Press

Paris Review, 2016

Caille Millner, on Rivers, First Draft as a living Künstlerroman – When to many the performance may seem surrealist, just as 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 piece's collage aesthetic 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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Hyperallergic on O’Grady, 2015

A Walk Through the World of Lorraine O'Grady – Heather Kapplow, the Boston reviewer, replicates O'Grady's working method by walking backwards, turning the exhibit itself into a diptych, video on one side, wall works on the other, setting in motion a permanent back-and-forth questioning and answering between the two so that the only resolution is to embrace a permanent, un-hierarchized equivalence.

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Boston Globe, 2015

Cate McQuaid on "Where Margins Become Centers" – In this enthusiastic review of the Carpenter Center show, which she later discussed further in an end-of-year column on Boston's galleries, the award-winning critic declares that, after the early performances, O'Grady's work "grew more precise and more searing."

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Harvard University, 2015

Carpenter Center Exhibition Booklet – One reviewer called it an "Indispensable brochure." Besides checklist and illustrations, Lorraine O'Grady: Where Margins Become Centers contains an incisive essay by the CCVA's curator James Voorhies, an article by O'Grady and interview by Cecilia Alemani,, as well as Andil Gosine's foundational essay, "Lorraine O'Grady's New Worlds."

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Artspace, 2015

Feature article on "Art Is..." and why it might not work today — with interview of O'Grady by Karen Rosenberg. O'Grady describes how the piece became unintentionally historic. Done in 1983, it was just before crack came to Harlem. Later, both the drug and the changed technologies of policing in Harlem and elsewhere would make people less open to strangers and cameras.

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Art Agenda, 2015

Alan Gilbert review of Lorraine O'Grady at Alexander Gray — The editor of the College Art Association's caa.reviews, through a close formal description of "Cutting Out the New York Times," mimicked by that of the "Rivers, First Draft" wall installation, points to how their form provides an associative logic needed to make sense of the individuation process unfolding on the wall.

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Alexander Gray Associates, 2015

Lorraine O'Grady, gallery exhibition catalogue — Fully illustrated, with analyses and descriptions of the 1977 "Cutting Out the New York Times" collaged poems and the 1982 "Rivers, First Draft" performance in Central Park (including production and music credits). Also contains bio and a new text by O'Grady celebrating premiere of RFD as a wall installation.

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burnaway.org, 2015

Feature on "EN MAS': Carnival and Performance Art of the Caribbean" — Reviewer Rebecca Lee Reynolds displays keen appreciation of the format of O'Grady's "reaction video," her commission for "EN MAS," which opened at CAC New Orleans before its traveling tour to the National Galleries of the Cayman Isalnds and of The Bahamas, plus centers of the diaspora.

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Ben Davis, 2012

Lorraine O'Grady's Hair Stare Fare, Village Voice — Davis's career evaluation and review of New Worlds at Alexander Gray, NY, O'Grady's show comprised of The Fir-Palm, The Clearing, and the projected video Landscape (Western Hemisphere), is suggestively sub-titled "A veteran artist turns identity into abstract art."

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wellesley.edu, 2012

Lorraine O'Grady Papers, Wellesley College Library — Front page article on the college website about the artist's visit to campus for the celebration of the opening of her archive and to give a lecture.

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Walker Art Center Magazine, 2012

Curators converse on This Will Have Been — Conversation between curator Helen Molesworth and assistant curator Bartholomew Ryan about the making of This Will Have Been: Art, Love and Politics in the 1980s. Includes interesting comments on the delayed recognition of both O'Grady and Peter Hujar.

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Artforum, Summer 2012

Hannah Feldman on This Will Have Been, MCA Chicago — This generally laudatory review of a groundbreaking exhibit on art of the 1980s features special attention on O'Grady's piece in the exhibit, Art Is…, seen as encapsulating the problematic of curator Helen Molesworth's strategy.

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Pelican Bomb, 2011

Tori Bush on Lorraine O'Grady in The Best of Prospect.2: Part 1 — In the online magazine of the Contemporary Visual Arts Association of New Orleans, the writer says of Art Is… in Prospect.2 that the frame "not only asked 'What is art?' but also 'Who chooses what is represented and how is it perceived'" by different audiences?

