Through ongoing collaboration with the communities it serves, NAAM creates exhibitions that are relevant, inclusive, engaging, and entertaining. Our exhibitions explore the connections between our region and the history, art, and culture of people of African descent.
On view now in the Legacy Gallery
Dance Theatre of Harlem: 40 Years of Firsts
September 17, 2016 – March 19, 2016
Dance Theatre of Harlem: 40 Years of Firsts is an exhibition that highlights the many accomplishments of African Americans and other minorities who dared to overcome social norms and prejudices to pursue their passion and pave the way for future generations of world class dancers. The exhibit is organized by Dance Theatre of Harlem, California African American Museum, and The New York Public Library for the Performing Arts, and toured by International Arts & Artists, Washington D.C., Dance Theatre of Harlem.
The colorful history and powerful social and artistic impact of the renowned ballet company and school is brought to life in the exhibition’s more than 250 objects, including costumes, historical photographs, set pieces, and documentary video excerpts from four dramatically-staged ballets that are iconic to the company: A Streetcar Named Desire, Creole Giselle, Dougla andFirebird.
In addition to the costumes and staged ballets, exhibition highlights include numerous artifacts including original tour programs, letters from choreographers and dignitaries, magazine articles, design bibles, more than 20 original tour posters from the company’s New York City and worldwide touring seasons over the decades—including Dance Theatre of Harlem’s (DTH) first performance in New York City at the Guggenheim Museum and their first international tour—and an overview of Arthur Mitchell’s career and accomplishments. The exhibition also contains a large one-of-a-kind quilt with embroidered images of signature DTH ballets, and patrons can view a BBC documentary on Arthur Mitchell and Dance Theatre of Harlem.
In writing about the vibrancy and impressive talent of Dance Theatre of Harlem in 1969, The New York Times’ former chief dance critic, Clive Barnes, began his article with the following rhetorical question, “Black is beautiful, classic ballet is beautiful, so why are the two so rarely found together?”
Artist Studio: Drawing Attention Outside the Lines
2016 Dr. Carver Gayton Youth Curator Program Exhibit
From inside the Artist Studio, NAAM Youth Curators present Drawing Attention Outside the Lines. The Harmon and Harriet Kelley Collection of African American Art: Works on Paper, a representation of legendary artists that span span three centuries recently on view at NAAM, inspires this exhibition. Over twelve sessions, Youth Curators received instruction to develop their artistic skill and through the process formed a deeper regard for African American artists. As Youth Curators challenged their creativity, they experienced the limitless potential for experimenting outside of self-imposed boundaries to express art through their own lens.
Finding value in art, being comfortable with creating it and interpreting it, is as much personal as it is public. Art appreciation is in the eye of the beholder; there are no mistakes. Experience the art and gain insight into the perspectives of students from this immersive art-making program.
2016 Youth Curator Program is supported by KeyBank Foundation.
100% Kanekalon: The Untold Story of the Marginalized Matriarch
June 4, 2016 – October 16, 2016
Read what Jen Graves at The Stranger has to say about 100% Kanekalon!
Through image and color, artist Tariqa Waters tells the story of a matriarch that exists in the margins, free of any privileged agenda, where satire exterminates appropriation. The matriarch’s story remains in the margins because it shouldn’t be understood by everyone. It can only be understood by those who need to understand.
Originating from an inherent need to protect and identify family and self in a world where no protection is offered and no sense of identity is available–her strength, character, and wisdom exist independent of judgment or a perceptible state of “normal” where everything from style to sexuality remains liquid and can be expressed equally as sacred or superficial.