Call it the new Harlem rebirth. On Manhattan's 125th St, where a sculpture of civil rights leader Adam Clayton Powell Jr stride forward, the area is filled with bustle and buzz.
The celebrated Apollo Theater is undergoing major renovations. Another cultural institution is set to relocate into an $80M cultural center spanning a city block. Meanwhile, the National Urban League recently opened a $250M facility containing its headquarters, affordable housing and retail space.
“This structure declares to the world: Harlem is important; Black art is significant; Black institutions matter,” stated the leader of the board of trustees. “It will serve as a beacon on this historic street, a place where art and people meet.”
This institution was established by artists, advocates, philanthropists and local residents to address the systemic exclusion of Black artists from mainstream institutions. It opened in a rented loft over an liquor store in the late 1960s, a traumatic year of assassinations, uprisings and social change.
“This occasion resembles what it must have felt like when it all started,” reflected a institutional representative. “The museum was born in a time of change. Nation was split. People were marching. Artists were demanding to be seen and heard.”
The new $160M facility covers 82,000 sq ft across seven levels. Designed by architectural firms, the building constitutes the first custom-designed space for the institution and almost doubles its gallery and activity areas.
The building includes galleries, an large entrance hall, flexible programme spaces, a specialized learning studio, a coffee shop and shop, plus a open-air deck with sweeping urban vistas. A monumental stair, finished with terrazzo, occupies the central vertical gallery.
The opening exhibition schedule reflects the museum's past, present and future with several key shows. A particular display 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 presented face increased scrutiny. The city has just chosen a leader who embodies the city's cultural diversity, and Harlem has a particular talent for making renaissance resemble resistance.
“Harlem has always been evolving,” observed a senior leader. “This is a neighbourhood that has been changing since it was established. But this area has also been a neighbourhood where African American culture has thrived.”
The museum celebrates its influential residency program with an alumni show including prominent figures such as contemporary portraitist, mixed-media artist and Titus Kaphar. The display mixes new commissions with older artworks spanning various periods.
Including new commissions are sound-based works and three-dimensional artworks. Metal containers created by artist Houston Conwill contain private statements by prominent African American figures, originally interred in the museum's sculpture garden in the mid-1980s and now exhibited with plans to be unveiled in the year 2034.
Guests can explore an historical display of photographs and memorabilia documenting the museum's history through its exhibitions, programs and programmes over almost sixty years. This extensive legacy includes memorable moments ranging from royal visits to community performances that together illustrate the institution's enduring impact.
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