The transformation of everyday and urban detritus is one of Chicago-based artist Theaster Gates’ (born 1973) fundamental artistic strategies. It is an approach that the works in this volume, some of which have been especially created for Kunsthaus Bregenz, encompassing sculptures and what are often large-scale installations, also adhere to. For the first time, elements of a collection that Edward J. Williams had assembled over many years and which Gates has titled Negrobilia, will be on public display. Williams’ aim was to remove these objects from the market and thus from any obvious visibility. Gates’ multilayered Black Archive and its critical engagement with political issues are addressed in a contribution by Romi Crawford, while Thomas D. Trummer focuses on expounding Gates’ artistic concept underlying the exhibition in Bregenz. Gates himself also provides a rumination on his own artistic practice.
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