The long-gone art gallery afforded Black artists a space to create without having to consider the pressures of the commercial art market or the fickle nature of nonprofit art institutions.
Much like her writing, O’Grady’s photomontages pressure binaries until something other, something “both/and” emerges.
O’Grady’s rebellious spirit has roused the mainstream art world for close to 50 years, and her latest exhibition at the Brooklyn Museum is no exception.
The first book to offer a comprehensive overview of O’Grady’s writings, Writing in Space 1973 — 2019 affirms both the range and reach of the artist’s impact upon an art world that has only belatedly recognized her.
A new video advertisement from the president-elect references O’Grady’s 1983 performance “Art Is…”
From the John Singer Sargent frontal nude painting of McKeller in Boston’s MFA, I’d imagined Thomas as tall and slender. Looking more closely, I can see that even 100 years ago a body like Thomas’s was not accidental.
O’Grady has persistently raised questions about the lack of black representation in art and in the art world. But her latest exhibition represents a shift.
“Marrow” consists simply of O’Grady lip-synching to Anohni’s three-minute song of the same title against a black background.
CAMBRIDGE, Mass. — When visiting an art exhibit, there’s a temptation to start at the entryway and work your way through it following the path established by the curator.
Like a Choose Your Own Adventure story or a game of Mad Libs, the elliptical title of Lorraine O’Grady’s 1983 performance piece, “Art Is…,” creates space, playful and inviting, for structured audience participation.
NEW ORLEANS — It’s astonishing that in 2015 a group exhibition of nine artists of color can still be impressive based on statistics and context alone.
One of my favorite pieces included in Radical Presence: Black Performance in Contemporary Art at the Studio Museum in Harlem earlier this year was Adam Pendleton’s “Lorraine O’Grady: A Portrait” (2012).