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Malik Gaines, Frieze 2011

Malik Gaines — in frieze, “Looking Forward, Looking Back” — Gaines’s end-of-year review looks at Los Angeles and examines the blurring boundaries between art and entertainment. Its pointed commentary on The First and the Last of the Modernists’ image strategies was the most perceptive on the piece to date.

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Dorothée Dupuis, Triangle France, 2010

Invitation to exhibit in K. Acker: The Office — For a show on experimental writer, radical feminist and punk culture icon Kathy Acker, the curator’s emailed request to O’Grady to exhibit Rivers, First Draft, the first such invitation the piece had received, contained a one-paragraph summary of the 1982 performance and its relevance to Acker.

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Beyond/In Western New York, 2010

Wall Text, Carolyn Tennant, New Media Director, Hallwalls — Two complementary pieces, The Clearing, 1991, and Landscape (Western Hemisphere), 2010, were connected via the concept of the bridge, both in music and in O’Grady’s phrase, “Wherever I stand, I find I have to build a bridge to some other place."

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Brooklyn Museum, 2010

Object of the Month, August 2010: Miscegenated Family Album — Patrick Amsellem, Associate Curator of Photography, blogs a tribute to Miscegenated Family Album. In an analysis of the work’s intellectual and emotional success at the museum, Amsellem writes that MFA “immediately became a favorite."

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Manifesta 8 press, 2010

Three articles on Manifesta 8 — At the close of 2010, O’Grady was in Manifesta 8, the roving European Biennial of Contemporary Art, in Murcia, Spain. In a show whose failures raised more interesting questions than its successes, the location of her piece may have interrogated the curators’ intentions.

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18 Whitney Mentions, 2010

Selected press on O’Grady in the Biennial — A compilation of 18 selected and conflicting mentions of Lorraine O’Grady’s piece in the 2010 Whitney Biennial press provides an opportunity to compare responses to The First and the Last of the Modernists and parse their differences.

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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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Art Institute of Chicago, 2008

Wall Text, Miscegenated Family Album — James Rondeau, curator of contemporary art at the first museum to purchase the Miscegenated Family Album installation, wrote a model wall text to introduce the work to general audiences in the Permanent Collection gallery it shared with Felix Gonzalez-Torres.

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Jay Lopez, 2007

DJ JJ Lopez's email invite to Persistent opening at Artpace San Antonio, TX — The founder of the “diggindeepquartet” DJ collective and lead DJ of the closed Davenport Lounge in San Antonio — and O’Grady’s collaborator on the installation — emails a description of Persistent to his list.

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WACK! 2007

Connie Butler, curator; Linda Theung, essayist — Catalogue essay by Linda Theung for WACK! Art and the Feminist Revolution, which opened at the Museum of Contemporary Art, Los Angeles, then traveled to the National Museum of Women in the Arts, Washington, DC; MOMA/PS1, Long Island City, NY; and the Vancouver Art Gallery, British Columbia.

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Franklin Sirmans, 1998

Les Fleurs Duval, on ArtNet.com — Sirmans' review of "Studies: for a work-in-progress on Charles Baudelaire, the first Modernist poet, and his Haitian-born wife Jeanne Duval" analyzes O'Grady's conceptual oeuvre and her mid-90s computer use in order to deconstruct and reconstruct accepted reality.

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Irene Cheng, 1996

“White Skin, Black Masks”: Fetishism and Les Demoiselles d’Avignon — Handout on O’Grady’s “unmasking” as a response to the critical tradition of fetishizing the fetish. Written to accompany “Studies for Flower of Evil and Good” in New Histories, Institute of Contemporary Art, Boston, MA. Oct 23,1996–Jan 5, 1997.

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Courtney Baker, 1996

A Legacy of Silence — Handout on the historical and critical treatment of Jeanne Duval, accompanying “Studies for Flower of Evil and Good” in New Histories, Institute of Contemporary Art, Boston, MA. Oct 23, 1996–Jan 5, 1997. Curator: Milena Kalinovska.

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Carol Dougherty, 1994

The Object of History and the History of Objects — Handout written by a professor of Greek and Latin for the premiere of O’Grady’s installation Miscegenated Family Album in Body As Measure, The Davis Museum and Cultural Center, Wellesley, MA, Oct-Nov 1994.

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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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