Aruna d’Souza

743

Catherine Damman, Mira Dayal, and David Velasco, Artforum, 2021

Upon the opening of O’Grady’s retrospective Both/And, Artforum devotes much of its March 2021 issue to her prolific art practice. Catherine Damman provides a decades-long overview of her career, Mira Dayal focuses on Miscegenated Family Album, and David Fiasco interviews the artist on new works in progress.

Linda Goode Bryant language diaspora seriality Harlem erasure Aruna d’Souza The Clearing Family Portrait 1 (Formal Body is the Ground of My Experience anti-Blackness Nefertiti/Devonia Evangeline Composed) western cultural hegemony Catherine Morris Olympia's Maid Cutting Out The New York Times hybridity modernity Boston Egypt the Black and White Show The Dinner Party art-world racism Jamaica Just Above Midtown Outlaw Aesthetics Caribbean both/and Mlle Bourgeoise Noire Leon-Gontran Damas displacement Announcement of a New Persona (Performances to Come!) Art Is... The New Museum New York Times 2021 Miscegenated Family album Hortense Spillers becoming an artist Cutting Out CONYT photography Nefertiti’s Sister

Read MoreDownload PDF

Holland Cotter, New York Times, 2021

Holland Cotter, a chronic reviewer of O’Grady’s work, calls attention to the exhibition design of her retrospective, Both/And. She remarks on how the artist’s pervasive installation, which weaves throughout the museum, encourages viewers to reconsider the institution’s permanent collection through a critical lens.

writing in space Joe Biden art-world racism guerilla performance Caribbean Art Is… Rivers (First Draft) Landscape (Western Hemisphere) black writers both/and hybridity retrospective Just Above Midtown Brooklyn Museum black avant-garde Announcement of a New Persona (Performances to Come!) Mlle Bourgeoise Noire 2021 Miscegenated Family album Aruna d’Souza

Read MoreDownload PDF

Boston Globe, 2021

In light of O’Grady’s retrospective at the Brooklyn Museum, Murray Whyte argues for the artist’s embrace of cultural hybridity through an in-depth analysis of her art practice. Specifically, she considers how O’Grady’s insistence to be “both/and” – to contain multiple backgrounds at the same time, refusing a singular identity – could usher in the next generation of interdisciplinary, multicultural artists.

Wellesley College Strange Taxi diaspora Egypt Concrete poetry Surrealism both/and Judy Chicago Olympia's Maid Brooklyn Museum Eurocentrism white feminism Rolling Stone refusal Boston 2021 hybridity art-world racism Cutting Out CONYT Just Above Midtown Caribbean School of Visual Arts Rivers First Draft Landscape (Western Hemisphere) Aruna d’Souza Mlle Bourgeoise Noire western cultural hegemony Joe Biden Art Is... Cutting Out The New York Times Hugh Hefner Miscegenated Family album

Read MoreDownload PDF

Hyperallergic, 2020

Alexandra M. Thomas affirms the range of O’Grady’s literature upon the release of her collected essays and interviews entitled Writing in Space, making clear the wisdom in her scholarship, much of which was written before she was (recognized as) a practicing artist.

Aruna d’Souza Duke University Press writing in space modernism Olympia's Maid Village Voice black female subjectivity Black feminism both/and hybridity retrospective black avant-garde Rolling Stone cultural criticism language diptych

Read MoreDownload PDF