Whispers Across Time: Urhobo + Abstraction

The newly renovated Michael C. Rockefeller Wing at the Metropolitan Museum of Art has opened, with a focus on the ancient Americas, sub-Saharan Africa, and Oceania. In honor of its unveiling, Adam Lindemann of Venus Over Manhattan Gallery and scholar Dr. Bernard de Grunne curated Urhobo + Abstraction, an exhibit dedicated to Urhobo sculpture and modern African and American art on the Upper East Side. Subtly situated on the first floor of a townhome, the one-room exhibit is concise and draws attention to its monumental pieces through simplicity and contrast.

Carved Urhobo sculptures from Southern Nigeria stand as guardians of modern abstract works by world-renowned African American and African artists. Placed adjacent to modern artists such as Richard Mayhew and El Anasui, the century-old sculptures present a dynamic contrast in African expressionism and evolution. Additionally, five Igbo human-like figure sculptures, rarely viewed outside of a museum context, impress in a corner of the space. Traditionally displayed in groups of many, the Igbo figures honor spirits and ancestors. Bridging the gap between works, the exhibit provides a pensive and vibrant look into diasporic communities and the dialogue between their generations.

Abstraction pays tribute to Spiral, the African-American artist collective that became an integral mouthpiece for vocalizing civil rights in the wake of the 1963 March on Washington through visual depiction. Based in New York, the collective came together in the 1960s to discuss the intersection between art and civil justice. The name Spiral represented the group’s wide variety and differences, however their combined interest in moving upwards together and expressing black articulation and expression.

Breaking barriers in the art world through self-staged shows and gatherings, the members of Spiral are integral to breathing life and history into the Ugurbo + Abstractions exhibit. Engaging in conversation and discourse on Black rights, members such as Merton D. Simpson unpacked the obstacles that Black artists faced in an era of tumultuous and transformative change. Simpson’s piece Confrontation is on view, paying homage to his legacy as a dealer who pioneered African art collecting and an artist who had an integral role in highlighting Black voices at a critical turning point in history.

The exhibit makes an effort to highlight how age-old African traditions, practices, and crafts have influenced modern visual storytellers. El Anatsui’s standout repurposed aluminum tapestry re-interprets the ritual of shrine artistry and creation. Glistening on the back wall, the wall tapestry’s movement and color immediately draw in the viewer. Beyond the hanging piece, atmospheric pieces such as Richard Mayhew’s nostalgia-soaked “mindscape” and Alma Thomas’ colorful red exploration evoke the soul of spiritualism. Mayhew’s work is the last large-scale painting he completed before his passing.

In other works, such as Melvin Edward’s welded steel assemblages at the front of the gallery, the material speaks to fight, hardship, and resilience. The hard medium directly symbolizes the weight of Black presence in America, while the composition showcases the layers of growth to overcome adversity. Composed of mashed structures and pieces, the sculpture is striking and refuses to conform to aesthetic standards. Accompanying artists such as Ed Clark, Sam Gilliam, and Jack Whitten are also featured. Their paintings highlight bold brushtroke work and mysterious color tones. Placed next to the articulated Urhobo figures, these paintings allow viewers to embrace the ethos of Spiral and connect with African heritage.

Illuminating the values of the Urhobo people and their regional annual ceremonies, the Urhobo sculptures functioned as an integral part of community building. Each of the sculptures represents a spiritual leader, ancestral warrior, or authorative community founder who made a significant impact. Sourced from the Western Niger Delta, carved by master craftsmen in the mid-19th and early 20th centuries, the Urhobo sculptures’ large-scale, rough exterior, and poised positions delineate power and force. In this rare opportunity, viewers are able to see the natural carving marks, rough texture, and defining proportion up close and personal.

By placing them next to modern sculptural works a la Edwards, viewers are able to formulate distinct impressions of the African versus the African American experience and where their respective histories cross or diverge. According to the curator’s notes, “This marks the first time such a grouping has been presented together in the United States, with several works on loan from major private collections.” As the curation states, Urhobo + Abstraction is a unique opportunity to see a viewpoint never once seen before in an intimate setting. Sparse and concentrated, the exhibit lets the viewer bask in the artwork with mental clarity and physical space. One can almost hear the pieces whispering to each other in cultural exchange. Due to excess demand, visits are by appointment only.