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Catherine Damman, Mira Dayal, and David Velasco reflect on O'Grady's many achievements

“BOTH/AND” is the title of Lorraine O’Grady’s first major retrospective, curated by Catherine Morris and Aruna D’Souza and opening this month at the Brooklyn Museum in New York. But it is also the key to the artist’s exhilarating proposition: that the best path through the tepid “either/or” structure subtending Western hegemony is the cultivation of a hybrid and nonhierarchical “both/and” approach. “The governing aim of my work is to undermine the concept of opposites,” Lorraine O’Grady wrote in 1982; few artists have furnished such fruitful manifestations of their ideals.On the occasion of this

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Williamstown DIRE Committee Chair Reports on Talk with Acting Police Chief

WILLIAMSTOWN, Mass. — The chair of the town's committee on diversity, equity and inclusion Monday reported to his colleagues that he had a long conversation with the town's acting...

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Lorraine O'Grady, Still Cutting Into the Culture – Repeating Islands


Had her life been more conventional, Lorraine O’Grady would have been, that Thursday in June 1980, at Wellesley College for her 25th class reunion.
Instead, she was donning a dress hand-stitched from 180 pairs of white gloves — accessorized with a tiara, sash and cat-o’-nine-tails — and heading to the gallery Just Above Midtown, to carry out a guerrilla-theater intervention.
O’Grady, a daughter of Jamaican immigrants in Boston, had a picaresque itinerary already. An economics graduate, she had worked for the Labor and State Departments, including as an intelligence analyst in the period leading up to the Cuban Missile Crisis; attempted a novel in Europe; dropped out of the Iowa Writers’ Workshop; run a translation agency in Chicago; been a New York rock critic. Two marriages, both brief, were over.

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Lorraine O'Grady, Still Cutting Into the Culture - The New York Times


Lorraine O’Grady, Still Cutting Into the Culture
And at 86, the pioneering conceptual artist isn’t done yet. She’s getting her first retrospective ever, at the Brooklyn Museum.
Lorraine O’Grady’s retrospective opens March 5 at the Brooklyn Museum. “I’m working on the skin of the culture and I’m making incisions,” she says.Credit...Lelanie Foster for The New York Times
Feb. 19, 2021
Had her life been more conventional, Lorraine O’Grady would have been, that Thursday in June 1980, at Wellesley College for her 25th class reunion.
Instead, she was donning a dress hand-stitched from 180 pairs of white gloves — accessorized with a tiara, sash and cat-o’-nine-tails — and heading to the gallery Just Above Midtown, to carry out a guerrilla-theater intervention.

New-york , United-states , Egypt , Brooklyn , Midtown , Donegal , Ireland , Iowa , Cuba , Boston , Massachusetts , Jamaica

Exhibition: "Lorraine O'Grady: Both/And" – Repeating Islands


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Exhibition: “Lorraine O’Grady: Both/And”
The Brooklyn Museum presents the exibition “Lorraine O’Grady: Both/And,” taking place from March 5 to July 18, 2021, at the Elizabeth A. Sackler Center for Feminist Art, 4th Floor. The description below highlights that “The artist addresses her own experience as a person marked by racial hybridity―her family histories connect the Caribbean, Africa, Europe, and the United States―who is nonetheless definitively a Black woman.” O’Grady was born in Massachusetts to Jamaican parents.
Lorraine O’Grady: Both/And is organized by Catherine Morris (Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum) and writer Aruna D’Souza with Jenée-Daria Strand (Curatorial Assistant, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum).

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Williamstown DIRE Committee Recognizes Effort to Address Racist Covenant


 
The Diversity, Inclusion and Racial Equity Committee used its first meeting of the new year to pass a resolution commending the residents of the area formerly known as Colonial Village not only for renouncing the racist covenant that restricted home sales in the neighborhood at its birth but for trying to make it easier for other residents of the commonwealth to do the same.
 
Before passing the resolution, the DIRE Committee acknowledged the harm done by the covenant -- both as a tool for maintaining "white purity" in the neighborhood and as an insult to Black people for nearly a century.

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Williams Students Argue Zoning Changes May Address Inequity in Williamstown


 
Williams College seniors Kate Orringer and Morgan Dauk appeared before the Diversity, Inclusion and Racial Equity Committee to give a presentation based on their work in an Environmental Planning Workshop under professor Sarah Gardner.
 
Committee members Bilal Ansari and Andrew Art served as the clients on their research project, which laid out disturbing historical evidence of injustice in the town and college, including the use of a chapel in the White Oaks neighborhood by the Ku Klux Klan, the slave ownership of college namesake Ephraim Williams and town father Benjamin Simonds and the racist covenants in a town neighborhood that led residents there to take action this summer.

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