Wall Text, Miscegenated Family Album — James Rondeau, curator of contemporary art at the first museum to purchase the Miscegenated Family Album installation, wrote a model wall text to introduce the work to general audiences in the Permanent Collection gallery it shared with Felix Gonzalez-Torres.
Recorded by Art Radio WPS1, available online at clocktower.org — Full transcript of a 45-minute conversation between Lorraine O’Grady and curator Connie Butler in WPS1 Art Radio’s broadcast studios two weeks before the WACK! opening at PS1–MOMA, Long Island City, NY.
Exhibit reflects downtown dance club — Daily newspaper review of O’Grady’s video installation Persistent, at Artpace, San Antonio, TX, July 2007. A work on dance, music, economics, and race that recalls O’Grady’s own past as a club dancer and rock critic.
DJ JJ Lopez's email invite to Persistent opening at Artpace San Antonio, TX — The founder of the “diggindeepquartet” DJ collective and lead DJ of the closed Davenport Lounge in San Antonio — and O’Grady’s collaborator on the installation — emails a description of Persistent to his list.
‘Wack!’ The Art of Feminism as It First Took Shape — Opening of the first major museum show of feminist art at the Museum of Contemporary Art, Los Angeles. Holland Cotter’s feature-length review was illustrated by four works, including Mlle Bourgeoise Noire.
Holland Cotter, Art in Review — A review of three simultaneous shows presented by the Daniel Reich Gallery, NY, which singles out O'Grady for special mention in the third, "Between the Lines," curated by artist Nick Mauss at the Chelsea Hotel.
Artforum, Artists Curate, January – Cady Noland's "Back At You" portfolio brings together artists such as Chris Burden, Adrian Piper and Lorraine O'Grady whose work takes "considerable risks."
Les Fleurs Duval, on ArtNet.com — Sirmans' review of "Studies: for a work-in-progress on Charles Baudelaire, the first Modernist poet, and his Haitian-born wife Jeanne Duval" analyzes O'Grady's conceptual oeuvre and her mid-90s computer use in order to deconstruct and reconstruct accepted reality.
Unpublished exchange — The most comprehensive and focused interview of O’Grady to date, this Q & A by a Duke University doctoral candidate benefited from the slowness of the email format, the African American feminist scholar’s deep familiarity with O’Grady’s work, and their personal friendship.
“White Skin, Black Masks”: Fetishism and Les Demoiselles d’Avignon — Handout on O’Grady’s “unmasking” as a response to the critical tradition of fetishizing the fetish. Written to accompany “Studies for Flower of Evil and Good” in New Histories, Institute of Contemporary Art, Boston, MA. Oct 23,1996–Jan 5, 1997.
A Legacy of Silence — Handout on the historical and critical treatment of Jeanne Duval, accompanying “Studies for Flower of Evil and Good” in New Histories, Institute of Contemporary Art, Boston, MA. Oct 23, 1996–Jan 5, 1997. Curator: Milena Kalinovska.
Hypocrite Lecteur, Mon Semblable, Mon Frère! Hybrid Viewer, My Difference, Lorraine O’Grady! — Catalogue essay for the group exhibit New Histories, Institute of Contemporary Art, Boston, MA. 1996. Lia Gangitano and Steven Nelson, eds.
In Sojourner: The Women's Forum, November 1996 — Conducted in Cambridge during O’Grady’s one-year residency at the Bunting Institute at Harvard, the interview may have been affected by what she’d felt as adverse treatment there of her diptych The Clearing.
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.
Lorraine O’Grady: The Space Between — Brochure article written for the one-person exhibit “Lorraine O’Grady / MATRIX 127,” The Wadsworth Atheneum, Hartford, CT, May 21 – Aug 20, 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.
The Object of History and the History of Objects — Handout written by a professor of Greek and Latin for the premiere of O’Grady’s installation Miscegenated Family Album in Body As Measure, The Davis Museum and Cultural Center, Wellesley, MA, Oct-Nov 1994.
Wellesley’s ‘Body’ also has a brain — Review of The Body As Measure, The Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, Sep 23 – Dec 18, 1994. Refers to O’Grady’s first exhibition of Miscegenated Family Album as “the most extraordinary work in the 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.
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.
Gretchen Faust, New York in Review — Excellent review of O'Grady's first solo exhibit, at INTAR Gallery. Faust confesses: "Every once and awhile I come across a show that really demands more time and space consideration." Special focus on performance docs in the photomontage show.
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
Unedited transcript for Performance Artists Talking in the Eighties — Montano’s questions on “ritual” cast interesting light on the connection between O’Grady’s early life and her performances. The unedited transcript of the interview contains answers in greater depth on Mlle Bourgeoise Noire and Nefertiti/Devonia Evangeline.
“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.