Statements and Performance Transcripts -- Two Biographical Statements (2012 and 2019) -- Cutting Out the New York Times (CONYT), 1977 (2006) -- Mlle Bourgeoise Noire 1955 (1981) -- Rivers, First Draft, 1982: Working Script, Cast List, Production Credits (1982) ............. -- Statement for Moira Roth re: Art Is . . . , 1983 (2007) -- Body Is the Ground of My Experience, 1991: Image Descriptions (2010) -- Studies for a 16-diptych installation to be called Flowers of Evil and Good, 1995-present -- (1998) -- Writing in Space -- Performance Statement #1: Thoughts about myself, when seen as a political performance -- artist (1981) -- Performance Statement #2: Why Judson Memorial? or, Thoughts about the spiritual -- attitudes of my work (1982) -- Performance Statement #3: Thinking Out Loud: About Performance Art and My Place in It -- (1983) -- Nefertiti/Devonia Evangeline (1997) -- Interview with Cecilia Alemani: Living Symbols of New Epochs (2010) -- Interview with Amanda Hunt on Art Is . . . (2015) -- iv -- On creating a counter-confessional poetry (2018) -- Reclaiming Black Female Subjectivity -- Black Dreams (1982) -- Interview with Linda Montano (1986) -- Dada Meets Mama: Lorraine O'Grady on WAC (1992) -- The Cave: Lorraine O'Grady on Black Women Film Directors (1992) -- Olympia's Maid: Reclaiming Black Female Subjectivity (1992/1994) -- Mlle Bourgeoise Noire and Feminism (2007) -- Hybridity, Diaspora, and Thinking Both/And -- On being the presence that signals an absence (1993) -- Some Thoughts on Diaspora and Hybridity (1994) -- Flannery and Other Regions (1999) -- Responding Politically to William Kentridge (2002) -- Sketchy Thoughts on My Attraction to the Surrealists (2013) -- Two Exhibits: The Diptych vs. The Triptych (1998) and Notes on the Diptych (2018) -- Introducing: Lorraine O'Grady and Juliana Huxtable (2016) -- Other Art Worlds -- A Day at the Races: Lorraine O'Grady on Jean-Michel Basquiat and the Black Art World -- (1993) -- SWM: on Sean Landers (1994) -- Poison Ivy (1998) -- The Black and White Show, 1982 (2009) -- Email QA with Artforum Editor (2009) -- My 1980s (2012) -- Rivers and Just Above Midtown (2013, 2015) -- RetrospectivesPortal Logo -- MARC Editor -- Input TOC Content -- v -- Interview with Laura Cottingham (1995) -- Interview with Jarrett Earnest (2016) -- The Mademoiselle Bourgeoise Noire Project, 1980-1983 (2018) -- Job History (from a feminist "retrospective") (2004) -- First there is a mountain, Then there is no mountain, Then . . . ? (1973) -- The Wailers and Bruce Springsteen at Max's Kansas City, July 18, 1973 (1973)
Summary:
"WRITING IN SPACE is a collection of conceptual artist Lorraine O'Grady's writing, edited and introduced by Aruna D'Souza. The title comes from O'Grady's methodology of art creation, which began as text and moved into the visual art space throughout her career. O'Grady's career as a writer came before her art, but this book presents the work as a unified intellectual and artistic project. Her writing is deeply connected to her artwork, both speaking to each other. Complicated and thoughtful, O'Grady describes her work as "saying things that haven't been said before, so it takes a while before they can be heard." Divided into three parts, the book showcases a range of O'Grady's writing. The first brings together statements, scripts, and previously unpublished notes charting the development of her art. O'Grady has always insisted her images should be understood as a form of text- "writing in space"-thus her photo-collages will be reproduced as "visual essays" throughout the unfolding chronology. The second section gathers O'Grady's critical and theoretical essays on art and culture, setting the classic "Olympia's Maid" alongside essays on Jean-Michel Basquiat, Flannery O'Connor, William Kentridge, and others. The final section consists of interviews wherein O'Grady expands and complicates the intellectual terrain of her work, capturing the real-time movement of her thought and embodying her commitment to art as a profoundly discursive activity. In exploring black female subjectivity as an intimate and personal aspect of selfhood and as a function of larger cultural and historical forces, the goal of her work is not simply academic; it resonates, resisting essentialism. The transformative power of O'Grady's art and words allows the reader to sit with difference and allow tensions to coexist"-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.