white feminism

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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.

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 Wellesley College Strange Taxi diaspora Egypt Concrete poetry Surrealism both/and

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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.

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

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Hyperallergic, 2017

Upon the opening of the group exhibition We Wanted A Revolution, Jessica Bell Brown celebrates the Black female artists-activists who made space to create their own art world in the 1970s and 80s, including Lorraine O’Grady, Linda Goode-Bryant, and Senga Nengudi. Brown reminds her audience that the work doesn’t stop at this exhibition; she strongly urges museums to acquire the exhibited pieces into their permanent collections.

Senga Nengudi AIR Gallery Just Above Midtown 2017 Black liberation black avant-garde black women artists Women Students and Artists for Black Liberation Mlle Bourgeoise Noire black writers protest 1980s Brooklyn Museum AfriCOBRA white feminism radicalism Combahee River Collective art-world racism We Wanted A Revolution Eileen Harris Norton performance art Maren Hassinger Kellie Jones Linda Goode Bryant 1960s Now Dig This! Art and Black Los Angeles 1960-1980 Harlem Women’s Liberation Toni Morrison Studio Z 1970s

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The New Inquiry, 2016

Aria Dean’s “Closing the Loop” — In contrasting white “selfie” feminism’s understanding of the body to that of contemporary black feminism, Dean’s feature essay also provides a first updating of “Olympia’s Maid.”

black female subjectivity Olympia's Maid white feminism 2016 black women artists

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