Lorraine O’Grady’s Hair Stare Fare
A veteran artist turns cultural identity into abstract art
by Ben Davis, 2012
Lorraine O’Grady, a performance pioneer, is herself a character more interesting than almost any she could invent. Born in 1934 of mixed Caribbean and Irish background, she graduated from Wellesley in 1954, worked as a government economist, lived in Scandinavia, volunteered for Jesse Jackson, did translations for Playboy, and penned some pioneering rick-and-roll criticism (including for The Village Voice) – all before deciding to become a visual artist the turbulent post-conceptual New York of the late 1970s.
These days, O’Grady is having something of a renaissance. The inclusion of her work in a survey of feminist art at P.S.1 a few years ago led to a surge of fresh activity, inspiring, among other things, her current show at Alexander Gray Associates, which centers on a new video – a relatively new medium for her.
Why the interest now? O’Grady has lived between a heck of a lot of worlds, which probably makes her work resonate with the polymorphous sensibility that is the contemporary vogue. On the other hand, her art has an underlying honesty and social intelligence that makes it refreshing in the present context of easy nihilism.
Two works have become her signatures. The first, a guerrilla performance series that began around 1980, had her assume the fanciful persona known as “Mlle Bourgeoise Noire.” Clad in a dress stitched together of white gloves and carrying a cat-o’-nine-tails, she would crash openings at the New Museum, then still a kind of alternative space catering to the mainly white downtown set, or the then-thriving Just Above Midtown gallery, dedicated to the African-American avant-garde, and issue cryptic, poetic rants about the parochialism of the separate scenes.
If this work seemed meant to shake up art, O’Grady’s second-most-famous piece, from 1983, deliberately sidestepped the art context almost entirely: She created a float for a community parade in Harlem, giving marchers empty gold frames so that they could frame themselves and their surroundings as artworks, thereby crossbreeding conceptualism’s rarefied “its art because I say it is” posturing with some up-with-people neighborhood empowerment. ( . . . )