At the Chrysler Museum of Art, Norfolk, VA

October 7, 2022 — January 8, 2023

The exhibition will explore the connection between African American artist Jacob Lawrence and his contemporaries based in the Global South through the Nigerian journal Black Orpheus.

The exhibition features over 125 objects, including Lawrence’s little-known 1964–65 Nigeria series, works by the artists featured in Black Orpheus, archival images, videos, and letters.

The Mbari Artists & Writers Club was an artistic organization of Nigerian-based artists, writers, and dramatists promoting modern African and international artistic practice. The core of the exhibition centers on the Mbari arts and culture magazine Black Orpheus (1957–67). The publication was one of the main vehicles for circulating fictional and non-fictional writings by African and African Diaspora writers. It also included reviews of international visual artists from throughout the African continent, India, Brazil, Japan, Austria, U.S., and Germany. Mbari also had galleries in Lagos, Ibadan and Osogbo, Nigeria, presenting the work of many of these artists, including Jacob Lawrence, William H. Johnson, Ibrahim El-Salahi, Uche Okeke, Malangantana Ngwenya, Jacob Afolabi, Colette Oluwabamise Omogbai, Francis Newton Souza, Twins Seven-Seven, Wilson Tibério, Genaro de Carvalho, Agnaldo Manoel dos Santos, Susanne Wenger, Karl Schmidt-Rottluff, Demas Nwoko, and Avinash Chandra, among others.

Jacob Lawrence (American, 1917–2000), Street to Mbari, 1964, Tempera over graphite on wove paper, National Gallery of Art, Washington, D.C., Gift of Mr. and Mrs. James T. Dyke, 1993.18.1, © 2022 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Exhibition co-curators Kimberli Gant, PhD, the Brooklyn Museum’s curator of modern & contemporary art and Ndubuisi Ezeluomba, PhD, the VMFA’s curator of African art, address how the featured artists grappled with representing their respective national and cultural identities while depicting visually striking works during the beginning of postcolonial period throughout the African continent and other parts of the world. The resulting objects were meant to resonate with both local communities and connect with broader Eurocentric notions of modernity.

Cover of Black Orpheus Journal #2, January 1958, Jean Outland Chrysler Library, Chrysler Museum of Art

The exhibition continues:

New Orleans Museum of Art February 10–May 7, 2023
Toledo Museum of Art June 3–September 3, 2023

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