{"id":19624,"date":"2025-09-16T09:57:16","date_gmt":"2025-09-16T09:57:16","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/19624\/"},"modified":"2025-09-16T09:57:16","modified_gmt":"2025-09-16T09:57:16","slug":"14-art-insiders-on-the-studio-museums-legacy-new-home-in-harlem","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/19624\/","title":{"rendered":"14 Art Insiders on the Studio Museum’s Legacy & New Home in Harlem"},"content":{"rendered":"

\"Estimated14 min read<\/p>\n

\u200aA rented loft space. A former bank. A temporary site two blocks away. Since 1968, the Studio Museum in Harlem has made art history in spaces designed for everything but art. But this fall, after a landmark $300 million capital campaign led by its director and chief curator, Thelma Golden, the museum will open its first purpose-built space\u2014an 82,000-square-foot building on West 125th Street in New York.<\/p>\n

Initially located above a liquor store, the Studio Museum was founded by a group of artists and civic leaders that included its first director, Charles E. Inniss, to showcase the work of artists of African descent, many of whom were marginalized in or excluded by mainstream institutions\u2014and to create a new one that reflected the vibrancy and complexity of the neighborhood in Harlem. <\/p>\n

\"modern\u00a9 DROR BALDINGER FAIA, COURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

The Studio Museum\u2019s new building on 125th Street, designed by Adjaye Associates in collaboration with the architectural firm Cooper Robertson and set to open this fall. The museum\u2019s first purpose-built facility includes more than double the exhibition and studio space of the previous building, with additional dedicated areas for performance, educational, and public programs.<\/p>\n

Beginning with the show \u201cElectronic Refractions II,\u201d surveying the work of conceptual artist and sculptor Tom Lloyd, the Studio Museum became known for its groundbreaking exhibitions and, later, its vaunted artist-in-residence program. Its cultural influence has been far-reaching, having served as an early platform for artists such as David Hammons, Kerry James Marshall, Glenn Ligon, and Simone Leigh. Its ambitious \u201cF\u201d series of themed group shows\u2014\u201cFreestyle\u201d (2001), \u201cFrequency\u201d (2005), \u201cFlow\u201d (2008), \u201cFore\u201d (2012), and \u201cFictions\u201d (2017)\u2014featured the work of then-rising stars like Rashid Johnson and Mickalene Thomas.<\/p>\n

Having operated without a permanent space since 2018, the museum is now embarking on another journey of expansion and experimentation in its new home, with a spacious lobby, first-rate galleries, and dedicated areas for performance and education. The first show will be a sweeping return to the work of Tom Lloyd.<\/p>\n

\"originalJILL KREMENTZ, COURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

Studio Museum cofounders Eleanor Holmes Norton, Carter Burden, Charles E. Inniss, Campbell Wylly, Betty Blayton-Taylor, and Frank Donnelly on opening night, 1968.<\/p>\n

\u201cWe\u2019re just continuing in the trajectory that our founders imagined when they boldly, in 1968, felt the necessity to create an art museum,\u201d Golden says. \u201cI think this is what it must have felt like for them, with the deep excitement and possibility that was evident through the artists and the incredible work being made\u2014but also in the tumultuous political and cultural environment.\u201d
<\/p>\n

Before Golden arrived at the Studio Museum in 2000 as deputy director for exhibitions and programs alongside then-director Lowery Stokes Sims, she spent a decade at the Whitney Museum of American Art. But she was an intern at the Studio Museum back in 1985 under its first female director, Mary Schmidt Campbell.<\/p>\n

\"geometricTOM LLOYD, MOUSSAKOO, C. 1968, STUDIO MUSEUM IN HARLEM, GIFT OF THE LLOYD FAMILY AND JAMILAH WILSON 1996.11, PHOTO BY JOHN BERENS, COURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

Tom Lloyd\u2019s Moussakoo, circa 1968.<\/p>\n

Golden credits Campbell and Sims\u2014at the time a curator at the Metropolitan Museum of Art\u2014with solidifying her desire to become a curator herself. \u201cThe fact that I was so deeply not just mentored early in my curatorial career\u2014mentored almost feels impersonal\u2014but nurtured by a generation of curators of color who truly opened up this path has informed the way I continue to live in the world,\u201d she says. \u201cIt really defined the way I approached what it meant to be a curator.\u201d<\/p>\n

