A Virtual Tour of Before Yesterday We Could Fly: An Afrofuturist Period Room

Join curators Hannah Beachler, Michelle Commander, Sarah E. Lawrence, and Ian Alteveer for a virtual tour of the exhibition.

"Before Yesterday We Could Fly: An Afrofuturist Period Room," like any of The Met’s period rooms, is a fabrication of a domestic space that assembles furnishings and objects to create a fiction of authenticity. Rather than affirm a fixed moment in time, however, this structure reimagines the immersive experience of the period room by embracing the African diasporic belief that the past, present, and future are interconnected.

Join us for a virtual tour of this exhibition whose narrative is generated by the real, lived history of Seneca Village, a vibrant community founded predominantly by free Black tenants and landowners that flourished from the 1820s to the 1850s just a few hundred yards west of The Met’s current site. In 1857, the City of New York destroyed Seneca Village, using eminent domain to seize land for the construction of Central Park, displacing its residents and leaving only the barest traces of the community behind. Acknowledging that injustice, the exhibition asks: What if this community had the opportunity to grow and thrive? Powered by Afrofuturism—the inspirational, creative mode that centers Black imagination and self-determination—the exhibition transforms a 19th-century domestic interior into a speculative future home for Seneca Village residents, only one proposition for what might have been had the community been allowed to thrive into the present and beyond.

In keeping with the collaborative spirit of Afrofuturism, The Met’s curatorial team worked with lead curator Hannah Beachler to envision and design the space with consulting curator Michelle Commander. Since 2019, the group has engaged numerous creative and intellectual partners to infuse the installation with additional ideas and perspectives. At a vital intersection at the heart of the Museum, this project opens a space for yet more histories to be told that look toward a more resilient future.

Learn more about the exhibition: https://www.metmuseum.org/exhibitions/listings/2021/afrofuturist-period-room

The exhibition is made possible by the Hobson/Lucas Family Foundation and the Director’s Fund.

Additional support is provided by Art Mentor Foundation Lucerne and the Terra Foundation for American Art.

The Met’s quarterly Bulletin program is supported in part by the Lila Acheson Wallace Fund for The Metropolitan Museum of Art, established by the cofounder of Reader’s Digest.

Subscribe for new content from The Met: https://www.youtube.com/channel/UCDlz9C2bhSW6dcVn_PO5mYw?sub_confirmation=1

#TheMet #Art #TheMetropolitanMuseumofArt #Museum

© 2021 The Metropolitan Museum of Art



Contributors

Hannah Beachler
Lead Curator and Designer
Dr. Michelle Commander
Consulting Curator and Associate Director and Curator of the Lapidus Center for the Historical Analysis of Transatlantic Slavery at New York Public Library’s Schomburg Center for Research in Black Culture
Ian Alteveer
Aaron I. Fleischman Curator, Department of Modern and Contemporary Art
Sarah E. Lawrence
Iris and B. Gerald Cantor Curator in Charge, Department of European Sculpture and Decorative Arts

Detail image of the volute-krater that shows the divine couple seated between two columns, flanked by a priestess and figures playing instruments.
The magnificent volute-krater on loan from Ferrara.
Chiara Pizzirani and Delphine Tonglet
July 30
Curator Denise Murrell stands in a purple shirt before a painting by Aaron Douglas featuring geometric abstracted figures rendered in a wide range of purples and greens.
Video
Join Dr. Denise M. Murrell, Merryl H. and James S. Tisch Curator at Large in The Met’s Director's Office, for a virtual tour of the groundbreaking exhibition The Harlem Renaissance and Transatlantic Modernism.
Denise Murrell
March 7
Harlem Is Everywhere podcast artwork featuring William Henry Johnsons's "Street Life, Harlem"
Audio
How music, fashion, literature, and art shaped a modern Black identity during the Harlem Renaissance and beyond
February 16
More in:On View