2016

524

ArtFCity, 2016

Emily Colucci's review of "Blackness in Abstraction" highlights O'Grady's full-wall video "Landscape (Western Hemisphere)" as one of the exhibit's most successful pieces both for its embrace of multiple meanings of blackness and for its abstract evocation of landscape sounds and textures.

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Art In America, 2016

Kirsten Swenson reviews “Lorraine O’Grady” at Harvard’s Carpenter Center for the Visual Arts — Notes uncanny intersections of O’Grady’s early works with contemporary events. Concludes, “Now, we are beginning to see her art.”

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Brooklyn Rail, 2016

Lorraine O'Grady with Jarrett Earnest — In this cover feature, her most important published interview to date, O'Grady discusses Flannery O'Connor as a philosopher of the margins, the archival website, working out emotions via Egyptian sculpture, Michael Jackson's genius, and feminism as a plural noun.

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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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