Consider it the new Harlem rebirth. On New York City's 125th Street, where a sculpture of civil rights leader Adam Clayton Powell Jr stride forward, the area is filled with energy and excitement.
The renowned Apollo Theater is in the middle of major renovations. The National Black Theatre is set to relocate into an $80M arts complex spanning a city block. Meanwhile, another organization recently opened a $250 million facility containing its main offices, low-income residences and retail space.
“This structure declares to the world: Harlem is important; Black art matters; Black institutions matter,” remarked the chairman of the governing board. “It will stand as a beacon on 125th Street, a space where creativity and community meet.”
This institution was founded by creators, advocates, donors and community members to confront the systemic exclusion of African American artists from mainstream institutions. It opened in a leased space above an off-licence in the late 1960s, a turbulent year of assassinations, protests and social change.
“This occasion resembles what it must have been like when it all began,” reflected a museum leader. “The institution emerged in a world of flux. Nation was split. People were marching. Creators were insisting to be seen and heard.”
The recently completed $160M facility spans 82,000 square feet across seven levels. Designed by design teams, the building represents the first custom-designed home for the institution and almost doubles its exhibition and programme space.
The facility features galleries, an expansive lobby, flexible programme spaces, a specialized learning studio, a cafe and retail store, plus a rooftop terrace with sweeping urban vistas. An impressive staircase, finished with terrazzo, fills the central vertical gallery.
The inaugural programming reflects the museum's past, present and future with four major exhibitions. A particular display features the initial comprehensive retrospective of pioneering artist an electronic art pioneer, whose electronic light sculptures appeared in the institution's first show.
The institution's opening feels especially meaningful during a period when diversity initiatives, cultural institutions and the way African American history is presented face growing challenges. New York has recently elected a leader who personifies the metropolis's multicultural character, and this neighborhood has a particular talent for making renaissance resemble defiance.
“This community has constantly transformed,” observed a longtime director. “It's a district that has been evolving since it was established. But Harlem has also been a community where African American culture has flourished.”
This institution celebrates its significant residency program with an former residents exhibition including prominent figures such as contemporary portraitist, Mickalene Thomas and Titus Kaphar. The display mixes recently created works with historical pieces spanning various periods.
Among recent acquisitions are sound-based works and sculptural pieces. Seven bronze time capsules created by artist Houston Conwill contain confidential testaments by prominent African American figures, originally interred in the institution's outdoor space in 1984 and now on display with plans to be unveiled in the year 2034.
Guests can explore an archival presentation of images and memorabilia documenting the museum's history through its exhibitions, programs and activities over almost sixty years. This rich history includes memorable moments ranging from royal visits to community performances that collectively demonstrate the institution's enduring impact.
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