Theaster Gates, born in 1973 in Chicago, is a contemporary artist celebrated for his innovative use of discarded materials and his focus on social issues, particularly those impacting African American communities. His 2012 piece, “Civil Tapestry (High Yellow),” showcased at Frieze in NYC, exemplifies his unique approach. Crafted from decommissioned fire hoses, the piece measures 60 × 83 x 3 inches and is part of Gates’ “Civil Tapestry” series. This series references the use of fire hoses against civil rights protesters in Birmingham, Alabama, in 1963, transforming these materials into powerful symbols of resilience and ongoing social struggles.

Water hoses turned on high school students, Birmingham, Alabama 1963. Charles Moore, photographer. Life Magazine 1963.

Gates’ work in the “Civil Tapestry” series can be seen as a continuation of the Arte Povera movement, which also utilized everyday materials to create art that critiqued societal norms. Similar to Arte Povera artists like Giovanni Anselmo and Michelangelo Pistoletto, Gates uses minimalistic and often discarded materials to draw attention to larger socio-political issues. For instance, Anselmo’s “Untitled (Eating Structure)” (1968) and Pistoletto’s “Venus of the Rags” (1967) both challenge traditional art forms and question material value in art.

The piece’s title, “High Yellow,” is particularly evocative, referring to a term historically used within the African American community to describe lighter-skinned individuals. This title, combined with the materials used, adds layers of meaning to the work, prompting viewers to reflect on issues of race, identity, and history. Gates’ choice of names for his artworks is crucial, as it encapsulates complex themes and enhances the viewer’s understanding and engagement with the piece. The naming process is a significant aspect of conceptual art, as it often sets the tone and context for the viewer’s interpretation.

Gates’ portfolio is extensive, including notable exhibitions such as “My Labor Is My Protest” at the White Cube Gallery in 2012, where he addressed the ongoing struggle for civil rights through a variety of mediums including sculpture and performance. His works have been displayed in prominent venues such as the Whitney Biennial and dOCUMENTA (13), further solidifying his influence in contemporary art.