Consider it the new Harlem rebirth. On Manhattan's 125th St, where a sculpture of civil rights leader Adam Clayton Powell Jr stride forward, the area is filled with energy and excitement.
The celebrated Apollo Theatre is undergoing major renovations. The National Black Theatre is preparing to move into an $80M cultural center spanning a entire block. Additionally, the National Urban League recently opened a $250M building containing its headquarters, low-income residences and retail space.
“This building says to the world: Harlem matters; Black art is significant; Black institutions matter,” remarked the leader 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 established by creators, advocates, donors and local residents to confront the systemic exclusion of African American artists from established museums. Its debut in a rented loft over an off-licence in the late 1960s, a traumatic year of assassinations, uprisings and social change.
“This moment feels what it must have been like when it all began,” reflected a museum leader. “The museum was born in a time of change. Nation was split. Citizens were protesting. Artists were demanding to be recognized.”
The recently completed $160M facility covers 82,000 square feet across seven levels. Designed by design teams, the building represents the first purpose-built home for the institution and almost doubles its gallery and activity areas.
The facility features galleries, an large entrance hall, flexible programme spaces, a dedicated education workshop, a cafe and retail store, plus a rooftop terrace with sweeping urban vistas. An impressive staircase, clad in terrazzo, occupies the central vertical gallery.
The inaugural exhibition schedule showcases the museum's past, present and future with several key shows. One exhibition features the initial comprehensive retrospective of pioneering artist an electronic art pioneer, whose electronic light sculptures appeared in the museum's inaugural 1968 exhibition.
The museum's arrival feels especially meaningful during a period when diversity initiatives, museums and the way African American history is told face growing challenges. The city has just chosen a leader who embodies the metropolis's multicultural character, and this neighborhood 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 Harlem has also been a community where African American culture has thrived.”
The museum celebrates its influential artist-in-residence programme with an alumni show including notable names such as Kehinde Wiley, Mickalene Thomas and conceptual painter. The exhibition combines recently created works with older artworks spanning multiple decades.
Among new commissions are sonic installations and three-dimensional artworks. Metal containers created by sculptor Houston Conwill contain private statements 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 September 2034.
Guests can explore an archival presentation of images and ephemera documenting the institution's journey through its exhibitions, programs and activities over nearly six decades. This extensive legacy includes memorable moments ranging from dignitary appearances to local presentations that collectively demonstrate the museum's lasting influence.