Dracula and the Artist

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.

diptych Body is the Ground of My Experience critique photography historiography retrospective Dracula and the Artist erasure/invisibility The Fir-Palm 2022 Dada risk 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

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Unpublished slide lecture, A Postmortem on Postmodernism?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black women artists black writers western cultural hegemony Stuart Hall Judith Wilson post-colonialism unpublished Dracula and the Artist black female diaspora Surrealism subjectivity post-modernism 1992