historiography

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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.

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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.

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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.

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New York Times, 2020

Zachary Small reports on President Biden’s homage to “Art Is…” in his 2020 presidential campaign advertisement. The article places O’Grady amongst other artists similarly addressing the political climate of 2020. While Alexander Gray warns that “a piece like this is so easy for advertisers to appropriate,” the article makes clear that O’Grady gave her blessing on the campaign’s concept. “Biden is saying the same thing to the country that I was saying to the art world.”

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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.”

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Boston Globe, 2015

Cate McQuaid on "Where Margins Become Centers" — In this enthusiastic review of the Carpenter Center show, which she later discussed further in an end-of-year column on Boston's galleries, the award-winning critic declares that, after the early performances, O'Grady's work "grew more precise and more searing."

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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.

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Buffalo Biennial, 2010

Carolyn Tennant, New Media Director, Hallwalls — Catalogue essay for Beyond/In Western New York on O’Grady’s two-part exhibit: The Clearing: or Cortez and La Malinche, Thomas Jefferson and Sally Hemings, N. and Me, photomontage diptych, 1991; and her new complement to it: Landscape (Western Hemisphere)

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