black women artists

586

Collector Daily, 2022

Loring Knoblauch considers Body Is The Ground of My Experience (1991/2019) as a “reprise” of O’Grady’s retrospective Both/And, exhibited the year prior. She suggests that the show is vital to understanding O’Grady’s late photographic prints.

body as landscape photomontage Conceptualism archive Jamaica hybridity other media lineage Miscegenated Family album Body is the Ground of My Experience Barbara Kruger photography blackness portraiture The Fir-Palm black women artists The Clearing The Strange Taxi Boston collage landscape 2022 identity embodiment interdisciplinary

Read MoreDownload PDF

Frieze, 2022

Curator and critic Jacopo Crivelli Visconti names Miscegenated Family Album, on view at Frieze New York in 2022, as “nothing less than one of the masterpieces of the 20th Century.”

black women artists erasure/invisibility Egypt 2022 Jacopo Crivelli Visconti recognition Devonia Candace Miscegenated Family album 34th Bienal de São Paulo Nefertiti/Devonia Evangeline Brazil historiography

Read MoreDownload PDF

Ithaca Times, 2021

G.M. Burns reviews Stephanie Sparling Williams’ new book, Speaking Out of Turn: Lorraine O’Grady and the Art of Language, which he marks as crucial in contextualizing O’Grady’s artistry. The article also includes an interview with Dr. Williams that explores her interest in engaging the artist’s work.

soul both/and redux feminism retrospective Cutting Out CONYT Brooklyn Museum Msc poetry recuperation language academia radicalism art-world racism 2021 women artists art market Speaking Out of Turn: Lorraine O'Grady and the Art of Language art institutions black women artists Stephanie Sparling Williams institutional critique Cutting Out The New York Times Black subjectivity class privilege risk ideology practice critical race theory

Read MoreDownload PDF

New York Times, 2022

Siddhartha Mitter interviews Simone Leigh on Sovereignty, her installation for the U.S. Pavillion at the Venice Biennale. Leigh’s mentor, O’Grady, expresses enthusiasm for the symposium Loophole of Retreat that will accompany the show in October 2022.

modernism ceramics Conceptualism Incidients in the Life of a Slave Girl feminism Venice Harlem sculpture Jamaica black female subjectivity Africa Studio Museum public practice Black feminism 1931 Colonial Exposition blackness Zora Neale Hurston colonialism architecture resistance “Conspiracy” (2022) critical race theory hybridity exhibition design historiography Brooklyn both/and black avant-garde gaze black women artists Loophole of Retreat Simone Leigh political art anagama black writers Guggenheim immigrant photography between worlds erasure/invisibility freedom Venice Biennale agency Chicago race and class enslavement US Pavillion Picasso the Kitchen 2022 Harriet Jacobs sovereignty

Read MoreDownload PDF

Holland Cotter and Roberta Smith, New York Times, 2021

O’Grady’s retrospective Both/And (and her publication Writing in Space) receive an honorable mention in Holland Cotter and Roberta Smith’s roundup of 2021’s most notable art exhibitions.

black women artists black writers Conceptualism both/and retrospective Brooklyn Museum 2021 Holland Cotter Roberta Smith writing in space The New York Times other media career survey

Read MoreDownload PDF

Experience Magazine, 2019

Heather Kapplow conducts a formal analysis of O’Grady’s performance persona, Mlle Bourgeoise Noire, in an attempt to bridge her pioneering artwork of the 1980s with the activism of Black public figures in the 2010s.

Wellesley College performance Black feminism race and politics 2019 the Black and White Show Black camp Just Above Midtown respectability politics black avant-garde Creative Capital Award Mlle Bourgeoise Noire Boston art-world racism black women artists

Read MoreDownload PDF

Chase Quinn, Hyperallergic, 2018

Chase Quinn casts light on O’Grady’s performance personas in his review of the exhibition From Me to Them to Me Again. The writer considers the artist’s persona of Mlle Bourgeoise Noire to exemplify her career of fighting against art world racism and Western binarism at large.

2018 black women artists From Me to Them to Me Again western cultural hegemony Afro-Caribbean hybridity Cutting Out The New York Times Irish Just Above Midtown post-black Savannah College of Art and Design black avant-garde Egypt SCAD Mlle Bourgeoise Noire Cutting Out CONYT SCAD Museum Art Is... The New York Times Wellelsey College art-world racism segregation the news Landscape (Western Hemisphere) race and politics Linda Goode Bryant Iowa Writers Workshop representation

Read MoreDownload PDF

WBUR, 2018

In a review of We Wanted A Revolution, Garcia considers the art exhibition as a corrective method for recentering Black women “on the forefront of form and the avant-garde,” and in doing so, she calls for revisions to the art historical canon’s sole emphasis on European male avant-gardists. The article takes a firm stance that the patriarchy cannot be taken down without simultaneously dismantling systemic racism.

