratives with collective histories.
Gates's curatorial work, as exemplified by his exhibition "When Clouds Roll Away" at the Stony Island Arts Bank, further illustrates his philosophy. He meticulously curated fifteen thousand objects from the Johnson Publishing Company archive, including office furniture and gym equipment, alongside photographs from Ebony and Jet magazines. By valuing these historically overlooked items, he challenges traditional museological practices and asserts the importance of self-love and cultural pride through one's own heritage. He views these collections not merely as historical artifacts but as living testaments to Black dignity, aesthetics, and beauty, offering a counter-narrative to dominant historical accounts.
The Currency Exchange Café, transformed into a "listening space," serves as another tangible expression of Gates's vision. Housing eight thousand vinyl records from a personal collection, this space intentionally operates outside commercial transactions, providing a sanctuary for quiet reflection, shared experiences, and community building. Visitors can engage with the music and enjoy complimentary teas, fostering an environment where cultural treasures are appreciated for their intrinsic value rather than their market price. This initiative aligns with his broader goal of creating spaces where the Black imaginary can thrive, free from the burdens and expectations of conventional institutions.
In essence, Gates advocates for an artistic practice that transcends mere creation, embracing the roles of archivist, urban planner, and cultural facilitator. His philosophy centers on recognizing the profound value in historical accumulation and the intrinsic worth of objects. By bringing together diverse cultural traditions and challenging established norms, he seeks to foster a deeper connection to shared histories and to inspire a collective commitment to excellence and purpose within communities. His work ultimately endeavors to create platforms for understanding and appreciation, where the energetic life of objects and histories can truly awaken.