Lorraine O'Grady with Jarrett Earnest — In this cover feature, her most important published interview to date, O'Grady discusses Flannery O'Connor as a philosopher of the margins, the archival website, working out emotions via Egyptian sculpture, Michael Jackson's genius, and feminism as a plural noun.
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Unpublished lecture, Wellesley College — Written shortly after the “Postscript” to “Olympia’s Maid,” this lecture delivered to the Wellesley Round Table, a faculty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.
Aria Dean’s “Closing the Loop” — In contrasting white “selfie” feminism’s understanding of the body to that of contemporary black feminism, Dean’s feature essay also provides a first updating of “Olympia’s Maid.”
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.
Lisa Scanlon on O'Grady's archive at Wellesley College — Associate editor Scanlon, writing on the newly opened Lorrraine O'Grady Papers, the College's first major alumnae archives, calls the collection a means to preserve the records of the artist's "permanent rebellion."
Unpublished article on New Worlds — The unpublished article by Gosine, a York University (Toronto) professor who'd written earlier on hybridity in O'Grady's work, is a perceptive and detailed analysis of the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.
Lorraine O'Grady Papers, Wellesley College Library — Front page article on the college website about the artist's visit to campus for the celebration of the opening of her archive and to give a lecture.
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?
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.
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.
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.