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My 1980s, Art Journal 2012

Artist feature, CAA Art Journal, Summer 2012 — Based on her lecture in conjunction with the exhibit This Will Have Been: Art, Love and Politics in the 1980s, the article puts several early works in historical context and explains O'Grady's reverse trajectory from "post-black" to "black."

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Four Diptychs, 2010

[In English] Pétunia: magazine féministe d'art contemporain 2, France — The French feminist magazine Petunia’s invitation to create a centerfold sparked O’Grady’s piece in the 2010 Whitney Biennial, The First and the Last of the Modernists. The text documents her decision to contrast images of Baudelaire and Michael Jackson.

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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.

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Mlle Bourgeoise Noire and Feminism #2, 2007

WACK! gallery talk, published in Art Lies #54, Summer 2007 — As part of her gallery talk for WACK! Art and the Feminist Revolution at MOCA, LA, O’Grady read this statement inspired by Marsha Meskimmon’s important catalogue essay, in which the theoretical underpinning for the show’s historic statement of including 50% non- U.S. artists had been laid out.

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Stedelijk Studies #3, 2016

"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."

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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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Kymberly N. Pinder, 2000

Biraciality and Nationhood in Contemporary Art — An article on work by artists responding to racial hybridity that features a discussion of O’Grady’s diptych, The Clearing. Published in Third Text: Critical Perspectives on Art and Culture 53, Winter 2000-01, pp 43–54.

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Courtney R. Baker, 2000

The Art of Reading: Postcolonial Bodies and Strategic Illegibility — Analytic reading of two “works” — Gayatri Spivak’s description of her clothing, and Lorraine O’Grady’s Flowers of Evil and Good. Unpublished paper read to a symposium at Louisiana State University, March 2000.

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Michele Wallace, 1997

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.

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The Hartford Advocate, 1995

Shadow Boxing with the Status Quo — Review of "Lorraine O'Grady, The Space Between, MATRIX/127," The Wadsworth Atheneum, Hartford, CT, May 21-Aug 20, 1995. Discusses the two-part exhibit: Miscegenated Family Album and debut installation of Mlle Bourgeoise Noire.

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Judith Wilson, 1992

Unpublished slide lecture, A Postmortem on Postmodernism? — Prior to O’Grady’s publication of “Olympia’s Maid,” it tellingly inflects T. Feucht-Haviar’s later paper on subjectivity as a critical category opposing regimes of knowledge acquisition and production based in compromised forms of power relations.

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Judith Wilson, 1991

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.

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