art history

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First Of The Month, 2023

First of the Month, 2023. This Met is Mine — In his thoughtful essay, Ben Khadim DeMott details his first encounter with O’Grady’s Miscegenated Family Album at the Booth collection at the University of Chicago which unearthed his own familial memories of trips to Met and viewing the Ancient Egyptian exhibit. Through research DeMott finds that “(Cross Generational) L: Nefertiti, the last image; R: Devonia\’s youngest Daughter, Kimberley,” is a part of the larger performance piece, “Nefertiti/Devonia Evangeline.” He explores the cathartic potential of art as shown in O’Gradys works which serve first as a balm not an analytic correction of history.

art history Egypt portraiture 2023 MoMA histography diptych Miscegenated Family album juxtaposition Nefertiti/Devonia Evangeline

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Hyperallergic, 2022

Seph Rodney recounts his experience at Simone Leigh’s symposium held in conjunction with the artist’s presentation of Leigh’s work at the US Pavilion for the Venice Biennale. The symposium “Loophole of Retreat” brought together artists and theorists alike to consider political liberation and sovereignty for Black women. He writes about Lorraine O’Grady’s conversation with Leigh, one that concerned the Decolonize Museums protests that happened outside of her retrospective at the Brooklyn Museum in 2021. She began to question just what the privilege of a solo institutional show provided her, and how she could make new allyships with those afforded less power than her, notably trans activists.

black female subjectivity Venice Biennale Loophole of Retreat freedom political art Black female artists art history panel decolonization radicalism institutional critique Simone Leigh performance museums feminism literature

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Hyperallergic, 2022

Ela Bittencourt delivers polished prose after visiting Body Is The Ground of My Experience on view at Alexander Gray Associates in 2022. Notably, she praises O’Grady’s hybrid mode of making critique into a pleasurable venture.

Western binarism counterculture Olympia's Maid Fluxus black female subjectivity New Museum Black feminism performance art colonialism art history critical race theory cultural criticism photomontage both/and diptych Body is the Ground of My Experience critique photography historiography retrospective Dracula and the Artist erasure/invisibility The Fir-Palm 2022 Dada risk

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Artforum, 2022

O’Grady receives a mention amongst artists Allan Sekula, Frederico Morais, Park Chan-Kyong, and Marcel Broodthaers. All artists, Heddaya contends, maintain a “writerly” approach that he likens to the art historical impulse to compare and contrast two forms alongside each other in a diptych format.

ways of reading 2022 ways of seeing portraiture formalism poetry comparison diptych similitude juxtaposition decolonization Picasso academia art history Faith Ringgold other media side by side historiography scholarship black writers

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