Call it the Harlem cultural resurgence. On New York City's 125th Street, where a statue of Adam Clayton Powell Jr marches onwards and upwards, the area is filled with energy and excitement.
The renowned Apollo Theatre is undergoing significant upgrades. Another cultural institution is preparing to move into an $80 million arts complex spanning a entire block. Meanwhile, another organization recently unveiled a $250 million building containing its main offices, low-income residences and retail space.
“This structure declares to the globe: Harlem matters; Black art matters; Black institutions are crucial,” stated the chairman of the governing board. “It will serve as a beacon on 125th Street, a space where art and people converge.”
The Studio Museum was founded by creators, advocates, philanthropists and local residents to address the systemic exclusion of Black artists from established museums. It opened in a leased space over an off-licence in the late 1960s, a traumatic year of assassinations, protests and societal transformation.
“This moment feels what it must have felt like when it all started,” noted a institutional representative. “The institution emerged in a time of change. Nation was split. People were marching. Artists were demanding to be recognized.”
The recently completed $160 million structure spans 82,000 square feet across seven levels. Designed by design teams, the museum constitutes the first purpose-built space for the institution and nearly doubles its gallery and activity areas.
The facility includes galleries, an expansive lobby, flexible programme spaces, a dedicated education workshop, a coffee shop and shop, plus a open-air deck with panoramic city views. A monumental stair, clad in terrazzo, fills the central vertical gallery.
The opening exhibition schedule reflects the institution's history and aspirations with four major exhibitions. One exhibition features the initial comprehensive retrospective 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 time when inclusion programs, cultural institutions and the way African American history is told face growing challenges. New York 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,” observed a longtime director. “This is a neighbourhood that has been evolving since it was founded. But Harlem has also been a neighbourhood where African American culture has flourished.”
The museum celebrates its significant residency program with an alumni show including prominent figures such as Kehinde Wiley, mixed-media artist and Titus Kaphar. The exhibition mixes new commissions with older artworks spanning multiple decades.
Among new commissions are sonic installations and sculptural pieces. Seven bronze time capsules created by sculptor Houston Conwill contain confidential testaments by prominent African American figures, originally interred in the institution's outdoor space in 1984 and now exhibited with plans to be unveiled in the year 2034.
Visitors can explore an historical display of images and memorabilia documenting the museum's history through its shows, programs and programmes over nearly six decades. This rich history includes memorable moments ranging from dignitary appearances to local presentations that together demonstrate the museum's lasting influence.