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.”
nature vs culture
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.
Hatch-Billops Collection, Artists and Influence 1996, vol. 15 — In-depth interview done for the excellent Artist and Influence series produced by Camille Billops and James Hatch for their archive of African American visual and theatre arts.
Unpublished lecture, Wellesley College — Written shortly after the “Postscript” to “Olympia’s Maid,” this lecture delivered to the Wellesley Round Table, a faculty symposium on Miscegenated Family Album, takes a retrospective look at O’Grady’s earlier life and work through the prism of cultural theory.
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.
Film column, Artforum, January 1992 — Written during a tentative “break-through” year for black women film directors, the article was a search for answers to the question, “Why are there so few even now?” It found the situation for black women to be an exaggeration of that for women in general.
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.
Holland Cotter, Art in Review — Cotter, long familiar with O'Grady's work, points to a new aspect of the photomontages shown in New Worlds, their "deep ambivalence." And his description of the effect of Landscape (Western Hemisphere), the video-projection, is the most allusive yet.
Goings On About Town: Art — Considers the New Worlds show relevant in view of the recent shooting of Trayvon Martin.
Emily Nathan, The New York List — Analysis of New Worlds focusing on how the works' resistance of "easy classification" and their straddling of "artificial divides of genre and type" serve to replicate O'Grady's thoughts on the contemporary world, one "shaped and inflected by miscegenation."
Lumi Tan, Critics' Picks — A brief, astute statement that indicates O'Grady's intentions in naming her Alexander Gray, NY solo show 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.
Lorraine O’Grady’s “Olympia’s Maid: Reclaiming Black Female Subjectivity” — Seminar paper on need for subjectivity and agency to restore critical judgement in face of knowledge acquisition and production that are compromised forms of power relations. Studio Art Dept, UC Irvine.