modernism

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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.

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 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

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Hyperallergic, 2020

Alexandra M. Thomas affirms the range of O’Grady’s literature upon the release of her collected essays and interviews entitled Writing in Space, making clear the wisdom in her scholarship, much of which was written before she was (recognized as) a practicing artist.

both/and hybridity retrospective black avant-garde Rolling Stone cultural criticism language diptych Aruna d’Souza Duke University Press writing in space modernism Olympia's Maid Village Voice black female subjectivity Black feminism

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Artforum, 2019

For Artforum, Colby Chamberlain articulates the nuanced, critical value of O’Grady’s “haiku diptychs.” In the review, he traces O’Grady’s deconstruction of print language to the post-Modernist lineage of Benjamin, Derrida, and Mallarmé, which she taught at the School of the Visual Arts around the same time the prints were in production.

2019 Surrealism Jacques Derrida Dada Stéphane Mallarmé modernism School of the Visual Arts representation avant-garde literature Nick Mauss haiku diptychs Cutting Out The New York Times Mlee Daniel Reich Gallery Iowa Writers Workshop Cutting Out CONYT deconstruction language cultural critique The New York Times Just Above Midtown

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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."

Miscegenated Family album Charles Baudelaire and Jeanne Duval the Caribbean diaspora western cultural hegemony The Fir-Palm sex and sexuality The Clearing Ancient Egypt modernism video art Michael Jackson sibling rivalry Landscape (Western Hemisphere) mother The First and the Last of the Modernists hybridity Where Margins Become Centers autobiography 2015

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Hyperallergic, 2014

Jillian Steinhauer on Baudelaire and Michael Jackson — After encountering O'Grady in a video by Adam Pendleton, Steinhauer finds a 10-minute segment on YouTube of the Performa Institute event in which O'Grady speaks about Baudelaire, Jackson and Modernism. 

modernism Michael Jackson The First and the Last of the Modernists 2014 Charles Baudelaire and Jeanne Duval Hyperallergic

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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.

Western binarism modernism 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

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Francesco Bonami, 2010

Francesco Bonami, 2010 — Transcript excerpt of a two-minute section from the 8-minute interview in which Francesco Bonami, chief curator of the 2010 Whitney Biennial, speaks about O’Grady’s piece and the room it shared with Bruce High Quality Foundation.

2010 modernism Michael Jackson The First and the Last of the Modernists Charles Baudelaire and Jeanne Duval

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Franklin Sirmans, 1998

Les Fleurs Duval, on ArtNet.com — Sirmans' review of "Studies: for a work-in-progress on Charles Baudelaire, the first Modernist poet, and his Haitian-born wife Jeanne Duval" analyzes O'Grady's conceptual oeuvre and her mid-90s computer use in order to deconstruct and reconstruct accepted reality.

hybridity autobiography Picasso modernism 1998 Charles Baudelaire and Jeanne Duval erasure/invisibility western cultural hegemony mother

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Irene Cheng, 1996

“White Skin, Black Masks”: Fetishism and Les Demoiselles d’Avignon — Handout on O’Grady’s “unmasking” as a response to the critical tradition of fetishizing the fetish. Written to accompany “Studies for Flower of Evil and Good” in New Histories, Institute of Contemporary Art, Boston, MA. Oct 23,1996–Jan 5, 1997.

post-colonialism Picasso modernism 1996 western cultural hegemony Institute of Contemporary Art

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Courtney Baker, 1996

A Legacy of Silence — Handout on the historical and critical treatment of Jeanne Duval, accompanying “Studies for Flower of Evil and Good” in New Histories, Institute of Contemporary Art, Boston, MA. Oct 23, 1996–Jan 5, 1997. Curator: Milena Kalinovska.

Courtney Baker Institute of Contemporary Art hybridity modernism Gayatri Spivak 1996 Charles Baudelaire and Jeanne Duval

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Anne Higonnet, 1996

Hypocrite Lecteur, Mon Semblable, Mon Frère! Hybrid Viewer, My Difference, Lorraine O’Grady! — Catalogue essay for the group exhibit New Histories, Institute of Contemporary Art, Boston, MA. 1996. Lia Gangitano and Steven Nelson, eds.

modernism 1996 Charles Baudelaire and Jeanne Duval black female subjectivity Institute of Contemporary Art hybridity diptych Miscegenated Family album The Fir-Palm Flowers of Evil and Good

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Lucy Lippard, 1988

Art Is . . . — Highlighted box review, taking a retrospective look at O’Grady’s 1983 performance Art Is.... In “Sniper’s Nest,” Z Magazine, July-August 1988, p 102

race and class black female subjectivity Hans Haacke Mlle Bourgeoise Noire Art Is... modernism post-modernism Lucy Lippard performance art 1988

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