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Audio Transcript

Tonal Simmons, Narrator (they/them)

Clouds roll in and out, intensely and calmly, impacting the wind. It all indicates a change in the weather. 

So, when I asked Theaster Gates why he chose When Clouds Roll Away as his exhibition title for showcasing the Johnson Publishing Company Archives, I wanted to know what these clouds meant to him. 

Theaster Gates, Artist (he/him)

When I first received the collection, it was right around the time that Johnson Publishing was about to be shuttered, they had announced the bankruptcy. Things were extremely dire, and it felt like there was a dark cloud over the estate. The kind of beauty of time passing was that we had time to then restore these objects, give meaning to them in a way, when clouds roll away, is like the tribute moment that like, okay, the dark clouds have passed. The sun is out again,and Johnson remains important to the city of Chicago, and the Black world.

Tonal Simmons

The Johnson Publishing Company was a cornerstone of Black media for over seventy years, shaping culture through iconic publications like the Ebony and Jet magazines.

Born and raised on Chicago’s South Side, artist Theaster Gates’s work spans spatial theory, performance, sculpture, and urban transformation. The Stony Island Arts Bank, one of Gates’ spaces, showcases objects, art, and books from the 15,000 items donated to the Rebuild Foundation in 2019—archives that have since been reinterpreted and revived under his care.

Through this exhibit, the Stony Island Arts Bank becomes a landscape where clouds lift, if only for a moment, and the sun—or the people—embody hope after the storm. As attendees share their reflections, we hear stories of vulnerability, dreams, and renewal from Black Chicago, such as those of attendee Nia Robinson, who waited in line for close to an hour for the doors to open. She shares how the exhibit captures the full spectrum of Black experiences—from the vibrancy of fashion and beauty to the layered realities of colorism. 

Nia Robinson, Attendee (she/her)

Black culture in Chicago is just how I was raised—it’s all I know, honestly, and something that I carry with me. And when I look around this exhibit, I see a range of what it means to be Black. I see the hair, I see the fashion, I see the beauty, but then, you know, I also see a lot of the more painful parts of it, for example, like colorism. I think other than that, it’s really cool to see objects that were owned by other Black people because I feel like, in general, and in Black culture, we don’t get to keep our objects a lot. The woman I walked in with was talking about how when she was a kid, she used to come to this bank with her mom, and now it’s completely different. And I think a lot about the West Side and how much a lot of people from there would love to have their monuments turned actually into monuments.

Tonal Simmons

Black people and other historically marginalized people must have access to their objects to archive them for themselves, their families, and for exhibits like When Clouds Roll Away.

Upon entering the gallery is the Facsimile Cabinet of Women Origin Stories, a striking structure that embodies the essence of Black womanhood and the diverse narratives shaping women’s lives. Within this cabinet are 4,000 images that invite interaction, allowing visitors to slip on white gloves and examine each piece closely, handling and rearranging them as they wish. I could see the subtle markings left from final image selections and the images that didn’t make it to print—a quiet reminder of the many stories and faces, preserved yet unseen, that form the foundation of this archive.

At the far end of the facsimile stood two sisters, Taylor and Alex Thompson, laughing and exploring the photos together. Taylor shared with me how she felt a strong connection when she spotted archival images of Black nurses, a joyful moment since her sister Alex is studying to be a doctor. 

Taylor Thompson (she/her)

Well, honestly, I got chills. The hairs are standing up on the back of my neck. I’m actually here with my sister, who’s studying to be a doctor, and I just pulled out a picture. We had some, like, I believe they were Black nurses, but they’re in a hospital, and so like being able to see Black medical professions going back decades, just like speaks to the legacy that we’re continuing to build on in spaces like this and beyond.

Tonal Simmons 

What about you, how do you feel?

Alex Thompson (she/her)

Yeah, I’m Alex Thompson; it’s really beautiful to see Black people gather together and create community. I think a lot of these images we see like our grandma or like our great auntie or something like that, and you know, it like, makes us want to tell stories and share our lives with each other. So I think we need spaces like this so we can just get to know each other more while looking at the past.

Tonal Simmons, Narrator (they/them)

Both sisters felt a sense of homecoming in this space, especially as Woodlawn locals, finding echoes of community and history in each image they encountered.

As we move further into the atrium, the space comes alive with bold colors and furniture that embody JPC’s unmistakable style. Hand-bound magazines, meticulously displayed in vibrant bindings, mirror The Johnsons’ design aesthetic. Curious about the object selections from the archives, I asked Gates to tell me more about the chosen pieces.

Theaster Gates (he/him)

If I had to give some through line to you know, the ambition of this show, I think first, I wanted to celebrate the kind of design intentionality of Eunice and John Johnson, that they had impeccable taste and that they chose the best designers and architects to work with so that the impression they could make as a Black, pioneering, entrepreneurial publishing house would be significant and deep. I wanted people to see that intelligence, that kind of hyphenated brilliance, and I think the second through line has more to do with Linda Johnson Rice. Kind of heir to the estate, Linda was generous enough to imagine these objects from her family’s business were important enough to save.

Tonal Simmons, Narrator (they/them)  

All three floors were distinct and carefully curated, so I asked how he decided where to place each piece from the collection.

Theaster Gates (he/him)

There was some architectural factors that weighed in on kind of where furniture could go, what we could get upstairs, what we couldn’t get upstairs. And so, in addition to being very colorful, the words that are on the ground floor are also the most weighty. They’re heavier, they’re bulkier. And we wanted to kind of use the big atrium as the kind of grand hall of particular vignettes of Johnson Publishing. 

