Journal Articles

18

Paris Review, 2016

Caille Millner, on Rivers, First Draft as a living Künstlerroman — Whereas to many the performance may seem surrealist (in the way early readers saw García Márquez's 100 Years of Solitude as surrealist when that novel was, if not realistic, quite real), Millner adeptly demystifies the work's collage aesthetic, seeing the piece as literalized metaphor, a guide to women of color wishing to become artists.

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Stedelijk Studies #3, 2016

"Frame Me": Speaking Out of Turn and Lorraine O'Grady's Alien Avant-Garde — In the first major academic article on O'Grady, Stephanie Sparling Williams, using both the definition of "alien" as stranger and the Brechtian "alienation effect," provides a first line of theorization, stating: "As both alien and avant-garde, [it paves] the way for these two terms to be theorized in close proximity as a distinctive position from which to deploy strategic visibility and voice."

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Wellesley Magazine, 2013

Lisa Scanlon on O'Grady's archive at Wellesley College — Associate editor Scanlon, writing on the newly opened Lorrraine O'Grady Papers, the College's first major alumnae archives, calls the collection a means to preserve the records of the artist's "permanent rebellion."

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Andil Gosine, 2012

Unpublished article on New Worlds — The unpublished article by Gosine, a York University (Toronto) professor who'd written earlier on hybridity in O'Grady's work, is a perceptive and detailed analysis of the subject's treatment in her New Worlds show at Alexander Gray, NY.

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Shelley Rice, 2012

Jeu de Paume invited blog — Rice's familiarity with O'Grady's work over 30 years results in a theoretically astute and rotundly feminist look at how New Worlds extends the artist's ongoing critique of cultural stability from the lens of the hybridized political-personal and the colonized body.

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Art Fag City, 2012

Alana Chloe Esposito, Unnatural Attitudes — A sensitive summary of O'Grady's biography and its effect on her art, Esposito's piece sees the work as emerging from the artist's pressure to understand and become herself.

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Andil Gosine for ARC, 2011

Lorraine O’Grady’s Landscape — In a new magazine devoted to artists from the Caribbean and its diaspora, a young Trinidadian-Canadian professor at Toronto’s York University sheds light on the role of hybridity in Landscape (Western Hemisphere) and its complementary work The Clearing.

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Nick Mauss in Artforum, 2009

The Poem Will Resemble You — Mauss’s article for Artforum is, with Wilson’s INTAR catalogue essay, one of the most extended and incisive pieces on O’Grady’s oeuvre to date. It was one-half of a two-article feature that also included O’Grady’s artist portfolio for The Black and White Show.

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Calvin Reid, 1993

A West Indian Yankee in Queen Nefertiti’s Court — The first critical article on O'Grady's work as a whole, and still one of the best. Published in New Observations #97: COLOR. September/October 1993. Special issue, edited by ADRIAN PIPER.

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Judith Wilson, 1992

Unpublished slide lecture, A Postmortem on Postmodernism? — Prior to O’Grady’s publication of “Olympia’s Maid,” it tellingly inflects T. Feucht-Haviar’s later paper on subjectivity as a critical category opposing regimes of knowledge acquisition and production based in compromised forms of power relations.

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