The art world is witnessing a significant cultural exchange as European museums elevate the narratives of Black American artists at a time when the United States grapples with issues of representation and censorship. In September 2023, the Elbow Church art space in Amersfoort, Netherlands, hosted a powerful lecture by journalist Nikole Hannah-Jones, coinciding with the opening of two major exhibitions: Jacob Lawrence: African American Modernist and Nina Chanel Abney: Heaven’s Hotline. These exhibitions highlight the complexity of Black American life, showcasing artistic expressions that the U.S. increasingly neglects.
This year, four prominent European museums launched ambitious exhibitions dedicated to Black American artists. These include Kerry James Marshall at the Royal Academy in London, Jacob Lawrence at Kunsthal KAdé in Amersfoort, Nina Chanel Abney in both Paris and Amersfoort, and Mickalene Thomas at Les Abattoirs in Toulouse, with an upcoming showcase at the Grand Palais in Paris. Collectively, these exhibitions signal a long-overdue recognition of Black American contributions to the arts.
At Kunsthal KAdé, Dutch audiences experienced Jacob Lawrence in his first comprehensive European exhibition. The museum commissioned new portraits of Lawrence by contemporary artist Barbara Earl Thomas, a friend and former student. This display spans decades of Lawrence’s work, offering a multifaceted view of Black American narratives, including themes of love, resistance, and joy, presented unapologetically.
In stark contrast, this surge in recognition of Black American artists in Europe coincides with troubling developments in the U.S. For example, in July 2023, Amy Sherald withdrew her exhibition American Sublime from the Smithsonian Institution’s National Portrait Gallery after her portrayal of a Black transgender woman as the Statue of Liberty was deemed too controversial. Additionally, the American Alliance of Museums reported that one-third of U.S. museums have lost federal funding since the Trump administration took office, with significant cuts affecting programs for underserved communities.
Marshall’s exhibition at the Royal Academy is particularly significant, showcasing over 70 works across more than 1,000 square meters. His art emphasizes the importance of Black presence in Western art history. Works like “School of Beauty, School of Culture” (2012) assert visibility at a time when many Black Americans face systemic challenges, including violence and deportation without constitutional protection.
Equally impactful, Mickalene Thomas is breaking new ground in Europe with her exhibition All About Love at Les Abattoirs in Toulouse, marking her first major show in France. She is set to open the first major exhibition by an African-American artist at the Grand Palais in December 2023. Her vibrant rhinestone portraits of Black women, including “Le Dejeuner sur l’herbe: Les trois femmes noires” (2010), challenge historical norms within major French institutions.
Abney’s exhibition at the Elbow Church offers a critical perspective on religious capitalism and American Christian ideals, particularly in the context of rising white Christian nationalism in the U.S. These exhibitions not only celebrate Black American artistry but also confront the complex realities of systemic oppression, joy, and resistance.
As European museums increasingly commit to showcasing Black American narratives, the juxtaposition with the current state of affairs in the U.S. becomes more pronounced. Walking through these exhibitions reveals a stark contrast between the vibrant, multifaceted realities of Black American experiences and the ongoing efforts to suppress these narratives at home.
This moment in history raises critical questions about whose stories are deemed worthy of celebration and remembrance. The commitment of European institutions to elevate these voices offers a glimmer of hope amid the challenges faced by Black American artists and communities. As audiences engage with these powerful narratives, the implications for both sides of the Atlantic become increasingly relevant, prompting reflection on the broader struggle for recognition and representation in the arts.