{"id":93469,"date":"2016-01-13T17:24:03","date_gmt":"2016-01-13T22:24:03","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=93469"},"modified":"2016-01-14T10:27:51","modified_gmt":"2016-01-14T15:27:51","slug":"rivers-first-draft","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/01\/13\/rivers-first-draft\/","title":{"rendered":"Rivers, First Draft"},"content":{"rendered":"

Lorraine O\u2019Grady\u2019s living K\u00fcnstlerroman.<\/em><\/p>\n

\"\"<\/a>

\u201cRivers, First Draft\u201d: the Debauchees intersect the woman in red and the rape begins, 1982 Digital C-print from Kodachrome 35mm slide. Photo via Alexander Gray Associates<\/p><\/div>\n

In 1982, the artist Lorraine O\u2019Grady staged her first major performance piece in Central Park, \u201cRivers, First Draft.\u201d In the park\u2019s bucolic Loch section, the audience watched a black woman in a red dress walk down the ravine. Red is a sign for wanton women, and this one was in the company of wild-eyed dancers, barely clothed\u2014all of them white. She was shy, lingering behind the dancers as they shimmied and shook down the hill. When she caught up and tried to engage them, they spurned her.<\/p>\n

So the woman in red wandered over to a door. Several black male artists were gathered behind it. She knocked, and they, too, turned her away. While she hesitated, hoping to change their minds, the dancers returned and attacked her with Dionysian energy.\u00a0<\/p>\n

It doesn\u2019t take an academic to find the narrative: her heroine\u2019s layers of gender and racial difference\u2014what today we might call her intersectionality\u2014was affecting her ability to find an artistic community.\u00a0There was a sly bitterness in the fact that O\u2019Grady staged her heroine\u2019s rejections with the kinds of New York cliques that liked to advertise how inclusive they were. Her staging suggested that real life wasn\u2019t that simple. In this context, her heroine\u2019s red dress was less a marker of her actual behavior and more a sign of the social threat she represented.<\/p>\n

O\u2019Grady has described the piece as her most personal. It\u2019s also, in its way, instructional: a kind of K\u00fcnstlerroman<\/em>, it\u2019s one of the clearest how-to guides for women of color on how to become artists. In the hands of a lesser artist, the attack is the moment when \u201cRivers\u201d would start to fall apart\u2014to get bogged in the muck of identity politics. Instead, O\u2019Grady showed a way out. Her woman in red escaped the dancers and ran from the male artists\u2019 door. When she was alone again, she considered the final object in front of her. It was a stove: a classic totem of female entrapment. Calmly, she took up a can of spray paint.<\/p>\n

In 1980s New York City, the spray can was a sign, too\u2014of defiance, demand. The woman shot paint at the stove until it was as red as her dress. Only when they wore the same color did she stand before it to cook\u2014to begin, that is, creating her own work.<\/p>\n

For the woman in red and her audience, that moment at the stove was every bit as defining as Stephen Dedalus\u2019s epiphany in A Portrait of the Artist as a Young Man<\/em>: \u201cHe was destined to learn his own wisdom apart from others or to learn the wisdom of others himself wandering among the snares of the world.\u201d The first incidence of artistic transformation is a crucial moment in every K\u00fcnstlerroman<\/em>. What\u2019s significant about \u201cRivers\u201d is that it was addressed to a group, young black women, that\u2019s historically had few of them.<\/p>\n

Of course in 1982, there were magnificent bildungsromans\u2014Toni Morrison\u2019s The Bluest Eye<\/em>, Maya Angelou\u2019s I Know Why the Caged Bird Sings<\/em>, and Paule Marshall\u2019s Brown Girl, Brownstones<\/em> are just a few examples of the wonderful novels for young black women as they sought to become autonomous individuals in a brutal world. But the bildungsroman is a novel of formation, showing how the innocent survives the shoals of adolescence to become an individual; the K\u00fcnstlerroman<\/em> is specifically for people who seek to become artists. Though the genre\u2019s heroes are usually young, they need not be\u2014in Henry James\u2019s\u00a0The Tragic Muse<\/em>, Nick Dormer comes to art after another career, much as O\u2019Grady did. Since the artist\u2019s existence is always fraught, always a state of becoming, authors ranging from Wolfgang von Goethe to Knut Hamsun recognized that this treacherous terrain required a different map.<\/p>\n

