As I stepped into the Elbow Church art space in Amersfoort, Netherlands, a shift occurred within me. Journalist Nikole Hannah-Jones delivered a powerful lecture beneath Nina Chanel Abney’s striking installations, highlighting narratives of Black American life that the United States seems to be turning a blind eye to. The exhibitions of Jacob Lawrence and Nina Chanel Abney in Amersfoort opened on the same evening, showcasing the breadth of Black American artistic vision in a way that demanded attention and reflection.
This year, four major European museums simultaneously hosted exhibitions of Black American artists, including Kerry James Marshall, Mickalene Thomas, Jacob Lawrence, and Nina Chanel Abney. These ambitious shows were not mere gallery exhibitions but massive institutional commitments, dedicating entire floors and museums to a single artist’s work spanning decades. These exhibitions unabashedly documented the various facets of Black American life, from history and resistance to love and joy, without any need for justification or translation.
In Amersfoort, the Kunsthal KAdé presented Jacob Lawrence in his first European overview, accompanied by four new portraits of Lawrence by contemporary artist Barbara Earl Thomas. The juxtaposition of groundbreaking shows in Europe with the deteriorating institutional support and social infrastructure in the United States is a stark contradiction.
The exhibition of Kerry James Marshall at the Royal Academy in London took on added significance in the current climate of censorship and erasure in the US. Marshall’s monumental paintings assert the presence of Black individuals in Western art history, even as systemic injustices continue to plague American communities.
Mickalene Thomas’s exhibitions in Europe, particularly “All About Love” at Les Abbatoirs in Toulouse, challenged traditional narratives and celebrated Black women with striking rhinestone portraits. These shows resonated with European audiences while highlighting the struggles faced by Black women in the US, particularly in the workforce.
Nina Chanel Abney’s “Heaven’s Hotline” at the Elbow Church tackled issues of religious capitalism and Christian ideals, mirroring the rise of White Christian nationalism in the US. These exhibitions across Europe offered a counter-narrative to the simplistic and often distorted stories perpetuated in mainstream media.
As I walked through these exhibitions, I couldn’t help but feel the stark contrast between the nuanced and complex portrayals of Black American experiences and the attempts at containment and erasure happening back home. The recognition and support that these artists receive in Europe underscore the importance of bearing witness to these stories and acknowledging the power and resilience of Black American narratives.
This moment serves as a turning point in deciding which American stories are amplified and remembered. It is a reminder that who chooses to look away and who chooses to engage will shape the narrative of our collective history.
