Art In America, 2016
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
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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.
The Diptych vs the Triptych, 1998
Unpublished statement — Excerpt from a conversation between Lorraine O’Grady and a studio visitor, 9.12.98.
Interview by Laura Cottingham, 1995
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.
black female subjectivity the Black and White Show Just Above Midtown black avant-garde autobiography Mlle Bourgeoise Noire Miscegenated Family album rock criticism The Clearing Nefertiti/Devonia Evangeline Olympia's Maid white feminism Lucy Lippard performance art Adrian Piper 1995 nature vs culture the Caribbean race and class sex and sexuality Ancient Egypt sibling rivalry Judith Wilson tokenism religion and spirituality
Thoughts on Diaspora and Hybridity, 1994
Unpublished lecture, Wellesley College — Written shortly after the “Postscript” to “Olympia’s Maid,” this lecture delivered to the Wellesley Round Table, a faculty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.
black female subjectivity hybridity The Dual Soul autobiography Miscegenated Family album diaspora Nefertiti/Devonia Evangeline Olympia's Maid Gayatri Spivak post-modernism performance art 1994 historiography nature vs culture the Caribbean race and class Ancient Egypt sibling rivalry Wellesley College artistic process
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.
black female subjectivity Stuart Hall psychoanalysis Olympia's Maid white feminism Gayatri Spivak post-modernism 1994 1992 nature vs culture black women artists black writers erasure/invisibility race and class sex and sexuality dance Judith Wilson religion and spirituality The Strange Taxi poststructuralism
Black Women Film Directors, 1992
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.
Alexander Gray Associates, 2015
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.
black female subjectivity Just Above Midtown black avant-garde Rivers First Draft autobiography Mlle Bourgeoise Noire Art Is... diaspora Olympia's Maid art-world racism performance art becoming an artist Linda Goode Bryant David Hammons Senga Nengudi 2015 nature vs culture Cutting Out The New York Times Lowery Stokes Sims Fred Wilson Judith Wilson
New York Times, 2012
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.
New Yorker, 2012
Goings On About Town: Art — Considers the New Worlds show relevant in view of the recent shooting of Trayvon Martin.
ArtNet, 2012
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."
artforum.com, 2012
Lumi Tan, Critics' Picks — A brief, astute statement that indicates O'Grady's intentions in naming her Alexander Gray, NY solo show New Worlds.
Andil Gosine, 2012
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.
Shelley Rice, 2012
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.
Thomas Feucht-Haviar, 2005
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.