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.”
Charles Baudelaire and Jeanne Duval
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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."
modernism video art Michael Jackson sibling rivalry Landscape (Western Hemisphere) mother The First and the Last of the Modernists hybridity Where Margins Become Centers autobiography 2015 Miscegenated Family album Charles Baudelaire and Jeanne Duval the Caribbean diaspora western cultural hegemony The Fir-Palm sex and sexuality The Clearing Ancient Egypt
Hyperallergic, 2014
Jillian Steinhauer on Baudelaire and Michael Jackson — After encountering O'Grady in a video by Adam Pendleton, Steinhauer finds a 10-minute segment on YouTube of the Performa Institute event in which O'Grady speaks about Baudelaire, Jackson and Modernism.
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.
Art Fag City, 2012
Alana Chloe Esposito, Unnatural Attitudes — A sensitive summary of O'Grady's biography and its effect on her art, Esposito's piece sees the work as emerging from the artist's pressure to understand and become herself.
BodyGround The First and the Last of the Modernists 2012 Just Above Midtown Charles Baudelaire and Jeanne Duval autobiography the Caribbean Mlle Bourgeoise Noire video art diaspora mother art-world racism The Whitney Museum performance art Girls Latin School Michael Jackson Landscape (Western Hemisphere) black female subjectivity
El País, Madrid, 2010
A More Female and More Discreet Whitney Biennial. . . — Original Spanish, plus English translation, of article in Spain’s equivalent to the New York Times. The review contains a fuller-than-usual discussion of the significance of O’Grady’s installation.
18 Whitney Mentions, 2010
Selected press on O’Grady in the Biennial — A compilation of 18 selected and conflicting mentions of Lorraine O’Grady’s piece in the 2010 Whitney Biennial press provides an opportunity to compare responses to The First and the Last of the Modernists and parse their differences.
Francesco Bonami, 2010
Francesco Bonami, 2010 — Transcript excerpt of a two-minute section from the 8-minute interview in which Francesco Bonami, chief curator of the 2010 Whitney Biennial, speaks about O’Grady’s piece and the room it shared with Bruce High Quality Foundation.
San Antonio Express-News, 2007
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.
Franklin Sirmans, 1998
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.
Courtney Baker, 1996
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.
Anne Higonnet, 1996
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.