Black History is Philadelphia History

Black history is Philadelphia history. It lives in the brushstrokes of a painting, in the collections of our museums, and in the aroma of freshly brewed coffee. This February, as Philadelphia honors Black History Month, I set out to explore the rich artistic and cultural legacy of Black creatives and entrepreneurs in the city where the United States of America was born.

My journey took me through the galleries of the Philadelphia Museum of Art and the African American Museum in Philadelphia and to Black Turtle Coffee—a Black- and woman-owned café that embodies the spirit of excellence and community. Each stop served as a powerful reminder that Black history is not just what has come before, but a force actively shaping the world today.

At the Philadelphia Museum of Art, Black History Month programming includes exhibitions, events, and conversations that honor the impact of Black artists on the art world. The highlight was The Time Is Always Now: Artists Reframe the Black Figure. The exhibit features 28 Black and African diasporic contemporary artists who use figurative painting, drawing, and sculpture to illuminate the complexity of Black identity.

Curated by Ekow Eshun, this exhibition draws inspiration from James Baldwin’s essay on desegregation titled “Nobody Knows My Name” (1961), and explores the idea that Black art exists within an ever-evolving lineage. I wandered through the gallery struck by the interplay of history and modernity with artists challenging dominant narratives and reclaiming spaces that have historically excluded Black figures.

The exhibition unfolds around three core themes, each exploring different aspects of Black identity and representation: Double Consciousness, Past and Presence, and Our Aliveness.

Double Consciousness, a concept introduced by W.E.B. Du Bois in 1897, examines the tension between self-perception and how Black individuals are viewed by the outside world. This theme is particularly resonant in the works of Toyin Ojih Odutola, whose layered portraiture invites viewers to question identity, representation, and personal agency. 

Past and Presence addresses the historical erasure of Black figures from mainstream narratives while highlighting the resilience and visibility of Black communities. Artists like Kerry James Marshall and Claudette Johnson use bold colors and intricate details to rewrite historical narratives, making space for Black presence where it has long been omitted. 

Finally, Our Aliveness celebrates Black joy, community, and resistance. This section of the exhibition is particularly moving, featuring vibrant scenes of Black assembly and togetherness. The work of Amy Sherald, best known for her portrait of Michelle Obama, stands out as a testament to the power of portraiture in capturing everyday Black life with dignity and brilliance.

In addition to internationally renowned artists, the Philadelphia Museum of Art premiere of this exhibit includes Philadelphia artists like Jonathan Lyndon Chase and Roberto Lugo. Reflecting local artists’ role in shaping contemporary Black art, the exhibit recognizes Philadelphia as a long-time center of Black creative innovation.

The time to recognize, celebrate, and support Black artists is not limited to February. As Baldwin’s words remind us, “the time is always now.”

From the Philadelphia Museum of Art, I made my way to the African American Museum in Philadelphia, a space dedicated to preserving and celebrating the vast history of the African diaspora. This year’s featured exhibition, Shared Vision: Portraits from The CCH Pounder-Koné Collection, presents 40 works from the personal collection of award-winning actress CCH Pounder.

Known for her roles in The Shield, NCIS: New Orleans, and Avatar, Pounder has long been an advocate for the arts, amassing an impressive collection that spans continents and generations. Her collection highlights the diversity of Black artistic expression from contemporary portraiture to traditional African sculptures.

Beyond her role as a collector, Pounder has actively contributed to the accessibility of Black art. She and her late husband Boubacar Koné founded the Musee Boribana in 1993, the first privately owned contemporary museum in Dakar, Senegal. They later gifted the museum to the nation, reinforcing their commitment to cultural preservation.

The works on display are as much about storytelling as they are about aesthetics. Artists like Bisa Butler and Elizabeth Colomba depict Black figures with depth and reverence, challenging historical misrepresentations. Meanwhile, pieces by Samella Lewis and Lezley Saar engage audiences with themes of autonomy, power, and identity, adding layers of complexity to the exhibition.

The intimacy of the exhibition was striking. Unlike larger institutions which often present Black art through a Eurocentric lens, Shared Vision feels deeply personal—an offering of love, pride, and resistance. Each portrait tells a story, capturing the nuances of Black existence across time and geography. The museum’s collaboration with Pounder reflects a shared mission: to ensure that Black art is not only seen, but celebrated. The exhibit is a must-see for anyone interested in the intersections of art, identity, and history.

Within the galleries of Shared Vision I met Sean Guthrie. A visitor from Boston, he was drawn to a particular work in the exhibition: Gordon Shadrach’s RePurposed series.

The series features Black men wearing face masks fashioned from sports equipment, an evocative visual commentary on identity, protection, and the societal expectations placed on Black male athletes. I asked Guthrie what brought him to the museum.

“I was actually a football player, so this really resonated with me,” he told Now Frolic. “It makes me think of Colin Kaepernick and the silencing of his voice—how he wasn’t allowed to continue playing in the NFL. That piece really hits home.”

After a day of immersing myself in art and history, I headed to Black Turtle Coffee.

Just a short drive from the African American Museum in Philadelphia, Black Turtle Coffee was founded by Braeden Anderson and Selena Gabrielle, who share a passion for entrepreneurship, quality craft coffee and dedicated community engagement.

Walking into the café, I was greeted by the comforting aroma of fresh espresso and the sound of soft jazz playing in the background. The space felt warm and inviting—a blend of modern aesthetics and cozy charm—and is a space where culture and craftsmanship intersect.

Black Turtle’s commitment to ethics and sustainability in the coffee industry—sourcing high-quality, ethically-farmed beans—intersects with a commitment to uplifting the community. The coffee shop actively supports the Black Resilience Foundation, a nonprofit “dedicated to the empowerment of Black communities through the proliferation of positive ideas about Blackness.”

I ordered two drinks—both were exceptional—and thought back on the day in Philadelphia. I thought about the galleries at the two museums; the conversations with visitors; and the art that demanded attention, reflection, and reckoning.

Modern business thinking and considerations about sustainability and a more equitable supply chain are part of this larger narrative. Black Turtle’s focus on education and transparency in the coffee industry challenges the elitism often associated with craft coffee, making the experience accessible to everyone.

Black history isn’t confined to museum walls or month-long observances. It’s a living, evolving force reflected in the stories artists tell, the communities people build, and the ways history continues to shape the present. It’s in the resistance of erasure, the fight for representation, and the assertion that Black life, in all its complexity and beauty, deserves to be seen, heard, and valued.  

That presence is undeniable in Philadelphia. Artist displays at the Philadelphia Museum of Art reframed the Black figure, challenging historical narratives that have long excluded or distorted Black identity. At the African American Museum in Philadelphia, CCH Pounder’s collection served as both an archive and an act of defiance—proof that Black art is essential and enduring. Black Turtle Coffee exists in an industry where Black ownership and visibility have been historically limited. History is not just preserved; it is continuously lived in spaces like these.  

There is a tendency, especially in predominantly white spaces, to treat Black history as something separate to be studied rather than engaged with. Conversely, that history is woven into everything. It is in the fight for fair wages, the struggle for voting rights, and the ongoing battle against systemic racism. History is in the art that reclaims narratives, the businesses that defy odds, and the conversations that challenge the status quo. Black history is American history, but it is also a story of survival and resistance against a country that has often sought to suppress it.  

Acknowledging Black history isn’t just about recognition—it’s about action. It’s about supporting Black artists, businesses, and institutions not just in February, but always.

Question the spaces we inhabit, the media we consume, and the histories we are taught. Ensure that these conversations don’t end when the month does. Black history isn’t just something to be remembered—it is being written every single day.

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