African sculpture and Black abstraction show in New York

A new exhibition titled “Urhobo + Abstraction” brings 19th-century African carvings and contemporary Black art together in Manhattan. Held at Adam Lindemann’s private residence, it features five Urhobo wood sculptures from the Niger Delta, displayed for the first time in the U.S., alongside works by Ed Clark, Norman Lewis, Alma Thomas, and others. The show runs until June 2025, highlighting a growing interest in African and Black art in the U.S. Sure, it’s in a private space, but the quality and significance are undeniable.

Beyond Aesthetics: The Cultural Significance

And let’s move on, this isn’t just about pretty objects. The exhibition is curated in collaboration with Bernard de Grunne, a specialist in African art, who helped source some of the pieces from private collections in Belgium and the U.S. It’s a reminder that these works aren’t just decorative — they carry complex histories and cultural weight. Meanwhile, the upcoming reopening of the Metropolitan Museum’s Michael C. Rockefeller Wing later this year signals institutional recognition; that wing will be reimagined to better showcase African art and its history. I find that interesting!

Institutional Shifts and Curatorial Perspectives

On the other hand, exhibitions like “The Shape of Power” at the Smithsonian explore how sculpture reflects social attitudes. Their collection spans over two centuries, illustrating how art responds to and shapes ideas about race. It’s a stark contrast to the private show in Manhattan, yet both serve the same purpose: to deepen understanding. By the way, they also say that the focus on African and Black art is no longer marginal; it’s becoming central in American cultural conversations.

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The Significance of the Urhobo Carvings

Now, digging into the specifics, those five Urhobo carvings are significant. Not just because they’ve been shown together for the first time, but because they reveal a different aspect of African artistry — one rooted in community and spiritual life. These are not just art objects but vessels of tradition, craftsmanship, and belief. It’s tempting to dismiss them as “primitive,” but that’s a lazy view. Sure, the carvings are simple in form, but their meaning runs deep.

Connecting Past and Present Through Art

And here’s the thing: contemporary Black abstraction isn’t a coincidence. Artists like Alma Thomas and Norman Lewis have long explored themes of identity, history, and social commentary through their work. Their inclusion alongside the African sculptures makes a statement. It’s as if the past and present are having a conversation, even if only in a gallery. I’ve always believed that understanding the origins of these works enriches their appreciation.

The Future of African and Black Art in Mainstream Culture

As I think about all this, I wonder how much this trend will influence mainstream museums — and whether it’s just a passing phase or a true shift. The fact that collectors like Lindemann are hosting these shows privately might suggest they’re still trying to gauge public interest. But I’m convinced that the cultural significance is undeniable. These works challenge us to rethink notions of beauty, value, and history.

Art as a Social Dialogue

And let’s not forget the broader context: African art and Black abstraction are increasingly seen not just as aesthetic objects but as part of a social dialogue. They’re tools to explore race, power, and identity. This exhibition underscores that, especially in a city like New York where art and social issues collide daily.

Final Thoughts: The Power of Presentation

To get something out of all this: pay attention to how these works are presented. Whether in a museum or a private residence, their message is powerful. Look beyond the surface. Question what you see, and don’t dismiss the historical weight behind each piece. The connection between 19th-century African carvings and contemporary Black artists isn’t accidental. It’s a conversation worth listening to.

What do you think? Do you believe this renewed interest will reshape how we view African and Black art in the mainstream? Or is it just a fleeting trend? Comment! I read you. And if you want to learn more, check out my other articles — I promise, there’s always something new to discover.

Marc Lefevre

Since I was a child I have been passionate about art, the painters of all my life, the classic works of art that bored all children. I have practically spent a lifetime surrounded by art, working from a very young age as a gallery owner and later as a teacher. I love to teach and to extract the most intimate part of the artists and their works. I also love discovering new artists.