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Artist Bio

Nari Ward

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Museum Magazine

August 31, 2017

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Artnet

May 18, 2017

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The New York Times

January 27, 2017

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The New York Times

July 8 2016

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Nari Ward brings Mango Tourists and other exotics to the Barnes Foundation The Philadelphia Inquirer

June 25 2016

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Nari Ward: The story behind an artwork in the artist's own words Modern Painters

June 1 2016

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Sculpture Finds a Parking Space on the High Line Wall Street Journal

April 30 2016

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Sculpture Finds a Parking Space on the High Line Wall Street Journal

April 27 2016

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An Artist and a Poet Capture Death in a Hospice Room T Magazine

April 16 2016

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A Sense of Placeness High Line Magazine

April 14 2016

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Homegrown philanthropy fuels the new Speed Art Museum The Art Newspaper

March 10 2016

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Video: Nari Ward show at Pérez Art Museum Miami Miami Herald

February 21 2016

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The Historical and Fictional Worlds of Nari Ward Hyperallergic

February 11 2016

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Nari Ward with Nicole Smythe-Johnson Miami Rail

December 12 2015

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Nari Ward’s found object sculptures explore history and power Financial Times

December 4 2015

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Book Signing with Nari Ward Pérez Art Museum Miami

December 3 2015

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Nari Ward Looks Back at Two Decades of Work in "Sun Splashed" at PAMM

November 28 2015

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Art Basel Week 2015 Guide: At the Museums Miami Herald

November 26 2015

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In 'Breathing Directions,' Nari Ward Gathers Layers of African-American History New York Times

October 30 2015

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Nari Ward at Lehmann Maupin Art in America

October 30 2015

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25 Most Collectable Midcareer Artists: Nari Ward Artnet

September 30 2015

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See: Nari Ward's Breathing Directions New York Magazine

September 26 2015

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Timeless Symbols Pack Nari Ward’s Sculptures with Meaning The Creators Project

September 24 2015

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Nari Ward BOMB Magazine

September 17 2015

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Nari Ward: Breathing Directions at Lehmann Maupin Elephant Magazine

September 16 2015

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Forbes

March 27, 2015

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Forbes

March 25, 2015

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Forbes

March 24, 2015

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Design & Trend

March 10, 2015

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Nari Ward’s "Divination X" to Grace Gardner Museum Façade Boston Magazine

January 5 2015

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Artnet News

June 9, 2014

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Sculpture Magazine

June 2013

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Frieze

May 2013

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Mousse Magazine Nari Ward interviewed by Anna Daneri

April 2013

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New York Times Review 'NYC 1993' Exhibition at New Museum

February 14, 2013

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The New York Times

February 14, 2013

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Whitewall Magazine Installation View: Nari Ward's 1993

February 1, 2013

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Whitewall

February 1, 2013

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New Museum of Contemporary Art, New York Nari Ward: Amazing Grace

January 17 - April 21, 2013

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The Wall Street Journal

January 16, 2013

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ARTnews

January 2013

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The Brooklyn Rail

April 30, 2012

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New York Observer

April 27, 2012

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Huffington Post

April 8, 2012

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Nari Ward Receives Rome Prize

April 2012

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Designboom

March 31, 2012

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Artinfo

March 27, 2012

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Modern Painters

January 31, 2012

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Philadelphia Weekly

November 2, 2011

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International Review of African American Art

