The art landscape in Europe is currently showcasing a significant shift as major exhibitions celebrate Black American artists, providing a stark contrast to the cultural climate in the United States. In September 2023, the Elbow Church art space in Amersfoort, Netherlands, hosted a powerful event featuring journalist Nikole Hannah-Jones delivering a lecture beneath the striking works of Nina Chanel Abney. This occasion coincided with the openings of two prominent exhibitions: Jacob Lawrence: African American Modernist and Nina Chanel Abney: Heaven’s Hotline. Together, these exhibitions illuminate the multifaceted narratives of Black American life that the U.S. is increasingly reluctant to acknowledge.
European museums have embraced a wave of exhibitions dedicated to Black American artists this year. Notable shows include Kerry James Marshall at the Royal Academy in London, Lawrence at Kunsthal KAdé in Amersfoort, Abney in both Paris and Amersfoort, and Mickalene Thomas at Les Abattoirs in Toulouse with an upcoming show at the Grand Palais in Paris. This collective effort signals a profound recognition of Black American artistry that feels like a necessary response to the current state of cultural affairs in the United States.
The exhibitions are far from ordinary gallery displays. They represent substantial institutional commitments, with entire floors or even entire museums dedicated to the works of a single artist. These showcases do not shy away from the complexity of Black American experiences; instead, they present a tapestry of histories, resistance, love, labor, and joy without dilution.
At Kunsthal KAdé, audiences are encountering the first comprehensive overview of Jacob Lawrence in Europe. The museum has also commissioned four new portraits of Lawrence by contemporary artist Barbara Earl Thomas, who was both his friend and a former student. This exhibition arrives at a time when American institutions face significant challenges, including a reported decline in federal funding for museums, with one-third losing support since former President Donald Trump took office, according to the American Alliance of Museums.
In July, artist Amy Sherald withdrew her exhibition, American Sublime, from the Smithsonian Institution’s National Portrait Gallery after her depiction of a Black transgender woman as the Statue of Liberty was deemed too controversial. Such incidents underscore the climate of censorship and erasure that Black artists face in the U.S.
Marshall’s exhibition at the Royal Academy stands out for its scale and ambition. It represents the largest survey of his work ever presented in Europe, occupying over 1,000 square meters with more than 70 artworks. His pieces, such as “School of Beauty, School of Culture” (2012), emphasize the importance of Black presence in Western art history, asserting visibility against a backdrop of violence and systemic exclusion faced by Black communities in America.
Mickalene Thomas’s exhibitions in Europe further challenge established narratives. Her show, All About Love, at Les Abattoirs in Toulouse marked her first major exhibition in France. In December, she will open the first significant exhibition by an African-American artist at the Grand Palais in Paris. Her iconic rhinestone portraits celebrate Black womanhood with a vibrancy that is historically rare in major French institutions. In the U.S., however, the unemployment rate for Black women rose to 6.7% in August 2023, reflecting the ongoing economic challenges exacerbated by corporate layoffs targeting long-held positions.
Abney’s Heaven’s Hotline at the Elbow Church addresses themes of religious capitalism and American Christian ideals, juxtaposed against the backdrop of growing extremism in White Christian nationalism in the U.S. These exhibitions across Europe provide a platform for Black American stories that challenge reductive narratives, allowing these artists to assert their individuality and creativity.
The current situation reveals more than just a funding crisis or political cycle; it highlights a nation grappling with conflicting narratives and a struggle over whose stories are prioritized. The history of Black Americans seeking recognition in Europe is not new. Figures like James Baldwin and Richard Wright sought refuge there during times of racial turmoil at home. However, the present moment embodies a broader institutional commitment to amplifying Black American narratives, contrasting sharply with efforts in the U.S. to marginalize them.
As audiences engage with these exhibitions, the conflict between the rich, complex realities of Black American experiences and the attempts to contain those narratives at home becomes strikingly apparent. The significance of who acknowledges these stories and who chooses to look away is profound. This moment in European art serves as a critical reminder of the power of visibility and the importance of memory in shaping cultural discourse.
