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Notes
1 Carol Becker, “Interview,” in Theaster Gates, ed. Theaster Gates, Carol Becker, Lisa Yun Lee, and Achim Borchardt-Hume (London: Phaidon, 2015), 8.
2 Here, “liturgy” capaciously refers to (1) Christian corporate worship patterns and rituals of and for the people of God, (2) its original meaning leitourgia, which describes patrons’ works to benefit the public, and (3) Smith’s expanded definition of “liturgy” in Desiring the Kingdom, which includes all cultural practices in and outside of the church, and how these works both manifest and shape people’s beliefs. James K.A. Smith, Desiring the Kingdom (Grand Rapids: Baker Books, 2009).
3 Faith communities have initiated preschool programs, job-training initiatives, and educational opportunities. Some churches have even established business enterprises and employed financial lending alternatives in order disrupt the cycle of poverty caused by racial inequalities.
4 Jessica Klingelfuss, “Theaster Gates Hits All the High Notes in Bristol’s Temple Church,” Wallpaper*, October 30, 2015, http://www.wallpaper.com/art/theaster-gates-sanctum.
5 Matthew Jesse Jackson, “The Emperor of the Post-Medium Condition,” in Theaster Gates: 12 Ballads for Huguenot House, ed. Michael Darling, Matthew Jesse Jackson, and John Preus (Köln: Walther Konig, 2012), 19.
6 Theaster Gates, “Theaster Gates: Soul Food Pavilion,” Smart Museum of Art, February 24, 2012, Vimeo, http://vimeo.com/37407879.
7 Diane Solway, “The Change Agent,” W 42, no. 6 (June 2013): 96.
8 Cláudio Carvalhaes, What’s Worship Got to Do with it? Interpreting Life Liturgically (Eugene: Cascade Books, 2018), 14.
9 Karl Rahner, Theological Investigations, vol. 4, More Recent Writings (Baltimore: Helicon Press, 1966), 224.
10 Rahner, 4:225 and 4:229.
11 Rahner, 4:225.
12 Rahner, 4:229–30.
13 Rahner, 4:228.
14 Gates, “Theaster Gates: Soul Food Pavilion” (see n. 6).
15 Carvalhaes, 8 (see n. 8).
16 Regis Duffy, Real Presence: Worship, Sacraments, and Commitment (New York: Harper & Row, 1982), 17–19.
17 Duffy, 3.
18 Carvalhaes, 14 (see n. 8).
19 Theaster Gates, “Artist Talk: Theaster Gates—But to Be a Poor Race,” conversation with Hamza Walker, Regen Projects, Los Angeles, January 15, 2017.
20 See James Cone, Black Theology and Black Power (San Francisco: HarperSanFrancisco, 1989), 2: “It is called survival because it is a way of remaining physically alive in a situation of oppression without losing one’s dignity.”
21 Barbara Holmes, Joy Unspeakable: Contemplative Practices of the Black Church (Minneapolis: Augsburg Fortress, 2004), v.
22 Holmes, 14–15.
23 Shannon Jackson, Social Works: Performing Art, Supporting Publics (New York: Routledge, 2011), 140.
24 Andrew McGowan, Ascetic Eucharist: Food and Drink in Early Christian Eucharistic Ritual Meals (Oxford: Oxford Univ. Press, 1999), 5.
25 Rahner, 4:230–31 (see n. 9).
26 This notion of monumental presence is derived from Henri Lefebvre, The Production of Space (Oxford, UK: Blackwell, 1991), 224.
27 Rahner, 4:245 (see n. 9).
28 Petra Kuppers, Community Performance: An Introduction (New York: Routledge, 2007), 20.
29 Solway, 96 (see n. 7).
30 Catherine Pickstock, “Liturgy, Art, and Politics,” Modern Theology 16, no. 2 (April 2000): 179.
31 Pickstock, 167.
32 Bell Hooks, All About Love: New Visions (New York: Harper Perennial, 2001), 83.
33 Hooks, 77.
34 Theaster Gates, interview by Tom McDonough, BOMB 130, December 10, 2004, http://bombmagazine.org/article/2000073/theaster-gates.
35 Jeffrey Vanderwilt, A Church without Borders (Collegeville, MN: Liturgical Press, 1998), 18. Vanderwilt notes that it is the Holy Spirit’s task to change persons at both Christ’s table and their own tables.
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Maria Reyes Fee
Maria Fee, an artist who explores fragmentation, cultural mixing, alienation, and hospitality, is adjunct professor of theology and culture and the director of Fuller Seminary’s Brehm Cascadia program. Her forthcoming book is Making Home: Theology, Hospitality and the Art of Theaster Gates.