Call it the Harlem cultural resurgence. On Manhattan's 125th St, where a sculpture of civil rights leader Adam Clayton Powell Jr stride onwards and upwards, the area is buzzing with energy and excitement.
The famous Apollo Theater is undergoing major renovations. The National Black Theatre is preparing to move into an $80 million cultural center covering a entire block. Additionally, the National Urban League recently opened a $250M facility containing its main offices, low-income residences and retail space.
“This structure declares to the world: Harlem matters; Black art matters; Black institutions matter,” remarked the leader of the governing board. “It will serve as a lighthouse on this historic street, a place where creativity and community meet.”
The Studio Museum was founded by creators, activists, donors and local residents to confront the widespread omission of African American artists from established museums. It opened in a leased space above an liquor store in 1968, a traumatic year of assassinations, uprisings 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. The country was divided. People were marching. Creators were insisting to be recognized.”
The recently completed $160 million facility covers 82,000 square feet across seven floors. Created by architectural firms, the museum represents the first purpose-built home for the museum and almost doubles its exhibition and programme space.
The facility includes exhibition spaces, an large entrance hall, adaptable event areas, a dedicated education workshop, a cafe and retail store, plus a open-air deck with panoramic city views. A monumental stair, clad in terrazzo, occupies the central vertical gallery.
The inaugural exhibition schedule showcases the institution's history and aspirations with four major exhibitions. One exhibition features the initial comprehensive retrospective of innovative creator Tom Lloyd, whose electronic light sculptures appeared in the museum's inaugural 1968 exhibition.
The institution's opening feels particularly significant during a time when inclusion programs, cultural institutions and the way Black history is presented face growing challenges. New York has recently elected a mayor who personifies the city's cultural diversity, and this neighborhood 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 this area has also been a community where African American culture has flourished.”
This institution celebrates its influential residency program with an former residents exhibition including prominent figures such as Kehinde Wiley, Mickalene Thomas and Titus Kaphar. The display mixes new commissions with older artworks spanning multiple decades.
Including new commissions are sound-based works and sculptural pieces. Metal containers created by sculptor Houston Conwill contain private statements by prominent African American figures, originally interred 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 museum's history through its exhibitions, events and programmes over almost sixty years. This rich history includes notable occasions ranging from dignitary appearances to local presentations that collectively illustrate the museum's lasting influence.
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