Artnet, 2022
O’Grady’s “Body is the Ground Experience” was featured in Artnews’ list of must-see shows for the inaugural New York Art Week. The exhibit was the first time it had shown in 30 years and was based on O’Grady’s interest in Surrealism.
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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.
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 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
Artnet, 2022
Lorraine O’Grady’s exhibition of diptych photographs, “Body Is the Ground of My Experience,” is included in a list of standout shows in the first-ever New York Art Week. Thirty years after the photographs were first made, the works are re-contextualized following the artist’s 2021 retrospective at the Brooklyn Museum, “Both/And.”
Collector Daily, 2022
Loring Knoblauch considers Body Is The Ground of My Experience (1991/2019) as a “reprise” of O’Grady’s retrospective Both/And, exhibited the year prior. She suggests that the show is vital to understanding O’Grady’s late photographic prints.
Boston collage landscape 2022 identity embodiment interdisciplinary body as landscape photomontage Conceptualism archive Jamaica hybridity other media lineage Miscegenated Family album Body is the Ground of My Experience Barbara Kruger photography blackness portraiture The Fir-Palm black women artists The Clearing The Strange Taxi
Hyperallergic, 2022
Ela Bittencourt delivers polished prose after visiting Body Is The Ground of My Experience on view at Alexander Gray Associates in 2022. Notably, she praises O’Grady’s hybrid mode of making critique into a pleasurable venture.
performance art colonialism art history critical race theory cultural criticism photomontage both/and diptych Body is the Ground of My Experience critique photography historiography retrospective Dracula and the Artist erasure/invisibility The Fir-Palm 2022 Dada risk Western binarism counterculture Olympia's Maid Fluxus black female subjectivity New Museum Black feminism
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.
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 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
Frieze, 2016
Frieze, 2016. In an essay interrogating uses of racial representation and depiction in photography, Evan Moffitt highlights O’Grady’s “Art Is…” 1983 performance which used a literal frame to metaphorically reframe thoughts on what constitutes art and who is allowed to participate in its creation.