‘Theaster Gates: Young Lords and Their Traces’ at the New Museum, New York
Theaster Gates: Young Lords and Their Traces is an exhibition currently on view at the New Museum in New York City. Curated by Massimiliano Gioni and Helga Christoffersen, the exhibition presents a selection of works by the Chicago-based artist and social activist Theaster Gates, which explore the legacy of the Young Lords, a radical Puerto Rican activist group that emerged in New York City in the late 1960s.
The exhibition is divided into two parts, each occupying a floor of the museum. The first floor presents a series of sculptural works by Gates that incorporate materials salvaged from abandoned buildings and sites of cultural significance, such as churches and libraries. The second floor features archival materials related to the Young Lords, including photographs, posters, and publications, as well as a video installation that documents Gates' project to restore the former headquarters of the Young Lords in Chicago.
At the heart of the exhibition is Gates' interest in the power of objects and materials to tell stories and preserve memory. For Gates, the act of salvaging and repurposing discarded materials is a way to honor the histories and communities they represent, as well as a means of creating new forms of beauty and value.
On the first floor of the exhibition, visitors encounter a series of large-scale sculptures that incorporate salvaged materials, such as wood, metal, and stone. One of the most striking works is A Flag for the Least of Them (2018), a massive flagpole topped with a giant flag made from tarps salvaged from a homeless encampment in Chicago. The pole is inscribed with the words "Black Lives Matter" and "Love and Justice," making a powerful statement about the intersection of race, class, and social justice in contemporary America.
Another highlight of the first floor is Sanctuary (2019), a room-sized installation made from salvaged church pews and other architectural fragments. The work references the long history of African American churches as sites of resistance and community building, as well as the ongoing struggles for social justice within religious institutions.
Other works on this floor include a series of wall-mounted sculptures made from discarded fire hoses, which reference the history of civil rights protests and police violence, as well as a massive installation of salvaged wooden doors, which Gates has transformed into abstract geometric forms.
The second floor of the exhibition is devoted to archival materials related to the Young Lords, a Puerto Rican activist group that emerged in New York City in the late 1960s. The group was known for its militant tactics and demands for social and political change, including the fight for Puerto Rican independence, the rights of women and LGBT people, and the struggle against poverty and police brutality.
The archival materials on view include photographs, posters, and publications, which offer a vivid glimpse into the group's activities and ideology. One striking example is a poster from 1970, which features a photograph of a young woman holding a machine gun, with the words "¡Viva la Mujer!" ("Long live the woman!") emblazoned across the top. The poster challenges traditional gender roles and underscores the Young Lords' commitment to women's liberation.
Another highlight of this floor is the video installation True Value (2019), which documents Gates' project to restore the former headquarters of the Young Lords in Chicago, a building that had been abandoned and fallen into disrepair. The project involved a team of artists, architects, and community members who worked together to transform the space into a cultural center and community hub, while preserving its historical significance as a site of activism and resistance.
Through his work, Gates invites us to consider the power of art and culture to bring people together, foster community, and inspire social change. His use of salvaged materials and archival materials underscores the idea that history is not a distant abstraction.
The New Museum in New York City is known for its innovative and thought-provoking exhibitions, and "Theaster Gates: Young Lords and Their Traces" is no exception. This exhibition, which ran from September 2021 to January 2022, showcased the work of renowned artist and social activist Theaster Gates, and explored the history and legacy of the Young Lords, a Puerto Rican-led political organization that was active in New York City during the late 1960s and early 1970s.
The exhibition was curated by Massimiliano Gioni, Edlis Neeson Artistic Director of the New Museum, and Gary Carrion-Murayari, Kraus Family Curator. It featured a variety of works by Gates, including sculptures, installations, and archival materials, as well as photographs, videos, and other ephemera related to the Young Lords.
One of the highlights of the exhibition was a series of sculptures made from salvaged materials, such as wooden crates, door frames, and metal pipes. These sculptures were inspired by the work of the Young Lords, who were known for their community organizing and activism around issues such as healthcare, housing, and education. Gates' use of salvaged materials reflects the organization's resourcefulness and creativity, as well as their commitment to using whatever resources were available to them in their efforts to improve the lives of their community.
Another notable work in the exhibition was a series of photographs that Gates took during his visits to the sites where the Young Lords had once operated, such as their headquarters in East Harlem and the church where they held their first meeting. These photographs, which were displayed alongside archival materials such as flyers, posters, and newspapers, provide a glimpse into the organization's history and the impact they had on the community.
In addition to the visual art on display, the exhibition also featured a series of events and performances, including talks, screenings, and workshops. These events provided opportunities for visitors to engage more deeply with the themes and issues explored in the exhibition, and to connect with other members of the community who share a commitment to social justice and activism.
Theaster Gates is known for his interdisciplinary approach to art, which combines elements of sculpture, performance, and social practice. His work often focuses on the history and culture of marginalized communities, and he is particularly interested in exploring the ways in which art and culture can be used as tools for social change.
The Young Lords were a key inspiration for Gates, and he has described them as "one of the most important political organizations in American history." The organization was founded in Chicago in 1968 by a group of Puerto Rican activists, and soon expanded to other cities, including New York. They were known for their bold, confrontational tactics, such as taking over abandoned buildings to use as community centers and clinics and staging dramatic protests to draw attention to issues such as police brutality and poor living conditions.
The Young Lords were also deeply connected to the arts and culture of their community, and they used music, poetry, and other forms of artistic expression as part of their activism. Gates' exhibition pays tribute to this aspect of their work and explores the ways in which art and culture can be used as powerful tools for social change.
The exhibition also highlights the ongoing relevance of the Young Lords' work, and the continued importance of activism and community organizing in the face of ongoing social and political challenges. As Gates has noted, "the issues that the Young Lords were fighting for are still relevant today," and their legacy serves as a powerful reminder of the need for continued resistance and struggle in the face of systemic oppression and injustice.
Overall, "Theaster Gates: Young Lords and Their Traces" is a powerful and thought-provoking exhibition that showcases the work of one of the most innovative and socially engaged artists.
