NEW YORK — The boundary between the sterile gallery wall and the raw experience of human existence is blurring.
Renowned Megan O’Grady is set to challenge the perceived elitism of the art world with the release of her new essay collection, How It Feels to Be Alive: Encounters With Art and Our Selves, arriving April 21.
O’Grady, who serves as an art critic for the New York Times and a professor at the University of Colorado Boulder, argues that ideas are not merely academic exercises but are central to the act of living.
In a landscape where the role of the full-time critic is evolving, O’Grady pivots toward a more intimate, confessional mode of writing to explain why art is a necessity rather than a luxury.
Beyond the Ivory Tower: Art as a Life Buoy
For many, fine art feels like a gated community—accessible only to those with specialized degrees or significant wealth. O’Grady dismantles this notion, describing art instead as a “life buoy.”
She posits that while music and film are often viewed as more accessible, visual art can provide a similarly visceral, life-altering impact.
Consider her encounter with the work of painter Agnes Martin. Facing the golden grid of Martin’s Friendship, O’Grady describes a moment of overwhelming emotional release, where the painting became a threshold to something vast, leaving her in tears.
The Mirror of Representation
A significant portion of O’Grady’s work delves into the complexities of how we see ourselves and how others perceive us.
She examines the Kitchen Table Series by photographer Carrie Mae Weems alongside the portraits of French Impressionist Berthe Morisot.
Through Weems’ exploration of motherhood and identity, O’Grady reflects on the conscious and unconscious ways women model womanhood for their daughters—an insight she admits continues to haunt her as a parent.
Can a piece of art truly save a life, or does it simply provide the language to describe our survival?
Art as Quiet Resistance
The intersection of aesthetics and authority is a recurring theme in O’Grady’s analysis. She notes that authoritarian regimes historically target the arts because creativity provokes anger, joy, and defiance.
While she avoids a direct political manifesto, the shadow of Donald Trump and his attacks on arts funding loom over the conversation.
O’Grady cautions against “instrumentalizing” art for political ends. Instead, she suggests that creating beauty or meaning without acknowledging political authority is, in itself, a profound act of resistance.
Her experiences with performance artist Pope.L in Ferguson, where art was used to highlight the water crisis, illustrate the power of presence and witness in the creative process.
How does your own identity shift when you see yourself reflected in a canvas or a photograph created by someone from a completely different background?
Curated Reading for the Creatively Curious
For those looking to expand their horizons beyond O’Grady’s latest work, we recommend these essential explorations:
- Explore 11 essential books often overlooked by the literary canon.
- Find inspiration in artsy reads designed to jump-start your creativity.
- Dive into unforgettably feminist nonfiction books.
- Discover how global bookshops transport us across borders.
- Lift your spirits with the ten funniest books to read when you need a boost.
Ultimately, O’Grady’s transition from a detached observer to a participant in her own writing mirrors the artists she admires. By making space for her own vulnerability, she invites the reader to reclaim their own relationship with art.
Frequently Asked Questions
What is the central goal of Megan O’Grady’s How It Feels to Be Alive?
O’Grady aims to demonstrate that fine art is not just for the elite, but can be a powerful, personal, and moving experience for anyone, acting as a guide for understanding one’s place in the world.
How does Megan O’Grady approach art criticism in this book?
Unlike her previous professional work, O’Grady uses a more confessional style, integrating her personal experiences with motherhood, break-ups, and political anxiety into her analysis of the art.
Which specific art pieces does O’Grady discuss?
She highlights Agnes Martin’s Friendship and Carrie Mae Weems’ Kitchen Table Series, among other works, to illustrate the intersection of emotion and intellect.
What does O’Grady believe about the relationship between art and politics?
She argues that while art can be political, it should not be merely a tool for political means. Creating meaning independent of state authority is a form of resistance.
Where can I find Megan O’Grady’s How It Feels to Be Alive?
The book was released on April 21 and is available through major retailers, including Amazon.
Join the Conversation: Do you believe art should be used as a political tool, or is its greatest power found in its independence? Share your thoughts in the comments below and share this piece with a fellow art lover.
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