To be a wallflower at the Studio Museum in Harlem’s annual gala one must be equipped for whip-smart stories and be ever-ready for poignant details on the ongoing endeavors of the institution. Yesterday evening the legacy space kicked off its succinct and bodacious night with a cocktail hour. What ensued was a definitive lesson in why this museum still stands firmly on its own two feet.
Nearly 57 years after its founding the institution has enough pull to attract fixtures such as the expansive artist Solange Knowles and the inspiring art maven Kimberly Drew. Artists Carrie Mae Weems and Derrick Adams were also in attendance. In a world where being chronically online seems to be many folks’ preferred way to live, it was refreshing to exist for just a few hours in the inner realm of the arts industry.
Stylish doesn’t quite fit how fly the attendees were at the gala. The Studio Museum in Harlem’s director and chief curator Thelma Golden was striking in a royal blue flowing gown and her well-known cropped haircut. Mrs. Golden has been the leader and fiercest advocate of the museum for 20 years. Others were outfitted in pieces that were composed so beautifully I took several looks as I worked the room upon my arrival. Lauren Wesley Wilson, the founder of ColorComm stunned in a black gown. Elsewhere Diandre Tristan a celebrity stylist donned a decadent floral print suit in silver and black. Many other guests interpreted the black tie dress code and cleaned up nicely.
Many guests wore large black gowns–black suits of course fit the bill so many attendees sported these. But, there were a few who decided to do something different, these bold folks consisted of Dr. Elizabeth Alexander, president of the Andrew W. Mellon Foundation, and the investor Hannah Bronfam. The former wore a traditional frock in emerald green while Bronfam sported a see-through floral number with a textured deep green coat.
Separately, actress Nicole Ari Parker was a sight to behold in her maroon ensemble with a matching hat. Ms. Tina Knowles appeared in a sequined gown fit with elegant sheer sleeves.
Reportedly more than $3.7 million was raised for the museum but another poignant moment of the festivities consisted of Toyin Ojih Odutola being awarded the Joyce Alexander Wein Prize alongside $50,000. The Nigerian artist took the stage and graciously accepted her award in an ultra-cropped brown blazer. A navy collared shirt was the ideal pairing for her and so were her sky-high leather boots and lush trousers–each of these items worked tremendously well.
“Thank you to the Studio Museum for this incredible honor. To the imitable Thelma Golden, for your tireless commitment and grace without which many careers would be impossible to manifest,” Odutola shared. The artist noted that her trials and her journey taught her to push forth with each mark forming a language with the tools she utilizes to create her works.
“Through trial and error, I came to understand this truth, that I and whatever I try to do in the unforeseen future matter enough to build upon in craft worlds not because of my where I migrated from–not because of my gender, or anything else. Period.”
Another look that I’d be remiss to mention was worn by Sade Lythcott, the chief executive officer of Harlem’s National Black Theatre. Lythcott sported a golden raffia-inspired skirt with a black cropped blazer and mini-bustier. Her outfit spoke to the joys of getting dressed for an evening out in New York City: it can be fun if you allow it to be.
700 guests and luminaries spanning industries fêted the museum. However, the largest takeaway from the evening was when the Ford Foundation announced that they’d donated a first-of-its-kind $10 million endowment to the museum. Rapturous applause came next. Darren Walker, the president of the Ford Foundation declared that this gift would ensure the future of The Studio Museum in Harlem.
“Thelma has elevated this position through her unwavering commitment to excellence and that her position is not endowed is a glaring problem in my view,” Walker also shared. “Black and brown cultural institutions have always been under-resourced and this is another such example.” His conversational style of speech was a highlight of the intricate evening.
He notably spoke at length about the dream of the museum that once was housed above a liquor store, originally founded in 1968 in East Harlem. “On evenings like this as we look around in all of our glamour and finery [it’s easy to] forget the origins of an idea that was a radical idea,” Walker said. “And that idea was a museum dedicated to presenting the art, the creativity, the genius of people of African descent.”
And just when I thought the museum couldn’t get any more substantial throughout the night we were graced by the presence of the Hudson Horns Collective. No song was left unturned by this cheerful and nearly perfect sextet. Jazzy renditions of songs by Alicia Keys and OutKast were pivotal and moving–they were further proof of how enraptured I and others were for most of the night. We were living in a universe coined by the lauded museum and I was better for it.
A quote by Mrs. Golden that stayed with me all night consisted of how artists are the heartbeat of what the institution executes. “Artists form the fundamental DNA of our museum and are so deeply important to the ways in which we approach all that we do,” she added. This moment was reflective to me because it speaks to the significance of what is next for the museum: a new building that allows the museum to reopen next fall.
New exhibitions and the ongoing class of artists will have a longstanding space to showcase their works. Altogether this will holistically drive forward new narratives while signaling that Black art is meaningful and will never go out of style.
