race and class

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Forbes, 2024

Forbes, 2024. Chad Scott reports on O’Grady’s “Both/And” exhibit at the Davis Museum of Wellesley College. As an alum of Wellesely, O’Grady’s exhibit and accompanying archival materials offers a unique experience for students to learn about the journey of a former student forging their own path in the art world.

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American Folk Art Museum, 2023

American Folk Art Museum, 2023. In 2023, the American Folk Art Museum launched a virtual program inspired by O’Grady’s concept of “both/and” to “examine the Museum’s collection beyond binary ideas of [art].”

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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.

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 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

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Artnet, 2022

Folasade Ologundudu interviews Linda Goode-Bryant on her gallery project, Just Above Midtown. The gallery space hosted exhibitions for emerging artists of color from 1974 to 1986. The two discuss MoMA’s acquisition of the JAM archive. Goode-Bryant expresses that while she feels validated for the work that she and her collaborators did, she is also considering the danger of ‘cultural co-option’ that may arise with archiving her project at a predominately white arts institution.

political art Linda Goode Bryant Studio Museum in Harlem David Hammons western cultural hegemony race and class Black feminism Black female artists JAM Just Above Midtown Project Eats black avant-garde

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New York Times, 2022

Aruna D’Souza offers historicizes the foundational years at Just Above Midtown, the gallery project of Linda Goode-Bryant, which platformed artists including David Hammons, Lorna Simpson, and Maren Hassinger early in their careers. D’Souza addresses the show’s goals to highlight the gallery’s history of the 1970s and 1980s, while also enlivening its archive as it remains active into the 2020s. For Goode-Bryant, the question of integrity arises: “Can JAM be JAM at MoMA?”

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Jack Bankowsky, Artforum, 2021

O’Grady’s retrospective at the Brooklyn Museum, Both/And, receives a sincere note of respect on Jack Bankowsky’s top ten exhibitions seen in 2021.

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Lynne Cooke, Artforum, 2021

In a one-paragraph review of Both/And, Lynne Cooke includes O’Grady’s retrospective in her highlights of 2021, noting the artist’s “fiercely intelligent, subversive” defiance of race-based exclusion in the New York art world and Second-wave feminist movement.

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The Guardian, 2017

In a review of Soul of a Nation, Steven Thrasher praises O’Grady for “putting Harlem into focus,” suggesting that art can happen on the street – outside of the confines of the museum – embodied through her 1983 performance work “Art Is…”

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The New Republic, 2017

Lovia Gyarkye considers how O’Grady’s performance persona 
Mlle Bourgeoise Noire,” featured in the We Wanted a Revolution exhibition, acted as a catalyst for a more inclusive feminist revolution. The article imagines the available potential in visibility, “if Black women were not just seen, but finally heard.”

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Stedelijk Studies #3, 2016

"Frame Me": Speaking Out of Turn and Lorraine O'Grady's Alien Avant-Garde — In the first major academic article on O'Grady, Stephanie Sparling Williams, using both the definition of "alien" as stranger and the Brechtian "alienation effect," provides a first line of theorization, stating: "As both alien and avant-garde, [it paves] the way for these two terms to be theorized in close proximity as a distinctive position from which to deploy strategic visibility and voice."

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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.

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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.”

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Andrea Miller-Keller, 1995

Lorraine O’Grady: The Space Between — Brochure article written for the one-person exhibit “Lorraine O’Grady / MATRIX 127,” The Wadsworth Atheneum, Hartford, CT, May 21 – Aug 20, 1995.

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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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