other media
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Persistent
project for Artpace, San Antonio, is her first video installation. With a generously funded residency, she was able to experiment and, as a "reactive artist," she chose to make herself open to the...
The Black and White Show
An exhibition curated by O'Grady at the black-owned Kenkeleba Gallery on East 2nd Street, NYC, April 22 - May 22, 1983, was a conceptual art piece employing other artists' work to make its point...
Cutting Out the New York Times
a series of 26 "cut-out" or "found" newspaper poems made by O'Grady on successive Sundays, from June 5 to November 20, 1977. They were first exhibited to the public at Daniel Reich Temp...
Winston-Salem Journal, 2022
Tom Patterson forms a based chronology of O'Grady's diverse range of careers. He notes her positions as an intelligence analyst for the federal government and a freelance writer for Rolling Stone, all of which she held before she was 40 years old. He studies her persona “Mlle Bourgeoise Noire” in her pivot to start an art practice in the latter half of her life.
Collector Daily, 2022
Loring Knoblauch considers Body Is The Ground of My Experience (1991/2019) as a “reprise” of O’Grady’s retrospective Both/And, exhibited the year prior. She suggests that the show is vital to understanding O’Grady’s late photographic prints.
black women artists The Clearing The Strange Taxi Boston collage landscape 2022 identity embodiment interdisciplinary body as landscape photomontage Conceptualism archive Jamaica hybridity other media lineage Miscegenated Family album Body is the Ground of My Experience Barbara Kruger photography blackness portraiture The Fir-Palm
Artforum, 2022
O’Grady receives a mention amongst artists Allan Sekula, Frederico Morais, Park Chan-Kyong, and Marcel Broodthaers. All artists, Heddaya contends, maintain a “writerly” approach that he likens to the art historical impulse to compare and contrast two forms alongside each other in a diptych format.
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.
Mlle Bourgeoise Noire Cutting Out The New York Times Cutting Out CONYT Art Is... Wellesley College art institutions Miscegenated Family album Conceptualism School of Visual Arts Nefertiti/Devonia Evangeline Jamaica cat o’nine tails art-world racism both/and Caribbean retrospective performance art Brooklyn Museum interdisciplinary The Village Voice hybridity other media Rolling Stone the Black and White Show becoming an artist Announcement of a New Persona (Performances to Come!) Just Above Midtown erasure/invisibility 2021
Lynne Cooke, Artforum, 2021
In a one-paragraph review of Both/And, Lynne Cooke includes O’Grady’s retrospective in her highlights of 2021, noting the artist’s “fiercely intelligent, subversive” defiance of race-based exclusion in the New York art world and Second-wave feminist movement.
race and class second-wave feminism hybridity Conceptualism political art both/and diaspora retrospective art-world racism Brooklyn Museum marginalization The Village Voice interdisciplinary Rolling Stone other media 2021 becoming an artist Announcement Card 2 (Spike with Sword abstraction Fighting) erasure/invisibility identity politics
Holland Cotter and Roberta Smith, New York Times, 2021
O’Grady’s retrospective Both/And (and her publication Writing in Space) receive an honorable mention in Holland Cotter and Roberta Smith’s roundup of 2021’s most notable art exhibitions.