sex and sexuality

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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.

Miscegenated Family album aesthetics black female subjectivity juxtaposition Egypt 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

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Harvard University, 2015

Carpenter Center Exhibition Booklet — One reviewer called it an "Indispensable brochure." Besides checklist and illustrations, Lorraine O'Grady: Where Margins Become Centers contains an incisive essay by the CCVA's curator James Voorhies, an article by O'Grady and interview by Cecilia Alemani,, as well as Andil Gosine's foundational essay, "Lorraine O'Grady's New Worlds."

hybridity Where Margins Become Centers autobiography 2015 Miscegenated Family album Charles Baudelaire and Jeanne Duval the Caribbean diaspora western cultural hegemony The Fir-Palm sex and sexuality The Clearing Ancient Egypt modernism video art Michael Jackson sibling rivalry Landscape (Western Hemisphere) mother The First and the Last of the Modernists

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ArtNet, 2012

Emily Nathan, The New York List — Analysis of New Worlds focusing on how the works' resistance of "easy classification" and their straddling of "artificial divides of genre and type" serve to replicate O'Grady's thoughts on the contemporary world, one "shaped and inflected by miscegenation."

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Andil Gosine, 2012

Unpublished article on New Worlds — The unpublished article by Gosine, a York University (Toronto) professor who'd written earlier on hybridity in O'Grady's work, is a perceptive and detailed analysis of the subject's treatment in her New Worlds show at Alexander Gray, NY.

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Bennett Simpson, 2012

Blues for Smoke, Museum of Contemporary Art, LA — In a catalogue with the improvisational quality of the music, the final section of Blues for Smoke curator Simpson's essay "This Air" is titled "The Clearing," from a piece by O'Grady of that name in the exhibit, and discusses how the piece echoes the show's themes.

The Clearing music BodyGround 2012 sex and sexuality MOCA hybridity diaspora Western binarism

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Andil Gosine for ARC, 2011

Lorraine O’Grady’s Landscape — In a new magazine devoted to artists from the Caribbean and its diaspora, a young Trinidadian-Canadian professor at Toronto’s York University sheds light on the role of hybridity in Landscape (Western Hemisphere) and its complementary work The Clearing.

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Beyond/In Western New York, 2010

Wall Text, Carolyn Tennant, New Media Director, Hallwalls — Two complementary pieces, The Clearing, 1991, and Landscape (Western Hemisphere), 2010, were connected via the concept of the bridge, both in music and in O’Grady’s phrase, “Wherever I stand, I find I have to build a bridge to some other place."

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Buffalo Biennial, 2010

Carolyn Tennant, New Media Director, Hallwalls — Catalogue essay for Beyond/In Western New York on O’Grady’s two-part exhibit: The Clearing: or Cortez and La Malinche, Thomas Jefferson and Sally Hemings, N. and Me, photomontage diptych, 1991; and her new complement to it: Landscape (Western Hemisphere)

historiography black female subjectivity erasure/invisibility sex and sexuality hybridity 2010 Surrealism Western binarism The Clearing Landscape (Western Hemisphere) BodyGround

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