One of her most iconic works,
Mlle Bourgeoise Noire (1980–83), involved O'Grady assuming the persona of a beauty queen, dressed in a gown made of 180 pairs of white gloves, to critique racism and sexism within the art world.
« As an advantaged member of a disadvantaged group, I've lived my life on the rim — a dialectically privileged location that's helped keep my political awareness acute. »
Lorraine O’Grady
Her performances often engage directly with audiences, blending activism with art to provoke dialogue and reflection on societal norms and structures. O'Grady’s work is deeply rooted in her experiences as a Black woman, and her art continues to inspire discussions about the intersections of race, gender, and power in co
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One of her most iconic works,
Mlle Bourgeoise Noire (1980–83), involved O'Grady assuming the persona of a beauty queen, dressed in a gown made of 180 pairs of white gloves, to critique racism and sexism within the art world.
« As an advantaged member of a disadvantaged group, I've lived my life on the rim — a dialectically privileged location that's helped keep my political awareness acute. »
Lorraine O’Grady
Her performances often engage directly with audiences, blending activism with art to provoke dialogue and reflection on societal norms and structures. O'Grady’s work is deeply rooted in her experiences as a Black woman, and her art continues to inspire discussions about the intersections of race, gender, and power in contemporary society. She has exhibited widely and remains a significant figure in the discourse on identity and representation in art. (
Artist website)
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