"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."
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.
Feature article on "Art Is..." and why it might not work today — with interview of O'Grady by Karen Rosenberg. O'Grady describes how the piece became unintentionally historic. Done in 1983, it was just before crack came to Harlem. Later, both the drug and the changed technologies of policing in Harlem and elsewhere would make people less open to strangers and cameras.
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.
Feature on "EN MAS': Carnival and Performance Art of the Caribbean" — Reviewer Rebecca Lee Reynolds displays keen appreciation of the format of O'Grady's "reaction video," her commission for "EN MAS," which opened at CAC New Orleans before its traveling tour to the National Galleries of the Cayman Isalnds and of The Bahamas, plus centers of the diaspora.
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."
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 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.
A Generous Medium: Photography at Wellesley, 1972-2012 — The curator of the Wellesley Davis Museum's 1994 exhibit Body As Measure, in which Miscegenated Family Album was first shown, looks back movingly on her encounter with the work in the artist's studio and on the complexities of purchasing work by an alumna.
Episode 22: Nefertiti, Devonia, Michael — Complete transcript of podcast by Lucas Livingston, an Egyptologist associated with the Art Institute of Chicago, that discusses Nefertiti/Devonia Evangeline and Miscegenated Family Album in detail. Also a YouTube video with high-quality images.
The Poem Will Resemble You — Mauss’s article for Artforum is, with Wilson’s INTAR catalogue essay, one of the most extended and incisive pieces on O’Grady’s oeuvre to date. It was one-half of a two-article feature that also included O’Grady’s artist portfolio for The Black and White Show.
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.
Art Is . . . — Highlighted box review, taking a retrospective look at O’Grady’s 1983 performance Art Is.... In “Sniper’s Nest,” Z Magazine, July-August 1988, p 102
“Dialogues,” Just Above Midtown Gallery — Patricia S. Jones discusses a downtown gallery performance series at Just Above Midtown, NYC, Oct 1980 in a late 70s-early 80s annual journal. Article makes special note of O’Grady’s first performance of Nefertiti/Devonia Evangeline.