Call it the new Harlem rebirth. On Manhattan's 125th St, where a sculpture of civil rights leader Adam Clayton Powell Jr stride onwards and upwards, the area is filled with bustle and buzz.
The famous Apollo Theater is in the middle of major renovations. Another cultural institution is set to relocate into an $80 million arts complex covering a city block. Additionally, another organization recently opened a $250 million building containing its main offices, affordable housing and retail space.
“This structure declares to the globe: Harlem matters; Black art is significant; Black institutions matter,” stated the leader of the board of trustees. “It will serve as a lighthouse on 125th Street, a space where art and people meet.”
This institution was founded by artists, advocates, donors and local residents to address the systemic exclusion of African American artists from mainstream institutions. Its debut in a leased space over an liquor store in the late 1960s, a turbulent year of political murders, protests and societal transformation.
“This occasion resembles what it must have felt like when it all started,” reflected a museum leader. “The institution emerged in a world of flux. Nation was split. Citizens were protesting. Artists were demanding to be seen and heard.”
The recently completed $160M structure spans 82,000 square feet across seven levels. Created by design teams, the museum constitutes the first custom-designed home for the institution and almost doubles its exhibition and programme space.
The facility includes exhibition spaces, an large entrance hall, adaptable event areas, a dedicated education workshop, a cafe and shop, plus a rooftop terrace with panoramic city views. A monumental stair, finished with terrazzo, occupies the main atrium space.
The opening exhibition schedule reflects the museum's past, present and future with several key shows. One exhibition features the initial comprehensive retrospective of pioneering artist an electronic art pioneer, whose electronic light sculptures appeared in the museum's inaugural 1968 exhibition.
The institution's opening feels particularly significant during a time when inclusion programs, cultural institutions and the way Black history is presented face growing challenges. The city has recently elected a leader who embodies the city's cultural diversity, and this neighborhood has a particular talent for making cultural revival resemble defiance.
“Harlem has always been evolving,” observed a senior leader. “It's a district that has been changing since it was founded. But Harlem has also been a neighbourhood where African American 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 exhibition combines recently created works with older artworks spanning various periods.
Among new commissions are sonic installations and three-dimensional artworks. Seven bronze time capsules created by sculptor Houston Conwill contain confidential testaments by seven distinguished Black Americans, originally buried in the institution's outdoor space in the mid-1980s and now exhibited with plans to be unveiled in the year 2034.
Guests can explore an historical display of images and memorabilia documenting the museum's history through its shows, events and activities over almost sixty years. This rich history includes memorable moments ranging from dignitary appearances to community performances that together demonstrate the museum's lasting influence.
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