The Fir-Palm

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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.”

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BodyGround Image Descriptions, 2010

Unpublished paragraphs on individual works in INTAR exhibit, 1991 — Written to answer FAQs about the works without prescribing viewers' responses.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.

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Hyperallergic on O’Grady, 2015

A Walk Through the World of Lorraine O'Grady — Heather Kapplow, the Boston reviewer, replicates O'Grady's working method by walking backwards, turning the exhibit itself into a diptych, video on one side, wall works on the other, setting in motion a permanent back-and-forth questioning and answering between the two so that the only resolution is to embrace a permanent, un-hierarchized equivalence.

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Boston Globe, 2015

Cate McQuaid on "Where Margins Become Centers" — In this enthusiastic review of the Carpenter Center show, which she later discussed further in an end-of-year column on Boston's galleries, the award-winning critic declares that, after the early performances, O'Grady's work "grew more precise and more searing."

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Harvard University, 2015

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."

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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.

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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.

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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.

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Calvin Reid, 1993

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.

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