A significant cultural shift is underway as leading European museums elevate the work of Black American artists at a time when their narratives face growing challenges in the United States. In September 2023, the Elbow Church art space in Amersfoort, Netherlands, hosted a pivotal event featuring journalist Nikole Hannah-Jones and the exhibitions of Jacob Lawrence and Nina Chanel Abney. These exhibitions collectively present a comprehensive view of Black American experiences that the U.S. seems increasingly reluctant to embrace.
Two exhibitions opened that evening: “Jacob Lawrence: African American Modernist” and “Nina Chanel Abney: Heaven’s Hotline.” Together, they represent a rich tapestry of Black American artistic expression, blending historical narratives with contemporary critiques. The ambitious scale of these exhibitions reflects a deeper commitment to highlighting Black American voices, a contrast to the current atmosphere of censorship and erasure in the U.S.
European Institutions Champion Black American Narratives
This year has seen a remarkable surge in European museums showcasing major works by Black American artists. Notable exhibitions include Kerry James Marshall at the Royal Academy in London, Lawrence at Kunsthal KAdé, Abney in both Paris and Amersfoort, and Mickalene Thomas at Les Abattoirs in Toulouse, with a forthcoming show at the Grand Palais in Paris. These exhibits are not mere side projects; they occupy entire floors and sometimes entire museums, showcasing hundreds of works spanning decades.
At Kunsthal KAdé, visitors encounter Lawrence’s first comprehensive exhibition in Europe. The museum commissioned four new portraits of Lawrence from contemporary artist Barbara Earl Thomas, adding a personal touch to the historic showcase. This extensive presentation underscores a commitment to documenting Black American life in all its complexity, including themes of love, resistance, and joy.
The timing of these exhibitions coincides with a troubling decline in support for arts and culture within the United States. Recent reports indicate that one-third of American museums have lost federal funding since the Trump administration took office, leading to substantial program cuts, particularly for marginalized communities. In July, Amy Sherald withdrew her exhibition “American Sublime” from the Smithsonian Institution’s National Portrait Gallery after her depiction of a Black transgender woman was deemed too controversial.
A Cultural Contrast: Europe vs. America
The contrast is stark: while European institutions are making significant investments in Black American art, American cultural policies are increasingly restrictive. Kerry James Marshall’s exhibition at the Royal Academy, the largest survey of his work ever presented in Europe, features over 70 artworks across more than 1,000 square meters. His pieces, like “School of Beauty, School of Culture” (2012), assert the importance of Black presence in Western art history amid a backdrop of violence and displacement affecting Black communities in the U.S.
Similarly, Mickalene Thomas‘s exhibitions in Europe challenge traditional narratives of art history. Her show “All About Love” at Les Abattoirs was her first major exhibition in France, and she is set to make history with the first major exhibition by an African American artist at the Grand Palais in December. Her striking rhinestone portraits of Black women reflect a celebration of identity and authority that is often overlooked in mainstream U.S. art institutions.
Abney’s “Heaven’s Hotline” at the Elbow Church critiques religious capitalism and American Christian ideals, highlighting a growing tension as white Christian nationalism gains traction in the U.S. Each of these exhibitions provides a platform for Black American artists to tell their own stories, resisting oversimplification and asserting their place in the broader artistic dialogue.
The commitment of European museums to showcase Black American narratives is not a new phenomenon. Historical figures like James Baldwin and Richard Wright sought refuge in Europe during times of intense racial strife in the U.S. However, the current wave of exhibitions marks a broader, systemic acknowledgment of Black American contributions to the arts.
As audiences traverse these exhibitions, they encounter a complex interplay of experiences, confronting themes of erasure and brutality, alongside joy and resilience. This cultural moment raises questions about the future of Black American narratives in the U.S. and the role of European institutions in preserving and promoting these vital stories.
The ongoing evolution of how Black American art is perceived and valued reflects a larger societal struggle over whose narratives are prioritized. The choices made today regarding which stories are told and celebrated will resonate for generations to come.
