Cutting Out CONYT

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Harper’s Bazaar, 2024

The Audacity of Lorraine O’Grady—In this profile of O’Grady, Soraya Nadia McDonald offers careful consideration of the artist whose belated welcome into many institutions has set her a part as a forward-thinking rebel in the art world. Often cited as a major influence among fellow Black women artists, much of the world has finally caught up to O’Grady.

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Simplebooklet.com, 2024

In her introduction for “Teaching/Learning with Lorraine O’Grady’s Both/And,” Amanda Gilvin offers a unique vantage point for viewing the renowned artist’s multi-decade career. While many have described O’Grady as becoming an artist later in life, Gilvin highlights the links between Wellesley College and the development of O’Grady’s groundbreaking concept of “both/and” over time, revealing that perhaps it was while at the college, her artistry first began to take form.

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Hyperallergic, 2021

In a review of Lorraine O’Grady’s solo exhibition “Both/And,” Hyperallergic’s Alexandra M. Thomas discusses the politics asserted by the artist within the museum. Thomas writes, ““Both/And” thinking posits a refusal of either/or framework that is endemic to the West. In disavowing [Western] binaristic thinking, we can instead dwell on the nuance of the world’s disarray and uncertainty.”

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Ithaca Times, 2021

G.M. Burns reviews Stephanie Sparling Williams’ new book, Speaking Out of Turn: Lorraine O’Grady and the Art of Language, which he marks as crucial in contextualizing O’Grady’s artistry. The article also includes an interview with Dr. Williams that explores her interest in engaging the artist’s work.

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Observer, 2021

Anni Irish offers an overview of O’Grady’s art practice in consideration of her retrospective, Both/And, focusing on key conceptual stakes, such as the artist’s interest in language as form.

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New York Times, 2021

Lorraine O’Grady, Still Cutting Into the Culture—Forty years after O’Grady debuted Mlle Bourgeoise Noire, declaring that Black art to take more risks, O’Grady receives her first retrospective at the Brooklyn Museum which features the launch of a new persona. In this profile, Siddhartha Mitter showcases how O’Grady has continuously pursued new ventures, pushing culture forward in her quests of discovery.

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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.

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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.

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Artforum, 2019

For Artforum, Colby Chamberlain articulates the nuanced, critical value of O’Grady’s “haiku diptychs.” In the review, he traces O’Grady’s deconstruction of print language to the post-Modernist lineage of Benjamin, Derrida, and Mallarmé, which she taught at the School of the Visual Arts around the same time the prints were in production.

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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.

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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.

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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.

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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.

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