Working at the Studio Museum has proved formative now for multiple generations of curators and art educators, many of whom have gone on to hold key positions at major institutions. We spoke with 13 cultural leaders who were professionally raised in its orbit about its impact on them\u2014and on the art world.<\/p>\n

\u201cWe\u2019re just CONTINUING in the TRAJECTORY that our FOUNDERS IMAGINED when they boldly, in 1968, felt the necessity to create an ART MUSEUM.\u201d
\u2014Thelma Golden<\/p>\n

Sandra Jackson-Dumont (independent curator; Studio Museum intern, 1993, and staff, 2000\u20132006): I first came to the Studio Museum as an intern, when I was in college. I was watching public television, and there was a special on the Harlem Renaissance. Mary Schmidt Campbell, Kinshasha Holman Conwill [the Studio Museum\u2019s deputy director, 1980\u20131988, and director, 1988\u20131999], and Pat Cruz [deputy director of programs, 1982\u20131998] were featured on the show. These women had their hair cut short, everybody was natural, and they had these big necklaces. I was just like, \u201cWho are these people?\u201d I\u2019d also seen Halle Berry in Boomerang [1992], and there were references to this museum that her character would go to in Harlem. I just assumed it was the Studio Museum, but I was very much interested in the fact that she was fine, stylish, and creative. She also got the dude in the end but made him come crawling back. So this was all very interesting to me. I called many times to try to get an internship, and finally Pat Cruz called me back. Back then, you didn\u2019t get choices. It was like, \u201cYou\u2019ll be in PR.\u201d Then I moved to the director\u2019s office, then to curatorial, and then to education. I did the whole round of the museum.<\/p>\n

Christine Y. Kim (curator at large, Tate; Studio Museum staff, 2000\u20132008): I started in May 2000. I had known about the Studio Museum and had followed Lowery\u2019s and Thelma\u2019s work for years. There was an article in The New York Times about their arrival. I was so excited. I didn\u2019t even have a computer then; I had a word processor. So I wrote a letter to Thelma on my word processor. I said, \u201cI\u2019ve gone to this lecture\u2009\u2026\u2009I\u2019ve seen the show\u2009\u2026\u201d I sent it to her in the mail, and about a week later I got a call back.<\/p>\n

\"studioSHERMAN BRYCE, COURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

The former New York Bank for Savings building at 144 West 125th Street, where the Studio Museum in Harlem was located from 1982 to 2018.<\/p>\n

Rashida Bumbray (independent curator; Studio Museum staff, 2001\u20132006): I came in 2001\u2014I believe in April. I was a page at NBC, which I hated. Thankfully, they laid us all off right after Thanksgiving. But I went, I think, to the very first of the \u201cUptown Fridays\u201d [series of parties] that Sandra organized. Then I saw a Whitfield Lovell installation, Whispers From the Walls [featuring a series of charcoal drawings of unidentified Black Americans based on photographs from the pre\u2013Civil Rights era]. I was walking around, and I just started crying. I saw Thelma standing there. I didn\u2019t know her, but she looked like she worked there. So I walked up to her and I was like, \u201cI want to work here.\u201d She gave me her card. I called her seven or eight times, and finally she was like, \u201cCome have an interview with me tomorrow.\u201d So I ran around to all my aunties in Harlem and got this really inappropriate outfit, like an oversize blazer and a brooch and things that I would never wear, and I went to this interview. Thelma was like, \u201cOkay, I\u2019m going to give you a six-month post. Are you interested in curatorial or education?\u201d And I just said, \u201cCuratorial.\u201d Sandra, Christine, and Lowery were all there. On the very first day, Lowery said to me, \u201cYou need to learn this shit, because some of us want to retire.\u201d <\/p>\n

