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.
The New York Times
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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.
Dada Stéphane Mallarmé modernism School of the Visual Arts representation avant-garde literature Nick Mauss haiku diptychs Cutting Out The New York Times Mlee Daniel Reich Gallery Iowa Writers Workshop Cutting Out CONYT deconstruction language cultural critique The New York Times Just Above Midtown 2019 Surrealism Jacques Derrida
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.
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 western cultural hegemony Afro-Caribbean
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.
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.
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.
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.