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Okwui Enwezor imagined the exhibition
Grief and Grievance: Art and Mourning in America as a direct and necessary intervention into the 2020 presidential election campaign in the United States. If the show had opened as planned, at the New Museum in New York last October, it would have been poised to interrupt albeit from the margins of high culture the chaotic, overheated, and largely empty rhetoric of the political campaign with an elegant articulation of substantive artistic responses to the harrowing and unrelenting experience of extreme anti-Black violence in this country, coalescing rather beautifully with months and years of critical thinking and crucial protest from the Black Lives Matter movement. But Enwezor died in 2019 at the age of just fifty-five, following a long fight with cancer. Nothing went as planned last year, and so the show was postponed.
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Art and Mourning
The latest exhibition at New Yorkâs New Museum presents a searing cross-section of work by Black American artists. Titled
Grief and Grievance, it was the vision of Nigerian curator Okwui Enwezor (1963-2019), a pioneering advocate of modern African art since the early 1990s, known for selecting and arranging works to elicit dialogues with wider themes such as colonialism, apartheid and black liberation. In 2018, under the overtly white-nationalist presidency of Donald Trump, Enwezor was invited to organise a major exhibition at the museum in Manhattan.
Already suffering from cancer, Enwezor was simultaneously preparing a series of talks for Harvardâs Alain LeRoy Locke Lecture Series on the relationship between black mourning and white nationalism, as expressed through contemporary black art. In his lecture drafts â which he was unable to present due to his declining health â Enwezor developed the spine of what would become
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(188 x 586.7 cm); “blood”: 74 ¾
x 231 1/2 in (189.9 x 588 cm); “bruise”:
74 3/4 x 264 3/4 in (189.9 x 672.5 cm);
overall approx. 74 3/4 x 797 1/2 in(189.9 x 2025.7 cm). © Glenn Ligon. Courtesy the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, and Chantal Crousel, Paris. Photo: Roberto Marossi
Blue. Blood. Bruise. The three words that comprise Glenn Ligon’s neon sculpture, A Small Band (2015), are currently emblazoned on the Bowery façade of New York’s New Museum. Positioned at the threshold to a new exhibition entitled ‘Grief and Grievance: Art and Mourning in America’, they serve as a reminder of how far we haven’t come in addressing America’s racial injustice.
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