Call it the second Harlem renaissance. On New York City's 125th Street, where a statue of Adam Clayton Powell Jr stride onwards and upwards, the area is filled with energy and excitement.
The renowned Apollo Theatre is undergoing major renovations. The National Black Theatre is preparing to move into an $80M arts complex spanning a entire block. Meanwhile, the National Urban League recently opened a $250 million facility containing its main offices, low-income residences and commercial areas.
“This building says to the globe: Harlem is important; Black art is significant; Black institutions are crucial,” remarked the chairman of the governing board. “It will serve as a beacon on this historic street, a place where creativity and community meet.”
This institution was established by creators, advocates, philanthropists and local residents to address the widespread omission of Black artists from established museums. It opened in a leased space above an liquor store in the late 1960s, a traumatic year of political murders, protests and social change.
“This occasion resembles what it must have been like when it all began,” reflected a museum leader. “The museum was born in a world of flux. Nation was split. People were marching. Creators were insisting to be seen and heard.”
The new $160 million structure spans 82,000 square feet across seven floors. Designed by architectural firms, the museum represents the first purpose-built home for the museum and nearly doubles its exhibition and programme space.
The building includes exhibition spaces, an expansive lobby, flexible programme spaces, a dedicated education workshop, a cafe and retail store, plus a rooftop terrace with sweeping urban vistas. A monumental stair, finished with terrazzo, fills 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 initial comprehensive retrospective of pioneering artist Tom Lloyd, whose illuminated works appeared in the museum's inaugural 1968 exhibition.
The institution's opening feels especially meaningful during a period when inclusion programs, museums and the way African American history is told face growing challenges. New York has recently elected a leader who personifies the city's cultural diversity, and this neighborhood has a special ability for making cultural revival resemble resistance.
“This community has constantly transformed,” observed a senior leader. “It's a district that has been evolving since it was founded. But this area has also been a community where Black culture has flourished.”
The museum celebrates its significant residency program with an alumni show including prominent figures such as Kehinde Wiley, Mickalene Thomas and Titus Kaphar. The exhibition mixes recently created works with older artworks spanning various periods.
Including recent acquisitions are sound-based works and three-dimensional artworks. Metal containers created by sculptor Houston Conwill contain private statements by seven distinguished Black Americans, originally buried in the institution's outdoor space in 1984 and now exhibited with plans to be opened in the year 2034.
Visitors can explore an historical display of images and ephemera documenting the institution's journey through its exhibitions, events and programmes over almost sixty years. This rich history includes notable occasions ranging from dignitary appearances to community performances that together illustrate the institution's enduring impact.
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