The vignettes are, you know, the furniture combined with other things that I have in my collection. Kerry James Marshall photographs, you know, there’s an Ellsworth Kelly drawing, there’s a Barkley Hendricks drawing, and there’s just these things that are of the same era, you know, the 70s and 80s that kind of make their way in. So I thought the atrium was kind of a great place for both the facsimile cabinet and its bulk, and then these vignettes.

Tonal Simmons

Ascending to the second floor, we enter a more intimate setting that resembles an office, with rich, dark wood cabinetry and desks once used by executive assistants. There were art pieces, but the biggest draw was the library in a glass room at the back of the space, including books from the in-house library used by JPC editors and writers.

Exiting the library, I met Neek and Nia, a couple who expressed their emotional connection to the collection. First, Nia noted the diverse narratives that come to life in this space.

Nia, Attendee (she/her)

It reminds me that Black isn’t a monolith. We’re represented in every way. We’re experienced at different levels, whether it be writing, beauty, music, [or] everything. So, Black is everything.

Tonal Simmons

When I asked if they’d touched the books in the library or the images in the facsimile, Neek laughed, said he couldn’t bring himself to do so. 

Neek, Attendee (he/him)

I have so much respect for this art that I haven’t touched anything. I’ve just been observing, respecting, and honoring it, you know, and just glad to be a part of it.

Tonal Simmons

The third floor is a nostalgic homage to John Johnson’s fitness room and massage parlor. It is a primarily open space illuminated by large windows that flood the room with natural light. During the opening reception, a tap dancer took full advantage of the area, their rhythmic steps resonating throughout the atrium and filling the space with echoes of movement and life.

This vibrant energy of the show starkly contrasts JPC’s challenges as the twenty-first century dawned. With technology transforming media consumption, sales declined, leading to JPC’s decision to file for bankruptcy and sell its assets. For many, memories of JPC’s influence are deeply personal. I recall sitting on my friends’ and grandma’s bathroom floors, flipping through Ebony magazines, captivated by the vibrant images of Black women and bright colors.

As I listened to the reflections of other attendees during the exhibit, Rob’s words resonated with me. He shared his thoughts about the people who used to work at JPC.

Rob, Attendee (he/him)

I remember when the Johnson Publishing building was on Michigan Avenue. It had been there for as long as I’ve been alive. I went to school nearby, at Columbia. I remember it closing. Jet was part of my parents’ and grandparents’ households. The connection really resonates with me. With the office closed, where do the people go? Where do the things go? This is all part of our history. It’s incredible to see and even touch some of it.

Tonal Simmons

These sentiments of nostalgia and connection to the past are echoed by Reta Ford, a resident of South Shore for over 60 years, who shared her thoughts on the restoration of the bank and its impact on the surrounding neighborhoods.

Reta Ford, Attendee (she/her)

I am so pleased to see the changes being made. When we first moved here, 71st Street felt like the Loop. Now, I see hope for it coming back and being restored as a bright community. I came to one of the exhibits when it was first turned over, and we saw the books up here. You could see it from the first floor, and I wanted to explore everything, but I’m glad that they have this open now, and everybody can enjoy it. It’s beautiful.

Tonal Simmons

The stories of loss and redemption resonate in our shared experiences of this show and the world, reminding us that preserving Black culture is not just an act of nostalgia; it is a vital endeavor for future generations. Like many residents, I, too, wonder what could’ve happened if more people knew that Johnson Publishing Company was facing bankruptcy. What if the Black community were given the space and financial means to show up for Black art and media genuinely and sincerely? How would we then be able to be memorialized?

Just like when clouds roll away to reveal the sun, sharing our history through exchanging personal and historical archives offers warmth and illumination to ourselves and those who come after us. 

This story was recorded and edited by me, Tonal Simmons. To follow more of my work, visit www.tonalscorner.com or find me on Instagram at @tonals.corner. For more resources surrounding archival work, I encourage you to explore Sixty Inches from Center and Kinkofa Genealogy.

Thank you to all the attendees who shared their stories, to Theaster Gates and his team for their time, and to my editor, Livy Snyder, and Sixty Inches from Center for their support. Guests can view works from When Clouds Roll Away: Reflection and Restoration from the Johnson Archive at the Stony Island Arts Bank through March 16, 2025.

Thanks for listening! Take care.

Resources: 

“CollectingTheaster Gates,” Art21, June 9, 2017: https://art21.org/watch/extended-play/theaster-gates-collecting-short

Stephi Wild, “Theaster Gates & Rebuild Foundation Convene for 10-year Anniversary of Black Artists Retreat,” Broadway World, October 5, 2023: https://www.broadwayworld.com/chicago/article/Theaster-Gates-Rebuild-Foundation-Convene-for-10-year-Anniversary-of-Black-Artists-Retreat-20231005

“Theaster Gates Organizes A Johnson Publishing Story, An Exhibition Examining the Legacy of the Johnson Publishing Company,” Terra: Foundation for American Art, April 9, 2018: https://www.terraamericanart.org/2018/04/09/23850/

“Theaster Gates: Facsimile Cabinet of Women Origin Stories,” William D. Adams Gallery, https://museum.colby.edu/exhibition/theaster-gates-facsimile-cabinet-of-women-origin-stories/

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