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.”
Nefertiti/Devonia Evangeline
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Observer, 2021
Anni Irish offers an overview of O’Grady’s art practice in consideration of her retrospective, Both/And, focusing on key conceptual stakes, such as the artist’s interest in language as form.
Caribbean retrospective performance art Brooklyn Museum interdisciplinary The Village Voice hybridity other media Rolling Stone the Black and White Show becoming an artist Announcement of a New Persona (Performances to Come!) Just Above Midtown erasure/invisibility 2021 Mlle Bourgeoise Noire Cutting Out The New York Times Cutting Out CONYT Art Is... Wellesley College art institutions Miscegenated Family album Conceptualism School of Visual Arts Nefertiti/Devonia Evangeline Jamaica cat o’nine tails art-world racism both/and
Catherine Damman, Mira Dayal, and David Velasco, Artforum, 2021
Upon the opening of O’Grady’s retrospective Both/And, Artforum devotes much of its March 2021 issue to her prolific art practice. Catherine Damman provides a decades-long overview of her career, Mira Dayal focuses on Miscegenated Family Album, and David Fiasco interviews the artist on new works in progress.
Nefertiti/Devonia Evangeline Composed) western cultural hegemony Catherine Morris Olympia's Maid Cutting Out The New York Times hybridity modernity Boston Egypt the Black and White Show The Dinner Party art-world racism Jamaica Just Above Midtown Outlaw Aesthetics Caribbean both/and Mlle Bourgeoise Noire Leon-Gontran Damas displacement Announcement of a New Persona (Performances to Come!) Art Is... The New Museum New York Times 2021 Miscegenated Family album Hortense Spillers becoming an artist Cutting Out CONYT photography Nefertiti’s Sister Linda Goode Bryant language diaspora seriality Harlem erasure Aruna d’Souza The Clearing Family Portrait 1 (Formal Body is the Ground of My Experience anti-Blackness
The Drama Review, 2018
Drawing on the Black Feminist scholarship of Hortense Spillers, Beth Capper interprets O’Grady’s performances as representing life lived in the “interstice” between two worlds. The rigorously academic essay situates O’Grady’s work in a lineage of radical Black artists (David Hammons and Jean-Michel Basquiat, to name two) who deal with the limits of language and the politics of visual representation.
the body Black feminism Nefertiti/Devonia Evangeline Hortense Spillers hybridity art-world racism refusal Jean-Michel Basquiat representation 2018 Just Above Midtown David Hammons the instertice black avant-garde Wack! Art and the Feminist Revolution interupption political art black women artists limits of representation Mlle Bourgeoise Noire western cultural hegemony in between Art Is... sex and sexuality feminism academic journal Miscegenated Family album aesthetics black female subjectivity juxtaposition Egypt
Brooklyn Museum, 2010
Object of the Month, August 2010: Miscegenated Family Album — Patrick Amsellem, Associate Curator of Photography, blogs a tribute to Miscegenated Family Album. In an analysis of the work’s intellectual and emotional success at the museum, Amsellem writes that MFA “immediately became a favorite."
Johanna Burton, 2008
Miscegenated Family Album, Artforum Magazine — In Artforum's first review of an O'Grady solo exhibit, Burton sensitively parses the "uneasy symmetry" of the Miscegenated Family Album installation at Alexander Gray Associates, NY.
Holland Cotter, 2008
Miscegenated Family Album, at Alexander Gray Associates, NY — The first New York Times review of a solo show by O’Grady. Lead review in the “Art in Review” section, with a photo of “Sisters I.”
Calvin Reid, 1993
A West Indian Yankee in Queen Nefertiti’s Court — The first critical article on O'Grady's work as a whole, and still one of the best. Published in New Observations #97: COLOR. September/October 1993. Special issue, edited by ADRIAN PIPER.
writing in space mother black female subjectivity The Fir-Palm Wellesley College The Clearing Girls Latin School Nefertiti/Devonia Evangeline INTAR Gallery hybridity art-world racism Lilith Sends Out the Destroyers Just Above Midtown Lucy Lippard Gaze and Dream black avant-garde performance art autobiography Adrian Piper Mlle Bourgeoise Noire 1993 Art Is... the Caribbean diaspora Ancient Egypt
LIVE performance 5, 1980/81
“Dialogues,” Just Above Midtown Gallery — Patricia S. Jones discusses a downtown gallery performance series at Just Above Midtown, NYC, Oct 1980 in a late 70s-early 80s annual journal. Article makes special note of O’Grady’s first performance of Nefertiti/Devonia Evangeline.