Photo: Debra Brehmer/Hyperallergic.
Installation view of Nordic Utopia? African Americans in the 20th Century at the Chazen Museum of Art in Madison, Wisconsin, showing the suitcase owned by classical pianist Eugene Haynes.
Looks like there was a good show last fall in Madison, Wisconsin, at the Chazen Museum of Art. Since it’s come and gone, I won’t be able to see it, but I was interested to learn about it from Debra Brehmer at Hyperallergic. I hadn’t known about the warm welcome that Nordic countries gave to African American artists in the last century.
Brehmer wrote, “An old suitcase with a small leather handle summons the presence of the person who once carried it across oceans and nations. Surrounding it in a display case are a pair of shoes, gloves, a hat, and a Bible, all owned by the Julliard-trained Black classical pianist Eugene Haynes. The suitcase symbolizes the flight of Black artists to European countries during the civil rights era and beyond. Although Paris was a well-known hotbed of artistic expats, Nordic Utopia? African Americans in the 20th Century at the Chazen Museum of Art zeroes in on a far less charted corner of Black history: the artists who ventured north.
“Haynes spent summers and winters in Denmark from 1952 to 1962 while he performed across Europe. … Even the most accomplished Black artists found the Jim Crow conditions untenable — the US wasn’t only segregated, it was dangerous.
“At this time, the Nordic countries of Sweden, Norway, Finland, and Denmark held the promise of racial equality, despite primarily White populations. And slowly, word spread. While many Black artists found solace in the Parisian avant-garde (Josephine Baker, James Baldwin, and Langston Hughes, among others), the Nordic regions, according to poet Gregory Pardlo, quoted in the exhibition catalog, were ‘hipper … for black intellectuals escaping the stifling air pollution of American racism.’
“One could get lost in the details of this research-heavy presentation, but an overall theme emerges: the need to get away, not just from an inhospitable place, but from the weight of always being defined by race. Distance from US discriminatory politics gave these artists room to experiment, to make art that wasn’t about being Black or the entrenched problems of their homeland. After he ventured to Scandinavia, the artist William H. Johnson painted van Gogh-influenced portraits, expressionistic sunrises, street scenes, and boats in a harbor. He had married Danish textile artist Holcha Krake. When he returned to the US in 1938, his art underwent a major stylistic shift as he produced folk art-influenced paintings that centered on Black life in Harlem and portraits of Black global activists, for which he is best recognized. …
“Harlem-born painter Herbert Gentry, who first spent five postwar years in Paris and then moved to Copenhagen and later Stockholm, chose cities with thriving jazz scenes as well as international art communities. Gentry often made abstract paintings on unstretched canvas that he could fold into suitcases for easy transport. Ronald Burns, who relocated to Denmark in 1965, pursued a Surrealist style of complex dreamlike compositions. Howard Smith, an artist and designer who arrived in Finland in 1962, worked across media with paper-cutting, laser-cut steel forms, porcelain sculpture, and collage. …
“Being in Europe, most of the artists absorbed the prevalent modernist influences, seeing themselves as part of a broader and more open public consciousness, an environment particularly supportive of Black swing and jazz musicians. … A brilliant documentary, Dancing Prophet (1971), shows dancer/choreographer Doug Crutchfield back home in Cincinnati in earnest conversation with his Baptist minister father about why he needs to leave the USA to pursue his dancing career.
To its credit, the exhibition does not offer simple conclusions.
“Instead it provides multiple perspectives on issues of expatriation, including the fact that racism also existed overseas. … Dexter Gordon expresses one attitude, quoted in wall text: ‘Since I’ve been over here, I felt that I could breathe, you know, and just be more or less a human being, without being white or black, green or yellow, whatever. Actually it’s very seldom that I’m conscious of color here in Europe.’ Artist Howard Smith, who lived in Finland for 14 years, suggests a different condition: ‘I got lonesome there … I need the spiritual input, I guess, of being around Black people.’ …
“Walter Williams first ventured to Denmark in 1955 on a fellowship. He previously earned recognition for his New York City urban scenes. The new landscapes of Denmark stirred him to paint sun-infused pastoral imagery. ‘Southern Landscape’ (1977–78) portrays a young Black girl in the foreground, standing in a field of blooming sunflowers. A bouquet of flowers sprouts from her shoulders. Butterflies surround her. In the background, another Black girl appears to be picking cotton in a field with a shanty behind her.”
“The exhibition was organized by the National Nordic Museum, Seattle.”
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