Consider it the second Harlem renaissance. On Manhattan's 125th Street, where a sculpture of civil rights leader Adam Clayton Powell Jr stride forward, the atmosphere is buzzing with energy and excitement.
The renowned Apollo Theatre is undergoing major renovations. The National Black Theatre is set to relocate into an $80 million arts complex covering a city block. Meanwhile, the National Urban League recently opened a $250M building containing its headquarters, affordable housing and commercial areas.
“This building says to the globe: Harlem is important; Black art matters; Black institutions matter,” remarked the chairman of the board of trustees. “It will serve as a lighthouse on this historic street, a space where art and people meet.”
The Studio Museum was founded by artists, advocates, philanthropists and local residents to confront the widespread omission of Black artists from established museums. Its debut in a leased space above an off-licence in 1968, a traumatic year of political murders, protests and social change.
“This occasion resembles what it must have been like when it all began,” noted a institutional representative. “The museum was born in a time of change. The country was divided. Citizens were protesting. Artists were demanding to be seen and heard.”
The recently completed $160 million facility spans 82,000 sq ft across seven floors. Designed by design teams, the museum constitutes the first custom-designed space for the institution and nearly doubles its gallery and activity areas.
The facility features 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. An impressive staircase, clad in terrazzo, occupies the main atrium space.
The opening programming reflects the institution's history and aspirations 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 particularly significant during a period when inclusion programs, cultural institutions and the way African American history is told face increased scrutiny. The city has recently elected a mayor who personifies the city's cultural diversity, and Harlem has a particular talent for making renaissance resemble resistance.
“This community has constantly transformed,” commented a longtime director. “It's a district that has been changing since it was established. But Harlem has also been a community where African American culture has flourished.”
This institution honors its influential artist-in-residence programme with an former residents exhibition including notable names such as Kehinde Wiley, Mickalene Thomas and Titus Kaphar. The exhibition mixes new commissions with historical pieces spanning multiple decades.
Among new commissions are sound-based works and three-dimensional artworks. Metal containers 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 on display with plans to be unveiled in September 2034.
Visitors can explore an historical display of images and memorabilia documenting the institution's journey through its shows, events and programmes over almost sixty years. This rich history includes notable occasions ranging from dignitary appearances to community performances that collectively illustrate the institution's enduring impact.
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