Electronic Refractions

"Most of the works in "Electronic Refractions II" were produced while Lloyd was the inaugural artist in the museum's Studio Program, a founding initiative alongside the Film Unit and the Artist-in-Residence program, the latter of which continues today. Though lesser-known to contemporary art audiences than many Black and kinetic artists of his generation, Lloyd remains something of a guiding light for the Studio Museum,"

"One of the things that interests me about Tom Lloyd is the way that he sits at the nexus of race and technology in postwar art. For different reasons, the dominant art-historical narratives of the 1960s have marginalized both African American art and the Art and Technology movement. In response, many have long fought for them to be reconsidered as part of the mainstream, but at the same time, there is much to be gained by insisting on the specificity of these artistic practices-and,"

Most works in "Electronic Refractions II" were produced while Lloyd served as the inaugural artist in the museum's Studio Program, a founding initiative created alongside the Film Unit and the Artist-in-Residence program, the latter of which continues today. The museum reopens after a seven-year expansion project led by Adjaye Associates, with Cooper Robertson as executive architect, and Lloyd's first monographic retrospective and catalogue accompany the reopening. Lloyd occupies a unique position at the nexus of race, technology, abstraction, and politics in postwar art. Dominant 1960s narratives marginalized African American art and the Art and Technology movement, prompting reconsideration and insistence on the specificity of these practices. The show arises from the museum's founding mission to support artists working experimentally with nontraditional materials.

Read at Artforum