black avant-garde white feminism black women artists erasure/invisibility Faith Ringgold 2018 ICA Boston Lorna Simpson systemic racism performative activism We Wanted A Revolution

Read MoreDownload PDF

The Drama Review, 2018

Drawing on the Black Feminist scholarship of Hortense Spillers, Beth Capper interprets O’Grady’s performances as representing life lived in the “interstice” between two worlds. The rigorously academic essay situates O’Grady’s work in a lineage of radical Black artists (David Hammons and Jean-Michel Basquiat, to name two) who deal with the limits of language and the politics of visual representation.

aesthetics black female subjectivity juxtaposition Egypt the body Black feminism Nefertiti/Devonia Evangeline Hortense Spillers hybridity art-world racism refusal Jean-Michel Basquiat representation 2018 Just Above Midtown David Hammons the instertice black avant-garde Wack! Art and the Feminist Revolution interupption political art black women artists limits of representation Mlle Bourgeoise Noire western cultural hegemony in between Art Is... sex and sexuality feminism academic journal Miscegenated Family album

Read MoreDownload PDF

Media Diversified, 2017

Tonya Nelson traces histories of political protests and activism from the civil rights movement to the more contemporary Black Lives Matter movement – problematizing the roots of Western individualism at large. Her critique reveals itself through her analyses of works by Lorraine O’Grady, Maren Hassinger, and Linda Goode-Bryant, all featured in the group exhibitions Soul of a Nation and We Wanted A Revolution.

Landscape (Western Hemisphere) Linda Goode Bryant Adrian Piper 2017 hybridity black women artists Just Above Midtown black writers political art Soul of a Nation Mlle Bourgeoise Noire We Wanted A Revolution Art Is... Black Lives Matter The Fir-Palm Maren Hassinger The Clearing

Read MoreDownload PDF

Hyperallergic, 2017

Upon the opening of the group exhibition We Wanted A Revolution, Jessica Bell Brown celebrates the Black female artists-activists who made space to create their own art world in the 1970s and 80s, including Lorraine O’Grady, Linda Goode-Bryant, and Senga Nengudi. Brown reminds her audience that the work doesn’t stop at this exhibition; she strongly urges museums to acquire the exhibited pieces into their permanent collections.

Linda Goode Bryant 1960s Now Dig This! Art and Black Los Angeles 1960-1980 Harlem Women’s Liberation Toni Morrison Studio Z 1970s Senga Nengudi AIR Gallery Just Above Midtown 2017 Black liberation black avant-garde black women artists Women Students and Artists for Black Liberation Mlle Bourgeoise Noire black writers protest 1980s Brooklyn Museum AfriCOBRA white feminism radicalism Combahee River Collective art-world racism We Wanted A Revolution Eileen Harris Norton performance art Maren Hassinger Kellie Jones

Read MoreDownload PDF

The Guardian, 2017

In a review of Soul of a Nation, Steven Thrasher praises O’Grady for “putting Harlem into focus,” suggesting that art can happen on the street – outside of the confines of the museum – embodied through her 1983 performance work “Art Is…”

black writers performance race and class feminism Brooklyn Museum Soul of a Nation Tate Modern black avant-garde intersectionality political art Black Lives Matter Art Is... 1960s Olympia's Maid Black Power 2017 Black Panthers black women artists Crystal Bridges

Read MoreDownload PDF

The New Republic, 2017

Lovia Gyarkye considers how O’Grady’s performance persona 
Mlle Bourgeoise Noire,” featured in the We Wanted a Revolution exhibition, acted as a catalyst for a more inclusive feminist revolution. The article imagines the available potential in visibility, “if Black women were not just seen, but finally heard.”

We Wanted A Revolution political art Mlle Bourgeoise Noire Miscegenated Family album 2017 black women artists race and class The Whitney Museum Brooklyn Museum black female subjectivity

Read MoreDownload PDF

The New Inquiry, 2016

Aria Dean’s “Closing the Loop” — In contrasting white “selfie” feminism’s understanding of the body to that of contemporary black feminism, Dean’s feature essay also provides a first updating of “Olympia’s Maid.”

black female subjectivity Olympia's Maid white feminism 2016 black women artists

Read MoreDownload PDF

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.

post-colonialism Ancient Egypt diaspora video art The Fir-Palm mother Landscape (Western Hemisphere) BodyGround Ana Mendieta 2012 nature vs culture Charles Baudelaire and Jeanne Duval hybridity black women artists autobiography the Caribbean

Read MoreDownload PDF

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.

black women artists black writers western cultural hegemony Stuart Hall Judith Wilson post-colonialism unpublished Dracula and the Artist black female diaspora Surrealism subjectivity post-modernism 1992

Read MoreDownload PDF