Dubbed as the new Harlem rebirth. On New York City's 125th Street, where a sculpture of Adam Clayton Powell Jr stride forward, the area is filled with energy and excitement.
The celebrated Apollo Theatre is undergoing significant upgrades. Another cultural institution is preparing to move into an $80M arts complex spanning a entire block. Meanwhile, another organization recently opened a $250 million facility containing its main offices, low-income residences and commercial areas.
“This building says to the globe: Harlem matters; Black art is significant; Black institutions matter,” remarked the chairman of the governing board. “It will serve as a beacon on 125th Street, a place where creativity and community converge.”
This institution was established by creators, activists, philanthropists and community members to confront the widespread omission of Black artists from mainstream institutions. It opened in a leased space over an off-licence in the late 1960s, a turbulent year of political murders, uprisings and social change.
“This occasion resembles what it must have been like when it all started,” noted a museum leader. “The museum was born in a world of flux. Nation was split. Citizens were protesting. Creators were insisting to be recognized.”
The recently completed $160 million facility covers 82,000 sq ft across seven levels. Designed by design teams, the museum constitutes the first purpose-built home for the museum and almost doubles its exhibition and programme space.
The facility includes galleries, an large entrance hall, flexible programme spaces, a specialized learning studio, a coffee shop and retail store, plus a rooftop terrace with sweeping urban vistas. A monumental stair, clad in terrazzo, fills the main atrium space.
The inaugural programming showcases the institution's history and aspirations with four major exhibitions. One exhibition features the initial comprehensive retrospective of innovative creator an electronic art pioneer, whose electronic light sculptures appeared in the museum's inaugural 1968 exhibition.
The museum's arrival feels particularly significant during a period when inclusion programs, cultural institutions and the way African American history is presented face increased scrutiny. The city has just chosen a leader who personifies the city's cultural diversity, and this neighborhood has a special ability for making renaissance resemble resistance.
“This community has constantly transformed,” commented a senior leader. “This is a neighbourhood that has been evolving since it was founded. But Harlem has also been a community where Black culture has thrived.”
The museum honors its influential residency program with an alumni show including prominent figures such as contemporary portraitist, mixed-media artist and Titus Kaphar. The display combines new commissions with older artworks spanning various periods.
Including recent acquisitions are sound-based works and three-dimensional artworks. Seven bronze time capsules created by artist Houston Conwill contain private statements by prominent African American figures, originally buried in the museum's sculpture garden in 1984 and now on display with plans to be opened in the year 2034.
Guests can explore an historical display of images and ephemera documenting the institution's journey through its exhibitions, events and activities over almost sixty years. This rich history includes memorable moments ranging from dignitary appearances to local presentations that collectively demonstrate the institution's enduring impact.
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