Senga Nengudi Archives - Lorraine O'Grady

The New York Times, 2022

In a review for the New York Times, Holland Cotter makes note of the similarities and differences between two concurrent exhibitions in New York City that highlight artists of Caribbean descent. “Juan Francisco Elso: Por América,” a solo exhibition at El Museo del Barrio is discussed alongside the group show “Sin Autorización: Contemporary Cuban Art.” Exhibited at Columbia University’s Wallach Art Gallery, “Sin Autorización” features Elso and O’Grady amongst other Afro-/Cuban artists.

The New York Times, 2022

Holland Cotter reviews Just Above Midtown: Changing Spaces, which showcased the ground-breaking Black-owned gallery, JAM, that opened in 1974. In his review, Cotter recounts the gallery’s history and monumental works, including O’Grady’s seminal persona, Mlle Bourgeoise Noire which she debuted at JAM.

Black artists MoMA Just Above Uptown black avant-garde 1974 performance art New York Times Linda Goode Bryant Senga Nengudi western cultural hegemony video art 2022

Hyperallergic, 2017

Upon the opening of the group exhibition We Wanted A Revolution, Jessica Bell Brown celebrates the Black female artists-activists who made space to create their own art world in the 1970s and 80s, including Lorraine O’Grady, Linda Goode-Bryant, and Senga Nengudi. Brown reminds her audience that the work doesn’t stop at this exhibition; she strongly urges museums to acquire the exhibited pieces into their permanent collections.

Maren Hassinger Kellie Jones Linda Goode Bryant 1960s Now Dig This! Art and Black Los Angeles 1960-1980 Harlem Women’s Liberation Toni Morrison Studio Z 1970s Senga Nengudi AIR Gallery Just Above Midtown 2017 Black liberation black avant-garde black women artists Women Students and Artists for Black Liberation Mlle Bourgeoise Noire black writers protest 1980s Brooklyn Museum AfriCOBRA white feminism radicalism Combahee River Collective art-world racism We Wanted A Revolution Eileen Harris Norton performance art