58:, opened on September 24, 1968, and featured his electronically programmed light sculptures. The exhibition of electronically-programmed light works by artist Tom Lloyd (1929–1996) opened The Studio Museum in Harlem. That exhibition inspired the title of the current traveling exhibition, “Black Refractions: Highlights from The Studio Museum in Harlem. Lloyd’s work in the exhibition proved controversial, departing as it did from a figurative aesthetic prevalent in African-American art at the time. He usually used art method that included murals such as designs, painting, fresco and glass. Lloyd talks about his work and the mission of the museum to create opportunities for black artists who serve as mentors to young artists in the Harlem community. He implores black artists to be more involved with politics.
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into the group and together with John
Hendricks and others, used the group as a platform to advocate for integrating museums through the creation of Black and Puerto Rican advisory boards and through acquiring and holding more exhibitions of Black and Puerto Rican artists' work. Before joining the
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in Queens, NY. Located in the predominantly Black neighborhood of
Jamaica, the space served as a vital cultural hub hosting exhibitions, concerts, lectures and festivals as well as other community enrichment activities like dance and karate lessons. The Store Front Museum in New York, a cultural
104:, to which he also contributed. In his essay he addressed the need for a relationship between art and social and political action. The publication as a whole was intended as a “counter-statement” to Robert Doty’s catalog introduction of the
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center that hosted exhibitions, concerts, classes, and lectures for the predominantly Black community of
Jamaica, Queens, for over a decade. The center acted in tandem with his call for the marriage of social action and aesthetics in
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Bearden, Romare, Sam
Gilliam, Richard Hunt, Jacob Lawrence, Tom Lloyd, William Williams, and Hale Woodruff. "The Black Artist in America: A Symposium."
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In 1971, Lloyd edited a volume of commissioned essays written by
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Moore, Allison (May 2007). "Black Light/White Noise: Sound and Light in
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A few months before the opening, Lloyd participated in the 1968 round-table discussion,
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In 1968, Tom Lloyd’s work was chosen as the subject for the inaugural exhibition of the
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and initially, the only black artist. He was instrumental in recruiting
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492:. Mark Godfrey and Zoe Whitley, eds. London: Tate Publishing. 2017.
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Mounting frustration : the art museum in the age of Black power
698:"The Studio Museum Conceives Its Future in a Traveling Exhibition"
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Mounting
Frustration: The Art Museum in the Age of Black Power
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Black
Refractions: Highlights from the Studio Museum in Harlem
141:(BECC), but found their approach to social change too meek.
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at the Studio Museum in Harlem, recorded
December 11, 1968
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Robins, C. (November 1965). "Exhibition at Amel
Gallery".
357:. Durham: Duke University Press. pp. 27, 172–177.
562:. Chicago: University of Chicago Press. p. 157.
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Soul of a nation : art in the age of Black power
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288:Chicago: University of Chicago Press, 2016.
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634:S.A.K. (November 1968). "Tom Lloyd's".
592:"Black Art Notes | Primary Information"
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307:London: Tate, 2017. ISBN 978184764636.
270:. Durham: Duke University Press, 2016.
261:The Metropolitan Museum of Art Bulletin
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442:"Tom Lloyd - Artist Facts"
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