Currently on display at the Philadelphia Museum of Art until February 9, “The Time Is Always Now: Artists Reframe the Black Figure” showcases over 60 artworks by 28 Black and African diasporic contemporary artists. Curated by Ekow Eshun, the exhibit includes pieces by notable artists such as Kerry James Marshall, Amy Sherald, Noah Davis, Wangechi Mutu, Toyin Ojih Odutola, Nathaniel Mary Quinn, Claudette Johnson, Titus Kaphar, Denzil Forrester, and Danielle Mckinney, highlighting a diverse range of styles and approaches.
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Mutu’s bronze sculpture of a Black woman’s head and Marshall’s iconic portrait are just a few of the captivating pieces on display. The exhibit also features works by Davis, Kaphar, Mckinney, and Forrester, each offering a unique perspective on the Black experience through their art.
To delve deeper into this exhibition, ARTnews had a conversation with curator Ekow Eshun via Zoom.
This interview has been edited for clarity and brevity.
ARTnews: How did the idea for “The Time Is Always Now: Artists Reframe the Black Figure” come about?
Ekow Eshun.
Photo Zeinab Batchelor
Ekow Eshun: The concept for the exhibition was first proposed to the National Portrait Gallery in London around five years ago. I observed a surge in the work of Black artists focusing on figuration and the Black figure over the past decade. Artists like Kerry James Marshall, Amy Sherald, Wangechi Mutu, and Noah Davis have been pivotal in this movement. The exhibition aims to not only highlight this moment but also explore how these artists are reshaping the narrative of Black representation in Western art history.
Eshun continues: “In the 21st century, these artists are challenging traditional depictions of the Black figure by offering a fresh perspective. They are shifting the gaze from historical representations to a more personal and intimate viewpoint. This shift allows for a deeper exploration of Black bodies as vessels of complexity and richness, creating a dialogue that transcends borders and cultures.”
Claudette Johnson, Kind of Blue, 2020.
Photo Andy Keate/©Claudette Johnson. Courtesy the artist and Hollybush Gardens, London
What themes have emerged from the dialogue among these artists?
Eshun reflects: “The conversation revolves around nuance and depth, moving away from the simplistic view of the Black figure in art. These artists are focused on exploring interiority and subjectivity, challenging preconceived notions of Black identity. They approach their work with a sense of curiosity, asking questions about the experience of being Black in a world marked by both adversity and solidarity.”
He adds: “Despite their diverse backgrounds, these artists share a common thread of diasporic heritage, drawing on centuries of Black presence in the West. Through their art, they aim to capture the essence of this shared history and the complexities of the Black experience.”
Therefore, the attempt is not to view this as a straightforward or linear series of experiences or histories. The proposition starts with an understanding of the complexity of history, while also recognizing that the concept of race is a socially constructed fiction. It lacks a scientific or factual basis, existing within the looped reality of our world.
As a result, these artists approach the depiction of the Black figure conceptually rather than naturalistically. Kerry James Marshall uses deep Black skin tones to emphasize the presence and absence in art history. Amy Sherald uses a gray skin tone to complicate depictions of race, sitting between black and white. Noah Davis introduces mysterious and fantastic Black elements into his paintings, exploring the psychological aspects of Black being. These artists purposely challenge and invite new ways of understanding Black identity.
The exhibition is divided into three themes: „Double Consciousness,“ „Past and Presence,“ and „Our Aliveness.“ Each theme highlights different aspects of the artists‘ work, offering a loose framework for exploration. The goal is not to restrict or define the artists but to allow them to speak to each other within the space. These terms provide a generous way of organizing the exhibition and encouraging visitors to discover the works in new ways.
The presentation at the Philadelphia Museum of Art differs from the original at the National Portrait Gallery in London. The goal was to create a space of Black possibility and aliveness, separate from the historical context of the Portrait Gallery. The Philadelphia Museum of Art space allows for a seamless transition between sections, inviting viewers to explore the porous territories of the exhibition. The larger space also allowed for the inclusion of six new artists, expanding the conversation around Black art and identity. In Philadelphia ist die Show umfangreicher – sie ist physisch größer, wir nehmen mehr Platz ein. Das Interessante ist, dass die Woche, in der wir die Ausstellung eröffnet haben, die Woche der Wahl war. Aus meiner Sicht war das ein bewegender Moment. Viele der Werke in der Show sprechen von der Spannung und Verletzlichkeit, die Schwarze Menschen in verschiedenen Aspekten der Gesellschaft empfinden, und so bekam die Show im Kontext der Wahl eine zusätzliche Bewegtheit und Schärfe. Ich denke auch, dass sie einen zusätzlichen Wert erlangt hat. Viele der Leute, mit denen ich gesprochen habe, fanden, dass die Rolle der Kunst zu diesem Zeitpunkt besonders hervorgehoben wurde. Die Art und Weise, wie Künstler Schönheit, Möglichkeiten, Fragilität und Verletzlichkeit gleichzeitig heraufbeschwören können, schien etwas von besonderem Wert zu haben. Insofern ermöglicht es uns, die Show in Amerika weiterhin über die Erfahrung, Schwarz zu sein, in der Welt nachzudenken.