Dubbed as the Harlem cultural resurgence. On New York City's 125th St, where a statue of Adam Clayton Powell Jr marches onwards and upwards, the area is filled with energy and excitement.
The celebrated Apollo Theatre is in the middle of major renovations. The National Black Theatre is set to relocate into an $80 million arts complex covering a entire block. Meanwhile, the National Urban League recently opened a $250 million facility containing its main offices, affordable housing and commercial areas.
“This building says to the globe: Harlem matters; Black art matters; Black institutions are crucial,” stated the leader of the board of trustees. “It will stand as a lighthouse on this historic street, a space where creativity and community converge.”
This institution was established by creators, advocates, philanthropists and local residents to address the widespread omission of Black artists from established museums. Its debut in a leased space above an off-licence in the late 1960s, a turbulent year of assassinations, uprisings and social change.
“This moment feels what it must have felt like when it all began,” reflected a museum leader. “The museum was born in a world of flux. Nation was split. People were marching. Artists were demanding to be seen and heard.”
The recently completed $160M facility spans 82,000 sq ft across seven floors. Designed by architectural firms, the museum constitutes the first purpose-built home for the museum and nearly doubles its gallery and activity areas.
The facility includes exhibition spaces, an expansive lobby, flexible programme spaces, a dedicated education workshop, a coffee shop and retail store, plus a open-air deck with sweeping urban vistas. A monumental stair, finished with terrazzo, fills the central vertical gallery.
The opening programming reflects the museum's past, present and future with several key shows. One exhibition features the first institutional career survey of innovative creator an electronic art pioneer, whose illuminated works 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 told face increased scrutiny. New York has just chosen a leader who personifies the metropolis's multicultural character, and Harlem has a special ability for making renaissance resemble resistance.
“This community has constantly transformed,” commented a longtime director. “It's a district that has been changing since it was established. But this area has also been a community where African American culture has thrived.”
This institution honors its influential artist-in-residence programme with an former residents exhibition including prominent figures such as Kehinde Wiley, mixed-media artist and conceptual painter. The exhibition mixes new commissions with historical pieces spanning various periods.
Including new commissions are sonic installations and three-dimensional artworks. Seven bronze time capsules created by artist Houston Conwill contain confidential testaments by seven distinguished Black Americans, originally buried in the institution's outdoor space in 1984 and now exhibited with plans to be unveiled in September 2034.
Guests can explore an historical display of photographs and memorabilia documenting the museum's history through its shows, events and activities over nearly six decades. This rich history includes memorable moments ranging from dignitary appearances to community performances that together illustrate the institution's enduring impact.
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