Lauren Haynes (head curator and vice president for arts and culture, Governors Island, New York; Studio Museum staff, 2006\u20132016):When I got to the museum, Lowery Stokes Sims had moved from director to president. [Golden succeeded Sims as director in 2005.] Lowery was working on very specific projects, including with some African objects in the collection, and I was also tasked to work with her on that. She was so warm, welcoming, and kind but also very smart and precise. To see these examples, particularly of Black women who were so stellar in what they were doing\u200a\u2026\u200aI was like, \u201cOh, right. There are people who look like me who do this work.\u201d
<\/p>\n

\"michelleCHUCK KENNEDY\/THE WHITE HOUSE VIA GETTY IMAGES<\/p>\n

Thelma Golden, right, touring the galleries\u00a0with Michelle Obama, 2011.<\/p>\n

\"studioCOURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

A group portrait of the artists in \u201cFreestyle,\u201d 2001. Back row, from left:\u00a0Mark Bradford,\u00a0Rico Gaston, Eric Wesley, Rashid Johnson,\u00a0Laylah Ali,\u00a0Kori Newkirk, Kira Lynn Harris,\u00a0Sanford Biggers, Kojo Griffin. Middle row:\u00a0Susan Smith-Pinelo,\u00a0Julie Mehretu, Clifford Owens, Tana Hargest, Jennie C.\u00a0Jones, Trenton Doyle Hancock, Camille Norment, Arnold J. Kemp, Senam\u00a0Okudzeto, Jennifer Zakin, Vincent Johnson. Front row, seated: John Bankston, Deborah Grant, Adia Millet, Nadine Robinson, Jerald Ieans, Louis Cameron, David McKenzie, Adler Guerrier.<\/p>\n

Rujeko Hockley (associate curator, Whitney Museum of American Art, New York; Studio Museum staff, 2005\u20132007): I studied art history as an undergrad at Columbia. I had the experience that many people have of being like, \u201cSurely there are some Black artists somewhere?\u201d A professor was like, \u201cYou should go to the Studio Museum.\u201d I remember going there and feeling validated that this world existed. I saw a job posting for a curatorial assistant, so I applied and got an interview with Christine and Thelma. I was apoplectic with nerves. But somehow, apparently, I was competent enough to appear worthy. I remember sitting in the curatorial office with Rashida, reviewing the artist list for \u201cFrequency.\u201d<\/p>\n

Kim: \u201cFreestyle\u201d and \u201cFrequency\u201d\u2014those early \u201cF\u201d exhibitions really engaged a new generation of artists growing out of a generation that included Glenn Ligon, Lorna Simpson, and, even farther back, Adrian Piper, who were born in the wake of Civil Rights and grew up against the backdrop of funk and hip-hop and Roots [1977] and The Color Purple[1985] and Watergate and Reaganomics. Some of them were formally trained. Some were trained by informal networks or by elders. Some were making work on the third floor in the artist-in-residence program. But that was a really core component in everything, even in the name of the museum: the \u201cstudio.\u201d There was just this excitement of working in service of these artists of our generation\u2014and that this was all happening in real time.
<\/p>\n

Jackson-Dumont: For \u201cFrequency,\u201d I was like, \u201cI want to curate an orchestra of DJs.\u201d It was amazing to see people just sprawled out on the floor and have DJs see themselves as artists. I think that moment of leaning into experimentation and taking chances on your ideas was when I realized that was going to be my future.<\/p>\n

\"groupCOURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

Sandra Jackson-Dumont, third from right, and the first cohort of Expanding the Walls, a free public program for teens, 2001.<\/p>\n

\"groupRAYNE ROBERTS, COURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

\u00a0Rashida Bumbray, right, leading a tour, 2002.<\/p>\n

Hockley: The opening for \u201cFrequency\u201d was during a monsoon downpour. My parents came, and they were like, \u201cOh, okay\u2014this is a real thing. This can be a life for you.\u201d Something about that evening really crystallized it for me. We\u2019d built this show together, and it was kind of chaotic, but now all of Harlem and our families and friends were there, and it was pouring rain, but it didn\u2019t affect the party.<\/p>\n

