In The First and the Last of the Modernists, an installation for the 2010 Whitney Biennial, two of O’Grady’s careers—rock music critic and avant-garde artist—met unexpectedly. She’d taught the work of Charles Baudelaire for two decades at SVA.
Continues O'Grady's attempt to engage and comprehend the self through the study of cultural history, and vice versa. Her historic approach to postmodernist concerns (O'Grady won the Sons of...
O'Grady's 1994 photo-installation of cibachrome diptychs, is aesthetically perhaps her most complete and satisfying work. It had a long gestation period. Its 16 diptychs were selected from...
The Momentary, 2024. To commemorate the acquisition of “Untitled: Mlle Bourgeoise Noire,” by Crystal Bridges Museum of American Art, Larissa Ramey examines O’Grady’s presentations of Black womanhood and identity within her work which sheds light on the intricate intersection of race and gender in contemporary society.”
The Guardian, 2023. Veronica Esposito’s review of group exhibition, Inheritances, at the Whitney curated by Rujeko Hockley. Along with Ephraim Asili’s 2020 film ‘The Inheritance,” Hockley cites O’Gradys “Rivers, First Draft” as one of the major inspirations for the show as he sought to present challenging works of Black avant-garde art.
Lorraine O’Grady: Both/And @Brooklyn Museum—Loring Knoblauch provides a comprehensive review of O’Grady’s Both/And retrospective offering a detailed listing of the artworks displayed, and the mapping of the show. Looking closely at each component presented at the Brooklyn Museum, Knoblauch finds that what emerges is the importance of conceptualism and idea-driven practices to O’Grady’s work.
Risk Everything—Ahead of the “Both/And” retrospective at the Brooklyn Museum, Catherinne Damman writes an insightful essay on the varied art and career of O’Grady. Of her many practices, Damman sees “risk as [O’Grady’s] primary medium,” foregoing easy stratifications in favor of deep inquiry and interrogation of the structures that bind.
Miscegenated Family Album, at Alexander Gray Associates, NYC — Discussion of framing as a technique of meaning in O’Grady’s conceptual photo-installation.