2018

840

Chase Quinn, Hyperallergic, 2018

Chase Quinn casts light on O’Grady’s performance personas in his review of the exhibition From Me to Them to Me Again. The writer considers the artist’s persona of Mlle Bourgeoise Noire to exemplify her career of fighting against art world racism and Western binarism at large.

western cultural hegemony Afro-Caribbean hybridity Cutting Out The New York Times Irish Just Above Midtown post-black Savannah College of Art and Design black avant-garde Egypt SCAD Mlle Bourgeoise Noire Cutting Out CONYT SCAD Museum Art Is... The New York Times Wellelsey College art-world racism segregation the news Landscape (Western Hemisphere) race and politics Linda Goode Bryant Iowa Writers Workshop representation 2018 black women artists From Me to Them to Me Again

Read MoreDownload PDF

The New Yorker, 2018

The “Goings-on About Town” section of The New Yorker zeroes in on O’Grady’s “poetic, yet pointed” revised collages, Cutting Out CONYT. When a personal voice begins to show itself in the works, it camouflages itself: the journalist who writes headlines blurs with the artist who composes the text into provocative absurdities.

poetry Conceptualism The New York Times 2018 mass-media self-representation found text black female subjectivity

Read MoreDownload PDF

Gallery Gurls, 2018

Alexandria Deters offers a detailed formal analysis of Cutting Out CONYT. The article considers how the collages present as – but in reality, are far from – a ‘stream of consciousness’ approach to writing. Deter draws sobering connections between the sensational headlines of the 1970s with the political climate of the 2010s.

diptych Cutting Out The New York Times Cutting Out CONYT The New York Times 2018 new narrative counter-confessional headlines politics journalism poetry

Read MoreDownload PDF

Artnet News, 2018

In a review of Cutting Out CONYT, Sarah Cascone describes O’Grady’s statements on political narrative as profoundly revealing and “previously unthinkable” in her earlier series Cutting Out the New York Times.

Cutting Out CONYT The New York Times race and politics 2018 the news new narrative politics solo exhibition post-blackness Cutting Out The New York Times

Read MoreDownload PDF

Hyperallergic Art Guide, 2018

Written in the Fall 2018 Art Guide, Hyperallergic suggests that O’Grady, in her interrogation of print journalism issued in her series Cutting Out CONYT, calls for a collapse of language’s ability to signify meaning for a wide-ranging public.

found text counter-confessional politics journalism becoming an artist solo exhibition Cutting Out The New York Times haiku-diptych Cutting Out CONYT The New York Times deconstruction 2018 the news

Read MoreDownload PDF

WBUR, 2018

In a review of We Wanted A Revolution, Garcia considers the art exhibition as a corrective method for recentering Black women “on the forefront of form and the avant-garde,” and in doing so, she calls for revisions to the art historical canon’s sole emphasis on European male avant-gardists. The article takes a firm stance that the patriarchy cannot be taken down without simultaneously dismantling systemic racism.

white feminism black women artists erasure/invisibility Faith Ringgold 2018 ICA Boston Lorna Simpson systemic racism performative activism We Wanted A Revolution black avant-garde

Read MoreDownload PDF

The Drama Review, 2018

Drawing on the Black Feminist scholarship of Hortense Spillers, Beth Capper interprets O’Grady’s performances as representing life lived in the “interstice” between two worlds. The rigorously academic essay situates O’Grady’s work in a lineage of radical Black artists (David Hammons and Jean-Michel Basquiat, to name two) who deal with the limits of language and the politics of visual representation.

western cultural hegemony in between Art Is... sex and sexuality feminism academic journal Miscegenated Family album aesthetics black female subjectivity juxtaposition Egypt the body Black feminism Nefertiti/Devonia Evangeline Hortense Spillers hybridity art-world racism refusal Jean-Michel Basquiat representation 2018 Just Above Midtown David Hammons the instertice black avant-garde Wack! Art and the Feminist Revolution interupption political art black women artists limits of representation Mlle Bourgeoise Noire

Read MoreDownload PDF