Mixed Race Studies

Theaster Gates illuminates the dark history of Maine’s interracial exiles

Document Journal
2019-03-18

Ann Binlot

For his first solo museum exhibition in France at Palais de Tokyo, Theaster Gates explores America’s dark forgotten past through the interracial exile of Malaga Island.

“Nothing is pure in the end… A sea of wood, An island of debate. Can an exhibition start to shift the negative truths of the history of a place?”

Theaster Gates has exemplified the meaning of social practice in his work, creating new models for building community while bringing awareness to both the historical and present-day struggles of black America. In Amalgam, his first solo museum exhibition in France at the Palais de Tokyo in Paris, the Chicago-based artist shed light on Malaga Island, a 41-acre island located at the mouth of the New Meadows River in Casco Bay, Maine. The island was a fishing hamlet, home to an interracial community born out of the Civil War until 1912, when the Maine governor Frederick Plaisted forced its poorest population, a group of about 45 mixed-race individuals, off the island. Some relocated in Maine, while others were involuntarily committed to psychiatric institutions. Ashamed to be associated with the island and the stigma that came with being from there, many of its descendants feared speaking about the incident, which stemmed from racism and classism…

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Theaster Gates on how his new show was inspired by the eviction of 45 people from an island in Maine

The Art Newspaper
2019-02-01

Anna Swansom

Theaster Gates ©Theaster Gates; Photo: Julian Salinas

The Chicago-based artist’s exhibition in Paris examines the forced removal in 1911 of the inhabitants of Malaga Island

The US artist Theaster Gates has taken the eviction of a mixed-race community from a small island in Maine as the starting point for his first solo exhibition in France, opening this month at the Palais de Tokyo. In 1912, 45 people from Malaga Island were evicted by the state authorities and eight of them were committed to the Maine School for the Feeble-Minded following the state’s purchase of the island in 1911. The island, a poor fishing village of black, white and mixed-race people, was ridiculed in a Maine newspaper as a “strange community” of “peculiar people”; its eviction has recently been described by a US documentary as having been motivated by economics, racism, eugenics and political retribution.

Through new works including sculptures, a film and a video, the Chicago-based artist has developed the wide-ranging project and exhibition, Amalgam, which explores the complexity of interraciality and migratory histories. The show has been organised by Katell Jaffrès and has received support from Regen Projects, Richard Gray Gallery and White Cube.

The Art Newspaper: How did you become interested in the history of Malaga Island and how did this lead to Amalgam?

Theaster Gates: I had started a residency in 2017 at Colby College in Maine and was visiting a friend who said there was this important, not well-known history about this island that used to have black and mixed-race people that were evicted. We were in a boat and he suggested having lobsters on the adjacent island before checking it out. So I learned of it quite leisurely and then started to do research.

The idea of interracial mixing led to the creation of a sculptural form, “amalgam”: a by-product of what happens when one artistic form from history meets another one to create a new kind of work. I wanted to create a bridge that would make people more curious about this island and for people who are of mixed race and from backgrounds where their parents are of different religions, I wanted Malaga to be a place where all mixes felt that they had a home. The beauty of mixing is one of the cornerstones of the exhibition…

Read the interview article here.

Paradox: Identity and Belonging

Ceramics Monthly
March 2017

Heidi McKenzie, Ceramic Artist
Toronto, Ontario, Canada

I was in the room when Chicago-based artist Theaster Gates delivered his keynote speech at the National Council on Education for the Ceramic Arts (NCECA) conference in Milwaukee, Wisconsin, in 2014. Among many things, he spoke about his sense of isolation working as a black artist in an otherwise white-dominated creative milieu. He asked people in the audience who self-identified as African American to stand up. When fewer than 40 people in a room of 4000-plus stood up, I was shaken. I recognized that this was a physical expression of a deeply rooted sense of disenfranchisement, on both collective and personal levels. Gates put the discomfort of race on the table. It was a call to action.

I organized a panel of mixed-race ceramic sculpture artists whose work speaks to issues of race and identity titled “Paradox: Identity & Belonging” for NCECA’s 50th anniversary conference in Kansas City, Missouri, last spring. Fellow Canadian, Brendan Tang, as well as Americans Jennifer Datchuk and Nathan Murray joined me on stage. Their words cut deeply into the personal journeys of many in the audience who stayed and shared with us for over an hour after the panel discussion, a conversation that moved onto a gathering of more than 20 at a local eatery. The synergies, revelations, and resonances were powerful, walls came tumbling down, and for a moment in time there was a collective sense of empowerment, a feeling that we’re all in this together, sifting through the paradox of mixed race…

Read the entire article here.