Blackness and Self-Imaging: Lorraine O'Grady's Performance as Mademoiselle Bourgeoise Noire.
The continued lack of visibility and representation of Black women in studies of historical and contemporary performance art not only forces their work to exist within the margins, but their exclusion also exposes broader questions around the terrain for decolonising performance histories. In order...
| Publicado en: | Contemporary Theatre Review Vol. 32; no. 1; pp. 4 - 21 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=156580737&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 156580737 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10486801 7VS jtl: Contemporary Theatre Review issn: 10486801 maglogo: N pubinfo: dt: Feb2022 vid: 32 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 156580737 10.1080/10486801.2021.2007895 ppf: 4 ppct: 17 formats: fmt: – @attributes: type: T – @attributes: type: P size: 451KB tig: atl: Blackness and Self-Imaging: Lorraine O'Grady's Performance as Mademoiselle Bourgeoise Noire. aug: au: Macaulay, Vanessa Damilola su: O'Grady, Lorraine African American artists Theorists Performance artists Performance art Black feminism sug: subj: O'Grady, Lorraine African American artists Theorists Performance artists Performance art Black feminism ab: The continued lack of visibility and representation of Black women in studies of historical and contemporary performance art not only forces their work to exist within the margins, but their exclusion also exposes broader questions around the terrain for decolonising performance histories. In order to begin to recover interventionist performances by Black women, this article focuses on the work of African American conceptual artist and theorist Lorraine O'Grady. It recuperates O'Grady's performance work and expand Black feminist histography for performance art. In the 1980s, O'Grady created Mlle Bourgeoise Noire (1980–83), a series of performative invasions into mainstream art spaces in New York as the persona Mlle Bourgeoise Noire to enable her to become visible in exclusionary spaces. O'Grady's performances sought to disturb the structures of race, gender and class that excluded her as a Black woman from the mainstream art world. In turn, I argue, her intrusion complicated the already existing and speculative modes of blackness. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Theatre Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Theatre Review holder: Taylor & Francis Ltd dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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