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."
[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.
[Text in English and Italian] Mousse Magazine, issue 24 — The Mousse interview, done after the Whitney Biennial opening, elaborated on O’Grady’s piece for that exhibit,The First and the Last of the Modernists, and its relation to her decades of teaching Baudelaire and to her work-in-progress Flowers of Evil and Good.
Unpublished paragraphs on individual works in INTAR exhibit, 1991 — Written to answer FAQs about the works without prescribing viewers' responses. The photomontages were not based in Surrealist or Dada randomness. To make arguments and not just images or dreams, rational sources were twisted so unfamiliar subjective material of the "other" might enter.
Moderated online by Maurice Berger — O’Grady’s replies to Berger’s questions, both reproduced here, were extensive. The conference, with 30 posters and hosted on the Georgia O’Keefe Museum website, provided an opportune moment to re-think her 80s work in its larger historical context.
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.
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.
Carpenter Center Exhibition Booklet — One reviewer called it an "Indispensable brochure." Besides checklist and illustrations, Lorraine O'Grady: Where Margins Become Centers contains an incisive essay by the CCVA's curator James Voorhies, an article by O'Grady and interview by Cecilia Alemani,, as well as Andil Gosine's foundational essay, "Lorraine O'Grady's New Worlds."
Unpublished article on New Worlds — The unpublished article by Gosine, a York University (Toronto) professor who'd written earlier on hybridity in O'Grady's work, is a perceptive and detailed analysis of the subject's treatment in her New Worlds show at Alexander Gray, NY.
Jeu de Paume invited blog — Rice's familiarity with O'Grady's work over 30 years results in a theoretically astute and rotundly feminist look at how New Worlds extends the artist's ongoing critique of cultural stability from the lens of the hybridized political-personal and the colonized body.
Alana Chloe Esposito, Unnatural Attitudes — A sensitive summary of O'Grady's biography and its effect on her art, Esposito's piece sees the work as emerging from the artist's pressure to understand and become herself.
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.
Object of the Month, August 2010: Miscegenated Family Album — Patrick Amsellem, Associate Curator of Photography, blogs a tribute to Miscegenated Family Album. In an analysis of the work’s intellectual and emotional success at the museum, Amsellem writes that MFA “immediately became a favorite."
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.
Miscegenated Family Album, at Alexander Gray Associates, NY — The first New York Times review of a solo show by O’Grady. Lead review in the “Art in Review” section, with a photo of “Sisters I.”
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.
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.
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.
Lorraine O’Grady: Critical Interventions — Catalogue essay for O'Grady's first solo exhibit: "Lorraine O'Grady," photomontages, INTAR Gallery, 420 W 42nd St, NYC, Jan 21-Feb 22, 1991. Includes authoritative account of artist's earlier career.