The Whitney Museum

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Harper’s Bazaar, 2024

The Audacity of Lorraine O’Grady—In this profile of O’Grady, Soraya Nadia McDonald offers careful consideration of the artist whose belated welcome into many institutions has set her a part as a forward-thinking rebel in the art world. Often cited as a major influence among fellow Black women artists, much of the world has finally caught up to O’Grady.

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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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Art Fag City, 2012

Alana Chloe Esposito, Unnatural Attitudes — A sensitive summary of O'Grady's biography and its effect on her art, Esposito's piece sees the work as emerging from the artist's pressure to understand and become herself.

The First and the Last of the Modernists 2012 Just Above Midtown Charles Baudelaire and Jeanne Duval autobiography the Caribbean Mlle Bourgeoise Noire video art diaspora mother art-world racism The Whitney Museum performance art Girls Latin School Michael Jackson Landscape (Western Hemisphere) black female subjectivity BodyGround

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Malik Gaines, Frieze 2011

Malik Gaines — in frieze, “Looking Forward, Looking Back” — Gaines’s end-of-year review looks at Los Angeles and examines the blurring boundaries between art and entertainment. Its pointed commentary on The First and the Last of the Modernists’ image strategies was the most perceptive on the piece to date.

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El País, Madrid, 2010

A More Female and More Discreet Whitney Biennial. . . — Original Spanish, plus English translation, of article in Spain’s equivalent to the New York Times. The review contains a fuller-than-usual discussion of the significance of O’Grady’s installation.

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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.

erasure/invisibility race and class mother hybridity The Whitney Museum 2010 Western binarism modernism Michael Jackson The First and the Last of the Modernists historiography Charles Baudelaire and Jeanne Duval

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