Dubbed as the new Harlem rebirth. On New York City's 125th St, where a sculpture of civil rights leader Adam Clayton Powell Jr marches onwards and upwards, the atmosphere is filled with energy and excitement.
The celebrated Apollo Theater is undergoing significant upgrades. Another cultural institution is preparing to move into an $80M arts complex covering a entire block. Meanwhile, the National Urban League recently opened a $250 million facility containing its headquarters, affordable housing and retail space.
“This building says to the world: Harlem is important; Black art matters; Black institutions matter,” stated the chairman of the governing board. “It will stand as a lighthouse on this historic street, a place where art and people meet.”
This institution was established by creators, activists, philanthropists and community members to address the widespread omission of African American artists from established museums. It opened in a rented loft over an off-licence in the late 1960s, a turbulent year of assassinations, protests and social change.
“This occasion resembles what it must have felt like when it all started,” noted a museum leader. “The museum was born in a time of change. Nation was split. People were marching. Creators were insisting to be recognized.”
The recently completed $160 million structure covers 82,000 sq ft across seven levels. Created by design teams, the building constitutes the first custom-designed space for the museum and nearly doubles its gallery and activity areas.
The facility features exhibition spaces, an large entrance hall, flexible programme spaces, a specialized learning studio, a cafe and retail store, plus a open-air deck with sweeping urban vistas. An impressive staircase, clad in terrazzo, fills the main atrium space.
The inaugural exhibition schedule reflects the museum's past, present and future with four major exhibitions. One exhibition features the initial comprehensive retrospective of pioneering artist an electronic art pioneer, whose illuminated works appeared in the museum's inaugural 1968 exhibition.
The museum's arrival feels particularly significant during a time when diversity initiatives, cultural institutions and the way African American history is told face growing challenges. The city has just chosen a leader who embodies the city's cultural diversity, and this neighborhood 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 founded. But Harlem has also been a community where African American culture has thrived.”
This institution celebrates its significant artist-in-residence programme with an former residents exhibition including prominent figures such as Kehinde Wiley, mixed-media artist and conceptual painter. The display combines new commissions with older artworks spanning various periods.
Including recent acquisitions are sonic installations and three-dimensional artworks. Metal containers created by sculptor Houston Conwill contain confidential testaments by prominent African American figures, originally buried in the institution's outdoor space in the mid-1980s and now exhibited with plans to be opened in the year 2034.
Visitors can explore an historical display of photographs and memorabilia documenting the institution's journey through its shows, programs and programmes over nearly six decades. This extensive legacy includes notable occasions ranging from royal visits to community performances that collectively demonstrate the institution's enduring impact.
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