theaster gates exhibits decades of black american life in chicago

rebuild foundation exhibits archival works

Rebuild Foundation’s upcoming September exhibition, When Clouds Roll Away: Reflection and Restoration from the Johnson Archive, is set to open on September 12th as both a tribute and a reimagining of the iconic Johnson Publishing Company (JPC). Held at the Stony Island Arts Bank in Chicago, the show will feature a collection of works, including a few never-before-exhibited pieces and a new sculptural work by Theaster Gates, inspired by the JPC archive, which chronicled Black American life for decades through the publications Ebony and Jet. Gates’s installation is notably headlined by the Facsimile Cabinet of Women’s Origin Stories, an extensive photographic collection celebrating the role of Black women, showcasing over three thousand images primarily by photographers Moneta Sleet Jr. and Isaac Sutton.

Gates transforms all three floors of the Stony Island Arts Bank into a contemporary recreation of a publishing company, celebrating the legacy of Johnson Publishing Company, now led by CEO Linda Johnson Rice. By integrating vintage office furniture, artwork, and ephemera from the original JPC headquarters, Gates creates a space that both honors the history of Johnson Publishing and engages visitors in a dialogue about the ongoing relevance of Black media, archives, objects and culture. On view from September 12th, 2024 until March 16th, 2025, the immersive exhibition will extend beyond the visual, incorporating music, a bar and lounge, and writing programs.

Facsimile Cabinet of Women Origin Stories, 2018. Installation view, Colby College Museum of Art. ©Theaster Gates and courtesy of the Artist. Photographs and facsimile prints courtesy Johnson Publishing Company, LLC

engaging with history through participation

The exhibition by Rebuild Foundation is curated with a participatory nature, allowing visitors to interact directly with the archives, rearranging and curating the photographs within the Facsimile Cabinet of Women’s Origin Stories. This installation emphasizes the dynamic role of Black women in shaping American culture and encourages personal reflection and reinterpretation of these images. By doing so, Theaster Gates preserves the historical significance of the Johnson Publishing archives but also reimagines them, making their legacy accessible and relevant to contemporary audiences. The show also demonstrates the enduring power of Black archives in fostering cultural understanding and affirming Black identity.

designboom interviewed Johnson Publishing Company CEO Linda Johnson Rice to learn more about the show’s archive and collections.

Exhibition view of ‘The Black Image Corporation’ by Theaster Gates. 20 September 2018 – 14 January 2019, Fondazione Prada Osservatorio. Photo Delfino Sisto Legnani and Marco Cappelletti Courtesy Theaster Gates Studio.

a dialogue with CEO linda johnson rice

designboom (DB): The Johnson Publishing Company archive is a treasure trove of Black history and culture. How do you feel seeing Theaster Gates draw inspiration from these archives to create new works that will be showcased in this exhibition?

Linda Johnson Rice (LJR): I am filled with joy and gratitude towards Theaster for creating this incredible exhibition When Clouds Roll Away. Theaster’s immense creative ability to reimagine, respect and showcase the artistic collection of Johnson Publishing Company is profound.

DB: Theaster Gates has reimagined the Stony Island Arts Bank as a contemporary Black publishing headquarters in this exhibition. What parallels do you see between this artistic interpretation and the original vision of your father, John H. Johnson, when he founded the Johnson Publishing Company?

LJR: One of the interesting parallels I see between Theaster and my father, John H. Johnson are both black men whose creativity, discipline, and determination to uplift black people in a positive way is a tribute to their heritage. Another connection is the reinvention of the Stony Island Arts Bank and the building of the iconic Johnson Publishing Company (JPC) headquarters. Both buildings are symbols of black culture.

Portrait by Moneta Sleet Jr., 1968. Johnson Publishing Company Archive and Theaster Gates Studio, courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution

(LJR continued): The JPC building house a wonderful collection of African, African American, and Caribbean artists in a building design by a black architect, John Moutoussamy, the first African American architect to design a high-rise building in Chicago. Juxtaposed with the artwork was the incredible interior design encompassing wood panel walls from Mozambique and mid-century design furniture which some are included in the exhibition.

