Landscape (Western Hemisphere)

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Holland Cotter, New York Times, 2021

Holland Cotter, a chronic reviewer of O’Grady’s work, calls attention to the exhibition design of her retrospective, Both/And. She remarks on how the artist’s pervasive installation, which weaves throughout the museum, encourages viewers to reconsider the institution’s permanent collection through a critical lens.

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Boston Globe, 2021

In light of O’Grady’s retrospective at the Brooklyn Museum, Murray Whyte argues for the artist’s embrace of cultural hybridity through an in-depth analysis of her art practice. Specifically, she considers how O’Grady’s insistence to be “both/and” – to contain multiple backgrounds at the same time, refusing a singular identity – could usher in the next generation of interdisciplinary, multicultural artists.

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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.

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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.

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ArtFCity, 2016

Emily Colucci's review of "Blackness in Abstraction" highlights O'Grady's full-wall video "Landscape (Western Hemisphere)" as one of the exhibit's most successful pieces both for its embrace of multiple meanings of blackness and for its abstract evocation of landscape sounds and textures.

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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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Heather Kapplow, Hyperallergic, 2015

A Walk Through the World of Lorraine O'Grady — Heather Kapplow, the Boston reviewer, replicates O'Grady's working method by walking backwards, turning the exhibit itself into a diptych, video on one side, wall works on the other, setting in motion a permanent back-and-forth questioning and answering between the two so that the only resolution is to embrace a permanent, un-hierarchized equivalence.

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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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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."

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Wellesley Magazine, 2013

Lisa Scanlon on O'Grady's archive at Wellesley College — Associate editor Scanlon, writing on the newly opened Lorrraine O'Grady Papers, the College's first major alumnae archives, calls the collection a means to preserve the records of the artist's "permanent rebellion."

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Andil Gosine, 2012

Unpublished article on New Worlds — The unpublished article by Gosine, a York University (Toronto) professor who'd written earlier on hybridity in O'Grady's work, is a perceptive and detailed analysis of the subject's treatment in her New Worlds show at Alexander Gray, NY.

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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.

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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.

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Ben Davis, 2012

Lorraine O'Grady's Hair Stare Fare, Village Voice — Davis's career evaluation and review of New Worlds at Alexander Gray, NY, O'Grady's show comprised of The Fir-Palm, The Clearing, and the projected video Landscape (Western Hemisphere), is suggestively sub-titled "A veteran artist turns identity into abstract art."

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Andil Gosine for ARC, 2011

Lorraine O’Grady’s Landscape — In a new magazine devoted to artists from the Caribbean and its diaspora, a young Trinidadian-Canadian professor at Toronto’s York University sheds light on the role of hybridity in Landscape (Western Hemisphere) and its complementary work The Clearing.

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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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