November 30, 2010

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ARTnews

April 30, 2010

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Art in America

April 30, 2010

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Artforum

April 30, 2010

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The New York Times

April 2, 2010

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Frieze

December 31, 2008

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The New Yorker

November 24, 2008

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The New York Times

August 24, 2007

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Sculpture

March 31, 2006

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Sculpture

April 30, 2005

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Art in America

November 30, 2004

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V Magazine

December 31, 2001

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The New York Times

August 6, 2000

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The Observer

October 27, 1997

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The New York Times

August 10, 1997

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The Village Voice

October 9, 1996

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Flash Art

September 30, 1996

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Elle

June 30, 1995

Artist Bio

Nari Ward

Nari Ward (b. 1963, St. Andrew, Jamaica; lives and works in New York) is known for his sculptural installations composed of discarded material found and collected in his neighborhood. He has repurposed objects such as baby strollers, shopping carts, bottles, doors, television sets, cash registers and shoelaces, among other materials. Ward re-contextualizes these found objects in thought-provoking juxtapositions that create complex, metaphorical meanings to confront social and political issues surrounding race, poverty, and consumer culture. He intentionally leaves the meaning of his work open, allowing the viewer to provide his or her own interpretation.

 

One of his most iconic works, Amazing Grace, was produced as part of his 1993 residency at The Studio Museum in Harlem in response to the AIDS crisis and drug epidemic of the early 1990s. For this large-scale installation, Ward gathered more than 365 discarded baby strollers—commonly used by the homeless population in Harlem to transport their belongings—which he bound with twisted fire hoses in an abandoned fire station in Harlem. Echoing through the space was an audio recording of gospel singer Mahalia Jackson’s Amazing Grace on repeat. The lyrics speak about redemption and change, generating optimism and a sense of hope. As with most of his work, this installation explored themes informed by the materials, community, and location in which he was working. The work has since been recreated at the New Museum Studio 231 space in 2013, and in several locations across Europe. With each change of context, the significance of the work changes as each community differently associates with these found objects.

 

Nari Ward received a BA from City University of New York, Hunter College in 1989, and an MFA from City University of New York, Brooklyn College in 1992. Solo exhibitions of his work have been organized at the Institute of Contemporary Art, Boston (2017); Socrates Sculpture Park, New York (2017); The Barnes Foundation, Philadelphia (2016); Pérez Art Museum Miami (2015); Savannah College of Art and Design Museum of Art, Savannah, GA (2015); Louisiana State University Museum of Art, Baton Rouge, LA (2014); The Fabric Workshop and Museum, Philadelphia (2011); Massachusetts Museum of Contemporary Art, North Adams, MA (2011); Isabella Stewart Gardner Museum, Boston (2002); and Walker Art Center, Minneapolis, MN (2001, 2000). Select group exhibitions featuring his work include Objects Like Us, The Aldrich Contemporary Art Museum, Ridgefield, CT (forthcoming, 2018-2019); UPTOWN: nastywomen/badhombres, El Museo del Barrio, New York (2017); Black: Color, Material, Concept, The Studio Museum in Harlem, New York (2015); The Great Mother, the Fondazione Nicola Trussardi, Palazzo Reale, Milan (2015); The Freedom Principle: Experiments in Art and Music, 1965 to Now, the Museum of Contemporary Art Chicago (2015); NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York (2013); Contemplating the Void: Interventions in the Guggenheim Rotunda, Solomon R. Guggenheim Museum, New York (2010); the Whitney Biennial, New York (2006); and Landings, Documenta XI, Kassel, Germany (2003). Ward’s work is in numerous international public and private collections, including Baltimore Museum of Art, MD; the Brooklyn Museum, New York; Istanbul Modern; The Museum of Modern Art, New York; The Nasher Museum of Art at Duke University, Durham, NC; Pérez Art Museum Miami; Speed Art Museum, Louisville, KY; The Studio Museum in Harlem, New York; Walker Art Center, Minneapolis, MN; and the Whitney Museum of American Art, New York.

 

Ward has received numerous honors and distinctions such as the Joyce Award, The Joyce Foundation, Chicago (2015), and the Rome Prize, American Academy of Rome (2012), and awards from the American Academy of Arts and Letters, the National Endowment for the Arts, New York Foundation for the Arts, John Simon Guggenheim Foundation, and the Pollock-Krasner Foundation. Ward has also received commissions from the United Nations and the World Health Organization.