In addition, the Stony Island Arts Bank is the repository of the JPC library with over 15,000 books by black authors, some are first editions and a complete collection of copies of Ebony and Jet magazines.

DB: For When Clouds Roll Away, Theaster Gates has included a participatory installation featuring the Facsimile Cabinet of Women’s Origin Stories. Can you share your thoughts on how this installation reflects the representation of Black women in the archives and its impact on viewers?

LJR: The fundamental foundation of the Black woman and her being the bedrock of Black life is unquestionable. Within the archive the Black woman is elevated, uplifted and praised for her strength, beauty, tenacity and love.

Isaac Sutton, portrait of Eartha Kitt. Johnson Publishing Company Archive and Theaster Gates Studio, courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution

DB: The exhibition will feature newly restored objects, vintage office furniture, and works of art owned by Johnson Publishing. Can you tell us more about the significance of these items and how they represent the legacy of Johnson Publishing Company?

LJR: The uniqueness of the furniture, light fixtures, fabrics, art and artifacts all dovetail together to create the historical tableau of JPC. Such design elements include a custom-made red leather IBM typewriter embossed in a crocodile pattern created to match our reception desk. Theaster has redesigned the light fixtures in my father’s office as wall art. The carpet patterns have been re-imaged and reinstalled in a brilliant way within the Arts Bank. Each carpet was unique and was designed specifically for individual floors. Theaster has curated the JPC collection with class and style.

Facsimile Cabinet of Women Origin Stories, 2018. Installation view, Colby College Museum of Art. ©Theaster Gates and courtesy of the Artist. Photographs and facsimile prints courtesy Johnson Publishing Company, LLC

DB: Theaster Gates has been a longtime steward of the Johnson Publishing archives. How has his relationship with the archives evolved over the years, and how has that influenced this particular exhibition?

LJR: I trust Theaster with the preservation of a significant part of the JPC legacy. As the JPC headquarters was being sold, I realized that we did not have space to house the vast library of books. Theaster and I agree that as he was renovating the Stony Island Arts Bank, that it would be a repository for the JPC library. In addition, to preserve the JPC library, I entrusted Theaster with the preservation and recreation of the JPC interiors. This was no easy feat! He has surpassed my expectations in respecting what my parents, John H. Johnson and Eunice W. Johnson created within the walls of JPC.

DB: The Johnson Publishing Company has played a crucial role in affirming Black identity and history. How do you see this exhibition by Theaster Gates contributing to ongoing conversations about the importance of Black cultural archives and their preservation?

LJR: I believe this exhibition will stir thought provoking conversation regarding Black history, legacy and preservation for all who are privileged to experience this collection. I hope that young people will be able to see the exhibition and have a sense of the impact of Johnson Publishing Company on the national and international scene. The collection is a beacon of hope and inspiration for everyone.

Photograph by Moneta Sleet Jr., 1969. Johnson Publishing Company Archive and Theaster Gates Studio, courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution

DB: What do you hope visitors take away from When Clouds Roll Away, especially those who may not be familiar with the rich legacy of Johnson Publishing Company and its impact on American media and culture?

LJR: I hope that people will understand what my parents built and how during such difficult times, starting in the early 1940s with drive and determination, they built a publishing empire. They showcased Black people with a sense of pride and purpose. They show that Black people have values and are to be valued, with respect and dignity.

1/6

Isaac Sutton, contact sheet for Johnson Publishing Company, 1967. Johnson Publishing Company Archive and Theaster Gates Studio, courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution

Isaac Sutton, n.d. Johnson Publishing Company Archive, courtesy Ford Foundation, J. Paul Getty Trust, John D. and Catherine T. MacArthur Foundation, Andrew W. Mellon Foundation, and Smithsonian Institution

Johnson Publishing Company Offices on Michigan Avenue, Chicago, 2016. Photo: Jacob Hand. Courtesy Theaster Gates Studio, Linda Johnson Rice, Johnson Publishing Company, LLC.