historiography

577

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.

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 Western binarism counterculture Olympia's Maid Fluxus black female subjectivity New Museum Black feminism performance art colonialism art history critical race theory

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.”

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

Read MoreDownload PDF

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.

historiography scholarship black writers 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

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.

US Pavillion Picasso the Kitchen 2022 Harriet Jacobs sovereignty 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

Read MoreDownload PDF

Vogue, 2021

After a visit to O’Grady’s retrospective Both/And, Cassidy George commends the artist’s life’s work: to demand art institutions to prioritize inclusion.

interracial dialogue Miscegenated Family album Tracee Ellis Ross archive historiography Wack! Art and the Feminist Revolution Conceptualism both/and Brooklyn Museum 2021 the Black and White Show language poetry Joe Biden Art Is...

Read MoreDownload PDF

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.”

presidential campaign advertisement black avant-garde tribute political art race and politics Art Is... Soul of a Nation writing in space landscape painting appropriation historiography western cultural hegemony Joe Biden performance 2020

Read MoreDownload PDF

Adrienne Edwards, 2016

Adrienne Edwards' essay on Landscape (Western Hemisphere), written for her "Blackness in Abstraction" exhibit curated for Pace Gallery, is an intellectually brilliant and poetically sensitive reading of the array of meanings residing in the video and the most complex statement on this piece to date.

hybridity Landscape (Western Hemisphere) 2016 historiography

Read MoreDownload PDF

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.”

nature vs culture hybridity Charles Baudelaire and Jeanne Duval Mlle Bourgeoise Noire Art in America Miscegenated Family album The Fir-Palm The Clearing art-world racism Michael Jackson Landscape (Western Hemisphere) 2016 historiography

Read MoreDownload PDF

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."

diptych Mlle Bourgeoise Noire Miscegenated Family album The Fir-Palm The Clearing Landscape (Western Hemisphere) Where Margins Become Centers 2015 historiography The First and Last of the Modernists

Read MoreDownload PDF

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.

Michael Jackson The First and the Last of the Modernists historiography Charles Baudelaire and Jeanne Duval erasure/invisibility race and class mother hybridity The Whitney Museum 2010 Western binarism modernism

Read MoreDownload PDF

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)

Landscape (Western Hemisphere) BodyGround historiography black female subjectivity erasure/invisibility sex and sexuality hybridity 2010 Surrealism Western binarism The Clearing

Read MoreDownload PDF

Carol Dougherty, 1994

The Object of History and the History of Objects — Handout written by a professor of Greek and Latin for the premiere of O’Grady’s installation Miscegenated Family Album in Body As Measure, The Davis Museum and Cultural Center, Wellesley, MA, Oct-Nov 1994.

sibling rivalry Wellesley College Body As Measure hybridity autobiography Miscegenated Family album 1994 historiography Ancient Egypt

Read MoreDownload PDF

Boston Globe, 1994

Wellesley’s ‘Body’ also has a brain — Review of The Body As Measure, The Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, Sep 23 – Dec 18, 1994. Refers to O’Grady’s first exhibition of Miscegenated Family Album as “the most extraordinary work in the show.”

Body As Measure Boston Globe autobiography Miscegenated Family album Judith Hoos-Fox 1994 historiography Ancient Egypt sibling rivalry Wellesley College

Read MoreDownload PDF