LACMA panel paper, revised for publication in X-Tra — O’Grady recounts an incident from her pre-art life in explanation of her response to the work of the white South African artist.
1996 – 2003
Flannery O'Connor: In Celebration of Genius, 75th year Festschrift — This personal article by Guerrilla Girl Alma Thomas on one of O'Grady's key authors, Flannery O'Connor—who wrote as a Catholic in the Protestant South—discusses O'Connor's meaning for later "minority" artists in a pluralized world.
Published letter re “Ronald Jones on 'Black Like Who?'” — Response to "Crimson Herring: Ronald Jones on 'Black Like Who?' [Harvard University symposium on stereotypes in art]," Artforum International, vol. xxxvi, no. 10, Summer 1998. Letter published as "Poison Ivy," in Artforum International, vol. xxxvii, no. 1, October 1998.
Unpublished exchange — The most comprehensive and focused interview of O’Grady to date, this Q & A by a Duke University doctoral candidate benefited from the slowness of the email format, the African American feminist scholar’s deep familiarity with O’Grady’s work, and their personal friendship.
Wall statement for exhibit at Thomas Erben Gallery, Soho — Written for the first exhibit of “Studies #3 and 4 for Flowers of Evil and Good” at Thomas Erben Gallery, NYC, this discussion of the father of modernism Charles Baudelaire and his Haitian common-law wife Jeanne Duval, as well as Picasso and O’Grady’s mother Lena, places their relationships in the postmodernist moment.
Art Journal, College Art Association — In this article for Art Journal, Winter 1997, the special issue on performance edited by Martha Wilson, O’Grady focuses first on Nefertiti/Devonia Evangeline, then discusses its relationship to Miscegenated Family Album, alluding to the advantages and disadvantages of the move from performance to photo installation.
In Sojourner: The Women's Forum, November 1996 — Conducted in Cambridge during O’Grady’s one-year residency at the Bunting Institute at Harvard, the interview may have been affected by what she’d felt as adverse treatment there of her diptych The Clearing.
Kim Levin’s review of Senga Nengudi at Thomas Erben — Quotes Lorraine O’Grady on Nengudi’s avant-garde meaning and asks, “So how come we’ve barely heard of her?”
Artforum, Artists Curate, January – Cady Noland's "Back At You" portfolio brings together artists such as Chris Burden, Adrian Piper and Lorraine O'Grady whose work takes "considerable risks."
Biraciality and Nationhood in Contemporary Art — An article on work by artists responding to racial hybridity that features a discussion of O’Grady’s diptych, The Clearing. Published in Third Text: Critical Perspectives on Art and Culture 53, Winter 2000-01, pp 43–54.
The Art of Reading: Postcolonial Bodies and Strategic Illegibility — Analytic reading of two “works” — Gayatri Spivak’s description of her clothing, and Lorraine O’Grady’s Flowers of Evil and Good. Unpublished paper read to a symposium at Louisiana State University, March 2000.
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.
Studies for Flowers of Evil and Good, at Thomas Erben, NY — Lengthy, historically aware review of O'Grady's first NY show of digital cibachrome studies for this work, in Review Magazine, vol 4, no 3, October 15, 1998, pp 6-7.
Black Female Spectatorship and the Dilemma of Tokenism — An article in dialogue with O’Grady’s “Olympia’s Maid: Reclaiming Black Female Subjectivity.” In Generations: Academic Feminists in Dialogue, Devoney Looser and E. Ann Kaplan, eds. University of Minnesota Press, 1997.
“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.
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.
Hypocrite Lecteur, Mon Semblable, Mon Frère! Hybrid Viewer, My Difference, Lorraine O’Grady! — Catalogue essay for the group exhibit New Histories, Institute of Contemporary Art, Boston, MA. 1996. Lia Gangitano and Steven Nelson, eds.