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Nari Ward

PRESS

Museum Magazine

August 31, 2017

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Artnet

May 18, 2017

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The New York Times

January 27, 2017

News

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

Whitewall Magazine

Installation View: Nari Ward's 1993

February 1, 2013

Nari Ward’s installation, “Amazing Grace,” is currently on view at the New Museum until April 21, 2013. Originally created in 1993 for an abandoned fire station in Harlem, it now resides in the Museum’s Studio 231 space as part of “NYC 1993: Experimental Jet Set, Trash and No Star,” a larger exhibition that opens February 13, 2013.

 

Ward says, “You can’t know where you are going until you know where you have been.” Where we were is New York City in 1993 at the epicenter of the AIDS crisis and crack epidemic. His installation, “Amazing Grace” was created in direct reaction to this tragedy—it is about a community in crisis.

 

 

“Amazing Grace” is a large-scale installation comprised of 310 abandoned strollers, arranged in an oval with a central walkway made of flattened fire hoses. Uneven and tough terrain makes navigation slow and deliberate. The objects in this work were all heavily used: first by parents and then by the homeless. While the owner might have been quite different, the goal was the same: the transport of ones possessions either human or physical.


While depressing at first glance, these found objects, accompanied with Mahalia Jackson’s uplifting “Amazing Grace” song, begin to emanate a sort of hope. Ward says the song was a favorite of his father’s and was constantly playing in his home while growing up. “It is a song about redemption and change so it became the necessary element of hope I felt the work needed.” The strollers, although forgotten by former caretakers, are now unified in their huddle, the accumulation suggesting comfort in numbers.

 

For Ward, this piece symbolized and captured his experience living in Harlem in 1993. This year is also the focus of the upcoming show at the New Museum aiming to provide an extensive visual and cultural snapshot of that year in America. It was a changing time when globalization, new technology, and civil rights were propelling our lives forward. But at the same time, in Harlem, the onset of the AIDS crisis and the crack epidemic were inescapable. Ward’s installation gives viewers an opportunity to look at a moment when our country was in flux, teetering between tragedy and hope.


Nari Ward’s (b. 1963, St. Andrews, Jamaica) dramatic sculptural installations are composed of systematically collected material from his urban neighborhood.  By revealing the numerous emotions inherent within found everyday objects, Ward’s works examine issues surrounding race, poverty, and consumer culture.