Consider it the second Harlem renaissance. On Manhattan's 125th Street, where a sculpture of Adam Clayton Powell Jr marches forward, the atmosphere is filled with bustle and buzz.
The celebrated Apollo Theatre is in the middle of significant upgrades. Another cultural institution is set to relocate into an $80 million arts complex covering a entire block. Meanwhile, the National Urban League recently unveiled a $250M facility containing its main offices, affordable housing and retail space.
“This building says to the world: Harlem matters; Black art is significant; Black institutions are crucial,” remarked the leader of the board of trustees. “It will serve as a beacon on 125th Street, a space where creativity and community converge.”
This institution was founded by artists, advocates, donors and community members to address the systemic exclusion of African American artists from established museums. Its debut in a rented loft over an liquor store in the late 1960s, a turbulent year of political murders, protests and social change.
“This moment feels what it must have felt like when it all began,” noted 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 new $160M facility spans 82,000 sq ft across seven floors. Created by design teams, the building represents the first purpose-built home for the institution and nearly doubles its exhibition and programme space.
The facility includes galleries, an expansive lobby, adaptable event areas, a specialized learning studio, a cafe and shop, plus a open-air deck with sweeping urban vistas. An impressive staircase, finished with terrazzo, fills the central vertical gallery.
The inaugural exhibition schedule showcases the institution's history and aspirations with several key shows. A particular display features the first institutional career survey of pioneering artist an electronic art pioneer, whose electronic light sculptures appeared in the institution's first show.
The museum's arrival feels particularly significant during a time when inclusion programs, museums and the way Black history is presented face growing challenges. New York has just chosen a mayor who personifies the metropolis's multicultural character, and Harlem has a special ability for making cultural revival resemble defiance.
“Harlem has always been evolving,” commented a longtime director. “This is a neighbourhood that has been evolving since it was established. But this area has also been a community where African American culture has flourished.”
This institution honors its influential residency program with an former residents exhibition including notable names such as contemporary portraitist, mixed-media artist and Titus Kaphar. The exhibition mixes new commissions with older artworks spanning various periods.
Including new commissions are sound-based works and sculptural pieces. Seven bronze time capsules 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 on display with plans to be unveiled in the year 2034.
Visitors can explore an historical display of images and memorabilia documenting the institution's journey through its exhibitions, events and activities over nearly six decades. This extensive legacy includes notable occasions ranging from dignitary appearances to community performances that collectively demonstrate the institution's enduring impact.