O\u2019Grady\u2014black, a woman, and a descendant of Caribbean immigrants\u2014couldn\u2019t find the map she needed. So she created it herself, starting with \u201cRivers.\u201d It shares many features with the classic K\u00fcnstlerroman<\/em>, like the woman in red\u2019s decision to work despite her experience of oppressive conditions. That\u2019s a choice that would ring true for other K\u00fcnstlerroman<\/em> heroes, like Hamsun\u2019s starving narrator in Hunger<\/em>:<\/p>\n

\n

I rose, oppressed by weird terrors, and took some furious strides down the path. \u201cNo!\u201d I cried out, clutching both my hands; \u201cthere must be an end to this,\u201d and I reseated myself, grasped the pencil, and set seriously to work \u2026<\/p>\n<\/blockquote>\n

O\u2019Grady, who has said that most of her \u201cart heroes\u201d are writers, charts the territory for those who aren\u2019t recognized by the classic literature. One of her first performances, in 1980, took the art world by surprise. The scene was an opening of avant-garde black art, mostly by male artists, at the Just Above Midtown Gallery in New York City. As the artists accepted their plaudits, O\u2019Grady came roaring in as \u201cMlle. Bourgeoise Noire,\u201d disrupting the self-satisfied proceedings in a pageant gown created from 180 pairs of thrifted white gloves, swatting herself and bystanders with a cat-o-nine-tails whip. \u201cBlack art must take more risks!\u201d she shouted. \u201cNow is the time for an invasion!\u201d<\/p>\n

Once she had fully earned the consternation of everyone present, she marched out of the gallery and went to the New Museum, which was then displaying work overwhelmingly by white male artists. O\u2019Grady stood among it and repeated her performance to an equally shocked and unwilling audience. The piece, \u201cMlle. Bourgeoise Noire,\u201d was discussed among women artists of color as if it were a trail of bread crumbs along the exhausting path to acceptance.<\/p>\n

Which brings us to the most important distinction between O\u2019Grady\u2019s early-career K\u00fcnstlerroman<\/em> and the classic novels on which her work is based: the group. Where a classic k\u00fcnstlerroman<\/em> is wedded to radical individuality, its hero based on a romantic vision of the artist set apart, O\u2019Grady\u2019s heroines can\u2019t afford the luxury of the solo quest or the myth of heroic individuality. When her artists try to act alone, they wind up like the woman in \u201cRivers\u201d\u2014cast away from every door, abused, and abandoned. They need others, and her most successful heroines find them.<\/p>\n

At the end of \u201cRivers,\u201d the woman in red manages to escape the Loch, but she doesn\u2019t leave alone. She\u2019s joined by two younger women who have experienced their own terrors during the performance\u2014dressed, like her, in shades of red\u2014and she leads them beyond the ravine. For her heroines, the true artistic becoming happens when they have the opportunity to lead others.<\/p>\n

Caille Millner is the author of<\/em> The Golden Road: Notes on my Gentrification. Her work has appeared in the<\/em> Los Angeles Review of Books,<\/em> Hyperallergic,<\/em> Zyzzyva,<\/em> and<\/em> Joyland, and she contributed to\u00a0Greil Marcus\u2019s anthology<\/em> A New Literary History of America.<\/div>\n
\u00a0<\/div>\n","protected":false},"excerpt":{"rendered":"

Lorraine O\u2019Grady\u2019s living K\u00fcnstlerroman. In 1982, the artist Lorraine O\u2019Grady staged her first major performance piece in Central Park, \u201cRivers, First Draft.\u201d In the park\u2019s bucolic Loch section, the audience watched a black woman in a red dress walk down the ravine. Red is a sign for wanton women, and this one was in the […]<\/p>\n","protected":false},"author":921,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[14414,20774,20780,20775,2700,16342,947,20777,20779,10365,20776,10893,20778,124,7408,20773,20199,3829],"class_list":["post-93469","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-1980s","tag-african-american-art","tag-alexander-gray-associates","tag-bildungsroman","tag-central-park","tag-conceptual-art","tag-james-joyce","tag-just-above-midtown-gallery","tag-knut-hamsen","tag-kunstlerroman","tag-lorraine-ogrady","tag-maya-angelou","tag-mlle-bourgeoise-noire","tag-new-york","tag-performance-art","tag-rivers-first-draft","tag-the-new-museum","tag-toni-morrison"],"acf":[],"yoast_head":"\nLorraine O\u2019Grady and Women of Color in the Art World<\/title>\n<meta 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