Studio Museum in Harlem Magazine, Summer/Fall issue — Hunt, the curator of O'Grady's solo exhibit of "Art Is..." at the SMH, discusses with her the images the artist still finds most intriguing, her process of gathering the images and more than a quarter of a century later organizing them into a new art work. Also touched on are the assembling of the performers and how they helped shape the piece.
Artist feature, CAA Art Journal, Summer 2012 — Based on her lecture in conjunction with the exhibit This Will Have Been: Art, Love and Politics in the 1980s, the article puts several early works in historical context and explains O'Grady's reverse trajectory from "post-black" to "black."
Recorded by Art Radio WPS1, available online at clocktower.org — Full transcript of a 45-minute conversation between Lorraine O’Grady and curator Connie Butler in WPS1 Art Radio’s broadcast studios two weeks before the WACK! opening at PS1–MOMA, Long Island City, NY.
Unpublished email exchange — During an e-mail exchange in which they were sharing ideas and work, O'Grady sent Roth a copy of Lucy Lippard's review of Art Is. . . . Roth's questions prompted O'Grady to elaborate on the making and meaning of the performance.
Unpublished exchange — The most comprehensive and focused interview of O’Grady to date, this Q & A by a Duke University doctoral candidate benefited from the slowness of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.
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.
Unedited transcript for Performance Artists Talking in the Eighties — Montano’s questions on “ritual” cast interesting light on the connection between O’Grady’s early life and her performances. The unedited transcript of the interview contains answers in greater depth on Mlle Bourgeoise Noire and Nefertiti/Devonia Evangeline.
"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."
Louis Bury on "Art Is..." — Bury's lengthy and magisterial review is a model of intellectual attention to what is being seen — both inside and outside the frame. Beginning with the freedom of the piece's title, it examines framing as form, content and metaphor, and illluminates police presence and the relation of viewer to viewed.
Blog entry on "Art Is..." at the Studio Museum in Harlem — This brief review by an art historian frames "Art Is..." as a "meta-art proposition" and draws interesting parallels to works by later black artists.
Feature article on "Art Is..." and why it might not work today — with interview of O'Grady by Karen Rosenberg. O'Grady describes how the piece became unintentionally historic. Done in 1983, it was just before crack came to Harlem. Later, both the drug and the changed technologies of policing in Harlem and elsewhere would make people less open to strangers and cameras.
Lorraine O'Grady, gallery exhibition catalogue — Fully illustrated, with analyses and descriptions of the 1977 "Cutting Out the New York Times" collaged poems and the 1982 "Rivers, First Draft" performance in Central Park (including production and music credits). Also contains bio and a new text by O'Grady celebrating premiere of RFD as a wall installation.
Lorraine O'Grady's Hair Stare Fare, Village Voice — Davis's career evaluation and review of New Worlds at Alexander Gray, NY, O'Grady's show comprised of The Fir-Palm, The Clearing, and the projected video Landscape (Western Hemisphere), is suggestively sub-titled "A veteran artist turns identity into abstract art."
Hannah Feldman on This Will Have Been, MCA Chicago — This generally laudatory review of a groundbreaking exhibit on art of the 1980s features special attention on O'Grady's piece in the exhibit, Art Is…, seen as encapsulating the problematic of curator Helen Molesworth's strategy.
Museum of Contemporary Art, Chicago — Analysis of O'Grady's 1983 Afro-American Day Parade, Harlem, performance Art Is…, in the groundbreaking exhibit This Will Have Been: Art, Love and Politics in the 1980s, curated by Helen Molesworth. Essay by Jordan Troeller.
Lorraine O’Grady’s Landscape — In a new magazine devoted to artists from the Caribbean and its diaspora, a young Trinidadian-Canadian professor at Toronto’s York University sheds light on the role of hybridity in Landscape (Western Hemisphere) and its complementary work The Clearing.
Tori Bush on Lorraine O'Grady in The Best of Prospect.2: Part 1 — In the online magazine of the Contemporary Visual Arts Association of New Orleans, the writer says of Art Is… in Prospect.2 that the frame "not only asked 'What is art?' but also 'Who chooses what is represented and how is it perceived'" by different audiences?
The Moment of Encounter — A film director and Columbia University professor describes her experience seeing Art Is... at Basel Miami, then attending O’Grady’s public conversation with Roselee Goldberg and Sanford Biggers at MOMA three months later. Meditates on O’Grady’s career trajectory.
Five from the Whitney Biennial: Lorraine O’Grady — Walleston’s Art in America online interview-feature, published on the day of the V.I.P. reception for the 2010 Whitney Biennial, provided a brief but effective look at the artist's work and career.
Massimiliano Gioni picks... Lorraine O’Grady, Art Is... — Gioni's one-paragraph notice with photo points to ways in which O'Grady's piece in the Alexander Gray booth at Art Basel Miami Beach questions market values. In the publication that carries most weight at the fair.
The Poem Will Resemble You — Mauss’s article for Artforum is, with Wilson’s INTAR catalogue essay, one of the most extended and incisive pieces on O’Grady’s oeuvre to date. It was one-half of a two-article feature that also included O’Grady’s artist portfolio for The Black and White Show.
Connie Butler, curator; Linda Theung, essayist — Catalogue essay by Linda Theung for WACK! Art and the Feminist Revolution, which opened at the Museum of Contemporary Art, Los Angeles, then traveled to the National Museum of Women in the Arts, Washington, DC; MOMA/PS1, Long Island City, NY; and the Vancouver Art Gallery, British Columbia.
A West Indian Yankee in Queen Nefertiti’s Court — The first critical article on O'Grady's work as a whole, and still one of the best. Published in New Observations #97: COLOR. September/October 1993. Special issue, edited by ADRIAN PIPER.
Gretchen Faust, New York in Review — Excellent review of O'Grady's first solo exhibit, at INTAR Gallery. Faust confesses: "Every once and awhile I come across a show that really demands more time and space consideration." Special focus on performance docs in the photomontage show.
Art Is . . . — Highlighted box review, taking a retrospective look at O’Grady’s 1983 performance Art Is.... In “Sniper’s Nest,” Z Magazine, July-August 1988, p 102