Naomi Beckwith (deputy director and chief curator, the Guggenheim, New York, and artistic director, Documenta 16; Studio Museum staff, 2007\u20132011): One of the earliest projects I worked on was \u201cFlow,\u201d which looked at a generation of African-born artists or artists who were first-generation born outside of Africa who had been moving around the globe or leading these diasporic lives. It was our way, as a museum, of thinking about Black culture globally. It was Christine\u2019s proposal, really, to pull it together. She had been inspired by Okwui Enwezor [the Nigerian curator] and his work in Africa. It was incredible, because suddenly I could imagine myself as part of an international art project, which is manifested in something like Documenta [an exhibition in Kassel, Germany, which takes place every five years]. I\u2019m the first Black woman to guide it, the first American to even work on it, because of that sense of internationalism, for lack of a better word. <\/p>\n

Thomas (T.) Jean Lax (curator, Museum of Modern Art, New York; Studio Museum intern and staff, 2007\u20132014): \u201cFlow\u201d was my first project, and as somebody who is diasporic in experience but also in interest, it was a great opportunity for me. I speak French because my mom is French, so I could speak to a lot of the artists who were coming from French-speaking countries. These were folks coming from Europe and Africa and experiencing Black American food and street culture, some for the first time. For many, it was also their first show in the U.S. It was an exercise in what it means to be a host, to try to build these kinds of transnational networks from the position of intern. And because there were literally no doors on the offices at the Studio Museum, you really got to see how it all played out.<\/p>\n

\"studioADAM REICH, COURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

Work from \u201cThe Shadows Took Shape,\u201d an exhibition on Afrofuturism, 2013.<\/p>\n

\"studioADAM REICH, COURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

An installation view of the second \u201cF\u201d series show, \u201cFrequency,\u201d 2005.<\/p>\n

Naima J. Keith (vice president of education and public programs, LACMA; Studio Museum staff, 2011\u20132016): The Charles Gaines exhibition [2014] was the first time I really had to champion an idea. There were just some conversations around \u201cShould a bigger museum be doing this exhibition?\u201d Yes, they should. Had they done it? No. But I didn\u2019t feel like we should wait; there was something important about the Studio Museum doing that show with Charles\u2014for people to recognize his contributions to conceptual art. <\/p>\n

Kim: \u201cBlack Belt\u201d [2003] was the first time that the Studio Museum exhibited work by Asian American artists alongside Black American artists. I approached Thelma about an idea for a show with artists of African and East Asian descent that demonstrated a kind of intersectional solidarity through martial arts and popular culture in the 1970s and \u201980s. There were artists like David Hammons, Arthur Jafa, Sanford Biggers, Patty Chang, David Diao, and others who were steeped in Eastern aesthetics, martial arts\u2014namely Bruce Lee\u2014and the complexities of cross-cultural alliance aesthetics and culture. Without skipping a beat, Thelma encouraged me to continue with my proposal. I was naturally a bit anxious and even concerned that space was being taken up by the work of non-Black artists. But she was not\u2014and once again, she was right. <\/p>\n

Beckwith: I did an exhibition called \u201c30 Seconds Off an Inch\u201d [2009] that was, I would say, the most significant personal project I put together. I didn\u2019t say it out loud, but I was quietly thinking about the influence of David Hammons. And who shows up at the opening? The David Hammons. I freaked out. It\u2019s funny because Thelma runs up to me and she\u2019s like, \u201cNaomi, David\u2019s here. You need to meet him.\u201d Then she was about to run away\u2014she\u2019s very quick on her feet\u2014so I had to grab her and say, \u201cThelma, I\u2019ve never met him before. Could you make an introduction?\u201d So she takes my hand and leads me through the crowd; she also moves with purpose. Everyone wants to talk to Thelma, but they saw the way she was moving, with me right behind her, so the seas parted, and she was like, \u201cNaomi, David. David, Naomi.\u201d And then she disappears. I mean, do I kneel down? I don\u2019t know\u200a\u2026\u200abut I just thanked him.<\/p>\n

\"kimCOURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

Christine Y. Kim, right, during a studio visit with Titus Kaphar, 2006.<\/p>\n

\"twoRUSSELL WATSON, COURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

Naomi Beckwith, left, with Expanding the Walls participant Sofia Flores, 2008.<\/p>\n

