Black cultural institutions are more than just buildings filled with artifacts; they are guardians of history, protectors of truth, and spaces where narratives can be told by those who lived them—that’s why the reopening of the Hampton University Museum is so important. As both the nation’s oldest African American museum and the longest-standing in the Commonwealth of Virginia, its revival isn’t just about refreshed galleries—it’s about continuing to honor and share the depth of the Black experience. With new exhibits and a renewed vision, the museum stands as a testament to resilience, creativity, and the power of our stories.
Founded in 1868, the structure has stood as a beacon of African American art and culture for over 150 years, holding one of the most comprehensive collections of African, African American, and Indigenous art in the country. With its reopening, visitors can now experience an expanded gallery space that seamlessly blends newly acquired masterpieces with the iconic works that define its remarkable legacy.
One of the most exciting additions is a Veterans display, honoring Hampton alumni who have served in the Armed Forces. But perhaps the most striking new feature is a collection of costumes designed by legendary Hampton alumna Ruth E. Carter, the first African American to win multiple Academy Awards for costume design. Her pieces, worn by the likes of Denzel Washington, Eddie Murphy, and Oprah Winfrey, provide an intimate look at the artistry behind some of Hollywood’s most powerful Black narratives.
Yet, beyond the new exhibits, the heart of the establishment remains its deep historical roots and the treasures it has safeguarded for generations. Among the museum’s most celebrated works is The Banjo Lesson, painted in 1893 by Henry Ossawa Tanner. A masterpiece of African American fine art, the painting captures an intimate moment between an elderly man and a young boy, bathed in warm light as the elder patiently teaches the child to play. This depiction of Black life—free of stereotypes and full of dignity—was groundbreaking at a time when such representations were rare. The piece was one of the first acquisitions of African American art by an American institution, and it continues to be a favorite among visitors today.
“The Banjo Lesson and another Tanner piece, The Lion’s Head, form the cornerstone of our collection,” says Dr. Thaxton-Ward, the Director of the Hampton University Museum. “They are an essential part of our legacy.”
Over the decades, the location has continually expanded its collection, defying the systemic barriers that have long sought to diminish Black artistic expression. In 1967, the Harmon Foundation gifted hundreds of works from the Harlem Renaissance and beyond, fortifying its role as a guardian of Black creativity. It also boasts the Countee and Ida Cullen Art Collection, featuring 29 works acquired from the widow of the legendary poet. These pieces, alongside works by John T. Biggers, Elizabeth Catlett, and Samella Lewis—artists who share deep connections to Hampton’s heritage—reinforce the museum’s reputation as a premier institution of African American art.
When Black art was excluded from major galleries and dismissed as “folk” or “primitive” throughout the years, the Hampton University Museum persisted in elevating and preserving them. “With historically Black institutions, we all have our strengths,” Dr. Thaxton-Ward reflects. “Spelman focuses on African American women artists—that’s their strength. At Hampton, our strength is in the relationships we’ve built with artists, alumni, and donors.”
The revitalized building continues to push forward, not just as a space for viewing art, but as a place of education and conversation. Its permanent exhibitions showcase African masks, Native American textiles, and contemporary masterpieces, offering visitors a sweeping journey through global artistic traditions. With over 9,000 works in its collection. it ensures that every visit uncovers a new layer of Black artistry and history.
Thaxton-Ward’s leadership has also secured funding from major cultural institutions, including the Mellon Foundation and the National Trust for Historic Preservation. “These funds have helped with documentation, preservation, and ensuring our collections remain safe for future generations,” she explains. “You have to preserve it, or there’s nothing for people to see in the future.”
As conversations about racial equity and representation in the arts continue to evolve, the Hampton University Museum remains a cornerstone of these discussions. Its commitment to preserving Black artistic excellence is unwavering, and this building stands firm as a storyteller, a protector, and a beacon of artistic triumph. Its reopening is not just an event—it is a catalyst that will inspire generations to come.
