Adrienne Edwards' essay on Landscape (Western Hemisphere), written for her "Blackness in Abstraction" exhibit curated for Pace Gallery, is an intellectually brilliant and poetically sensitive reading of the array of meanings residing in the video and the most complex statement on this piece to date.
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.
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.”
Aria Dean’s “Closing the Loop” — In contrasting white “selfie” feminism’s understanding of the body to that of contemporary black feminism, Dean’s feature essay also provides a first updating of “Olympia’s Maid.”
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.
"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."
@museummammy interview on contemporary art — Drew, whose Black Contemporary Art tumblr is a first stop for anyone interested in this enormous topic, here cites David Hammons and Lorraine O'Grady as two artists to whom more serious attention should be paid, joining those who have noted O'Grady's work as "under-theorized."