Keith: I\u2019d look at colleagues who were working at other institutions, and they didn\u2019t have near the number of shows under their belts that I had at Studio. It\u2019s very much an incubator, and I honestly cannot think of another institution that does that for curators.<\/p>\n

Amanda Hunt (head of public engagement, learning, and impact, Walker Art Center, Minneapolis; Studio Museum staff, 2014\u20132017): We were trained to do the work and change the field. That was the assignment. And it\u2019s rigorous. You could not come into a curatorial meeting without a tight pitch that really grabbed people. <\/p>\n

Jackson-Dumont: The Studio Museum has nurtured some of the most highly opinionated people in the art world.<\/p>\n

Lax: We could disagree, and there would still be love there. <\/p>\n

Jessica Bell Brown (executive director, Institute of Contemporary Art at Virginia Commonwealth University, Richmond; CCL\/Studio Museum in Harlem Curators\u2019 Forum, 2021\u20132023): It is the context of asking greater, deeper, complex questions about Black art, life, culture, and experience\u2014and that being received as not a limitation but rather a kind of lens that can open so many other things up for you.<\/p>\n

Beckwith: Like every institution, it was starved for cash.<\/p>\n

Hockley: The shows, the people, the personalities, the vibes, the energy, the impact\u2014all that is happening on a shoestring. <\/p>\n

Kimberly Drew (independent writer and curator; Studio Museum intern, 2010, and staff, 2013\u20132014): In a way, it feels like a very particular metaphor for what it means to be Black right now, in the sense that the Studio Museum is highly visible but also under-resourced but also held to a standard of excellence and under constant threat.<\/p>\n

Kim: I think people participate at the highest level because of the community. Sandra, remember when there was a flood and we were all carrying paintings from the basement upstairs? We\u2019ve all swept the floor. People are there because they want to be there.<\/p>\n

Drew: I came to Studio Museum in 2010 as an intern, while I was still an undergraduate at Smith College, where Thelma also went. But I didn\u2019t really have a context for the Studio Museum until I was there. I\u2019d taken my first art-history course, but I\u2019d not studied any artists from the diaspora, and I was so frustrated by that truth that I started my blog, Black Contemporary Art, which is what catapulted my career in digital communications. So I was able to leverage that to go back to the museum as a communications assistant. I was there one year, working on the web footprint and social media. My claim to fame is that I got Thelma on Instagram.<\/p>\n

\"studioCOURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

Thomas (T.) Jean Lax, left, and Eric Booker, 2012.<\/p>\n

\"studioCOURTESY STUDIO MUSEUM IN HARLEM<\/p>\n

Amanda Hunt, left, in conversation with artist Lorraine O\u2019Grady, center, and curator and writer nico w. okoro about O\u2019Grady\u2019s 1983 performance piece Art Is…, 2015.<\/p>\n

Keith: In 2013, Zo\u00e9 Whitley and I curated this exhibition called \u201cThe Shadows Took Shape.\u201d It was a show on Afrofuturism, but honestly, we give all credit to Kimberly for saying, \u201cThere is a community of people that want to have this conversation online.\u201d <\/p>\n

Drew: \u201cThe Shadows Took Shape\u201d was one of the most successful social-media campaigns of my career. There was so much enthusiasm, both internally and externally, and we were able to illuminate some things that people had been wanting to talk about.<\/p>\n

Keith: It wasn\u2019t even a website that we had.<\/p>\n

Drew: I made a Tumblr.<\/p>\n

Eric Booker (associate curator, Storm King Art Center, New Windsor, New York; Studio Museum intern, 2011, and staff 2016\u20132023):When I was hired, the museum was getting ready to close the old building. This was the start of a program called inHarlem [2016\u2013present], which took the museum\u2019s programming out into the streets and in the libraries, parks, and community centers of Harlem. So I was working on this new public-art initiative that would deeply influence my curatorial practice, both during my time there and well beyond it, now at Storm King Art Center [an open-air museum]. It started with an exhibition in four historic Harlem parks by Kevin Beasley, Simone Leigh, Kori Newkirk, and Rudy Shepherd. For many of them, it was their first public-art commission.<\/p>\n

