Lucas Livingston, “Episode 22: Nefertiti, Devonia, Michael.” Ancient Art Podcast, July 6, 2009.
On October 31, 1980 at Just Above Midtown Gallery in New York City, artist Lorraine O’Grady, dressed in a long red robe, debuted her new work of performance art. On a dark stage with a slideshow backdrop and dramatic recorded narration, O’Grady enacted hypnotic, ritualized motions, like the priestess of an ancient mystery cult, incanting magicks over vessels of sacred sand and offerings blessings of protection to the projected images of the Ancient Egyptian Queen Nefertiti and her late sister Devonia Evangeline O’Grady Allen. In the piece entitled Nefertiti/Devonia Evangeline, Lorraine O’Grady confronted her relationship with her sister through the lens of Nefertiti and Nefertiti’s own apparent sister, Mutnedjmet — a relationship which O’Grady felt would have been equally troubled. O’Grady’s sister Devonia tragically died just a few short weeks after the two of them had finally begun speaking after many years of a strained relationship.
Inspired two years later after a trip to Egypt, O’Grady began researching Queen Nefertiti and her famed family of the Amarna Period. While in
In 1994, from the performance piece Nefertiti/Devonia Evangeline originally composed of 65 photographic comparisons, O’Grady took about a fifth of the diptychs and framed them in an
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