In 1961, as Africa was boldly stepping into a new era free from colonial rule, 11 newly independent countries came together to establish Air Afrique, an airline that would not only connect nations but also embody the spirit of liberation and progress. And for the 40 years that followed, the multinational airline’s stylish jets, emblazoned with a distinctive black antelope logo and a sleek, slanted italic font, became synonymous with modernity and ambition.
More than just a means of transportation, the airline served as a cultural ambassador. It championed innovative projects like fashion shows, films and exhibitions that actively worked to dismantle outdated stereotypes of the continent.
As noted by Ahmadou-Bamba Thiam, a Paris-based artist of African descent, these initiatives were pivotal in “[planting] the seeds of its own renaissance” for Air Afrique, which, despite ceasing operations in 2002, would leave a lasting legacy.
In 2019, Lamine Diaoune, the visionary founder of the group, purchased the rights to the company’s name and logo, setting the stage for a revival. With a passion for culture and history, he began curating a treasure trove of memorabilia, collaborating closely with photographers and rising stars Djiby Kebe and Jeremy Konko. Their creative partnership sparked a series of stunning photo shoots, culminating in dazzling exhibitions in Paris that kicked off in 2021.
They didn’t stop there; the trio expanded their artistic reach by launching Air Afrique magazine, a publication dedicated to Afro-diasporic culture, which has resonated with audiences worldwide. Their innovative work has caught the attention of global brands like Louis Vuitton and Nike, demonstrating a seamless blend of art, fashion and cultural heritage that continues to inspire and engage diverse groups of onlookers. And now, several items from their collection, such as a pilot’s pin, an in-flight magazine and a plaid suitcase, are now part of an exciting exhibition at the Museum of Modern Art (MoMA) in New York City.
The exhibit, titled Ideas of Africa: Portraiture and Political Imagination, is currently on view. It highlights how photographs helped spread ideas of unity among African nations during the mid-20th century. Organized by Oluremi C. Onabanj, a prominent curator and scholar at MoMA, specializing in photography and the art of Africa and the African diaspora, the exhibition brings together more than 100 pieces of work from over 20 photographers. It captures a new Africa, inspired by periods of autonomy such as the US Civil Rights movement.
This is the third display at MoMA featuring modern and contemporary African art. It features stunning images of daily life, music and youth culture created by 20th-century photographers like the legendary James Barnor, Seydou Keïta and Malick Sidibé, along with later works by Jean Depara, Sanlé Sory, Ambroise Ngaimoko and Kwame Brathwaite, those whose photographs of West and Central Africa during the “golden age of African portraiture” contributes greatly to the era.
The show also draws from the thought-provoking book, The Idea of Africa, written in the 1990s by the late Congolese philosopher and writer Valentin-Yves Mudimbe (1941-2025). It challenges Western perceptions of Africa, advocating for a narrative that empowers Africans to define their own identities rather than conform to outside interpretations. Together, these elements create a powerful dialogue that not only celebrates the artistry of these photographers but also invites viewers to reflect on the complex interplay between culture, identity and perception in the context of modern Africa.
“I had recently been returning to [Mudimbe’s] work and thinking a lot about its potential,” Ms. Onabanj told Wallpaper, explaining how the show’s inception was also heavily driven by Mudimbe’s ideas.
The mid-1950s to mid-1960s were full of hope – 17 African countries became independent in 1960 and the civil rights movement was changing the United States. Photos by Keïta and Sidibé captured this excitement, but Onabanjo suggests they also spread globally, creating a broader sense of connection among all Black people. By examining Barnor’s work in Accra and London and Brathwaite’s photos of the “Black is Beautiful” movement in New York, Onabanjo highlights a back-and-forth exchange that helped shape feelings of Pan-African pride.
“I’m offering viewers an exhibition that offers critical lessons on the history of self-determination, solidarity, and subjectivity on the African continent and in the diaspora in the mid 20th century,” Ms. Onabanjo said. “In focusing on imagination, I’m encouraging people to be attuned to the interpretive potential of a photographic portrait, not solely its documentary utility.”
A reading room in the exhibition shows how print culture spread these images outside of the studio. Modern artworks in the show keep the conversation going.
Instead of looking back with longing, Ideas of Africa offers a more in-depth interpretation of these pictures as proof of what independence looked like and how it was envisioned.
“I want our generation to look at what our elders have done,” Thiam underscored in an interview with The New York Times last month. “…and see the roads that have been paved for us.”
Ideas of Africa: Portraiture and Political Imagination is currently on view at the Museum of Modern Art in Manhattan, New York, until July 25, 2026.
