erasure/invisibility

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Four Diptychs, 2010

[In English] Pétunia: magazine féministe d'art contemporain 2, France — The French feminist magazine Petunia’s invitation to create a centerfold sparked O’Grady’s piece in the 2010 Whitney Biennial, The First and the Last of the Modernists. The text documents her decision to contrast images of Baudelaire and Michael Jackson.

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Radio Interview by Andil Gosine, 2010

Transcript, "Lorraine O'Grady's Natures," NCRA Canada — This half-hour show, extracted from a longer video interview and produced in Canada for NCRA, is focused on O’Grady’s diptych “The Clearing” and explores issues of sex, nature and love in her work via a mix of the intellectual and the intimate.

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Email Q & A with Courtney Baker, 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Unpublished exchange — The most comprehensive and focused interview of O’Grady to date, this Q & A by a Duke University doctoral candidate benefited from the slowness of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.

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Studies for Flowers of Evil and Good, 1998

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.

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Interview by Theo Davis, 1996

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.

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Olympia’s Maid, 1992, 1994

Afterimage 20, 1992; expanded, New Feminist Criticism, 1994 — This first-ever article of cultural criticism on the black female body was to prove germinal and continues to be widely referenced in scholarly and other works. Occasionally controversial, it has been frequently anthologized, most recently in Amelia Jones, ed, The Feminism and Cultural Reader, Routledge.

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The Presence that Signals an Absence, 1993

Catalogue Essay, Coming to Power, David Zwirner Gallery — Written for the unpublished, photocopied catalogue of Coming to Power: 25 Years of Sexually X-plicit Art by Women, curated by Ellen Cantor and presented by David Zwirner Gallery and Simon Watson/The Contemporary, NYC, the essay examines O’Grady’s inclusion in the show and responses to her diptych The Clearing.

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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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Hyperallergic on Art Is…, 2015

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.

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18 Whitney Mentions, 2010

Selected press on O’Grady in the Biennial — A compilation of 18 selected and conflicting mentions of Lorraine O’Grady’s piece in the 2010 Whitney Biennial press provides an opportunity to compare responses to The First and the Last of the Modernists and parse their differences.

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Buffalo Biennial, 2010

Carolyn Tennant, New Media Director, Hallwalls — Catalogue essay for Beyond/In Western New York on O’Grady’s two-part exhibit: The Clearing: or Cortez and La Malinche, Thomas Jefferson and Sally Hemings, N. and Me, photomontage diptych, 1991; and her new complement to it: Landscape (Western Hemisphere)

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Michele Wallace, 1997

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.

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