Though Lorraine O’Grady began her artistic career later in life, she became one of the most influential conceptual artists of her generation. Through performances, photo-collages, and writing, she challenged ideas of race, class, and gender, most notably in her groundbreaking 1992 essay Olympia’s Maid: Reclaiming Black Female Subjectivity, which critically examined representations of the Black female body in Western culture.
Lorraine O’Grady (1934–2024), a one-of-a-kind conceptual artist, challenged racism, sexism, and cultural hierarchies through fearless performances, photography, and writing. After early careers as an economist and rock critic, she turned to art in her 40s, creating provocative works like Mlle Bourgeoise Noire. A true risk-taker, O’Grady redefined the boundaries of art and identity, leaving an indelible mark on contemporary culture.
Independent curator Barbara London interviews Lorraine O’Grady on her involvement at the gallery Just Above Midtown, speaking in detail about her work “Art Is…” and what comes next for the artist following her retrospective Both/And and the Covid-19 pandemic. London shares her enthusiasm for O’Grady’s new performance persona pictured in her work “Announcement Card (Seated Palmate).”