Legacy Russell (executive director and chief curator, the Kitchen, New York; Studio Museum staff, 2018\u20132021): I arrived when the organization had just moved out of its prior home and was in a \u201cwithout walls\u201d format. It was amazing to just step into that moment of transition. My first project was with Kambui Olujimi and Andre D. Wagner. We gave a presentation at a library, which was located near an exhibition and residency space on 127th Street\u2014this quite amazing juxtaposition of Andre\u2019s photographs of Black folks in New York and then Kambui\u2019s interstellar galactic cosmic visions. <\/p>\n

Bumbray: One thing I\u2019ve been talking about with people is how deeply the absence of the physical museum has been felt. So I think the timing of this new building couldn\u2019t be more divine because of what\u2019s happening politically in this country and in the world. <\/p>\n

Brown: It\u2019s so huge. It\u2019s transformational. It\u2019s Herculean to be able to build anything in New York, let alone an institution.<\/p>\n

Russell: It has been a generational passing of a torch, with folks taking up the challenge and opportunity to redefine and rearticulate. I think that is what this building reifies. It allows for this idea to be made material and also for it to continue to be an experiment. I think experiments are a really important part of what keeps work in art and culture dynamic and impactful. The Studio Museum has always been invested in taking great leaps and seeing how those things can be transformative over time.<\/p>\n

A version of this story originally appeared in the September 2025 issue of Harper\u2019s Bazaar<\/a>.<\/p>\n

Opening image from left, on Legacy Russell: Vest and pants, Loro Piana<\/a>. Earrings and bangle, Pandora<\/a>. Rings, her own. Boots, Saint Laurent<\/a>. On Jessica Bell Brown: Blazer, Dolce & Gabbana<\/a>. Shirt, McQueen<\/a>. Pants, Simone Rocha<\/a>. On Naima J. Keith: Dress and earrings, her own. On Eric Booker: Blazer, his own. Shirt, Loro Piana<\/a>. Pants, Jacquemus<\/a>. Loafers, Prada<\/a>. On Amanda Hunt: Dress, Anonlychild<\/a>. Earrings, Dior<\/a>. Boots, Maison Margiela<\/a>. On Lauren Haynes: Shirt and skirt, Melitta Baumeister<\/a>. Earrings, Pandora<\/a>. Shoes, Lemaire<\/a>. On Sandra Jackson-Dumont: Blazer, her own. Blouse and skirt, Akris Punto<\/a>. Boots, Givenchy by Sarah Burton<\/a>. On Thelma Golden: Dress, Gucci<\/a>. Pants, Wolford<\/a>. Earrings, Le Vian<\/a>. Pumps, Saint Laurent<\/a>. On Christine Y. Kim: Dress, McQueen<\/a>. Earrings, Jade Ruzzo<\/a>. Pendant, Piaget<\/a>. Heels, Le Monde B\u00e9ryl<\/a>. On Rujeko Hockley: Jacket and skirt, Sergio Hudson<\/a>. Earrings, Pandora<\/a>. Pumps, Saint Laurent by Anthony Vaccarello<\/a>. On Kimberly Drew: Dress, House of Aama<\/a>. Earrings, Marli New York<\/a>. Boots, Jimmy Choo\/Conner Ives<\/a>. On Thomas (T.) Jean Lax: Blazer, shirt, and trousers, Prada<\/a>. Necklace, Lemaire<\/a>. Shoes, Jacquemus<\/a>. On Rashida Bumbray: Dress and skirt, Simone Rocha<\/a>. Slipdress, earrings, and rings, her own. Slippers, Le Monde B\u00e9ryl<\/a>. On Naomi Beckwith: Blazer, shirt, and pants, Sergio Hudson<\/a>. Shoes, Manolo Blahnik<\/a>.<\/p>\n

Hair: Felicia Burrows for Bumble and Bumble; makeup: Whittany Robinson; manicures: Mayumi Abuku for Chanel<\/p>\n

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