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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

News

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

Modern Painters


Nari Ward
By Scott Indrisek


The Harlem building, an old firehouse, was the perfect place to showcase Nari Ward's assemblage of abandoned baby carriages. He'd been collecting them in the neighborhood in order to turn them, along with lengths of fire hose, into a sculptural installation. After that exhibition in 1995, he started renting the space and later bought it. "There was no water or heat," he says. "We got the electricity from the church next door. Keep in mind this was when the city was trying to get people to buy these buildings for a dollar with the impetus that you would live here. This was a whole different time and place. It's interesting to see the change." Ward now works in the front room
and lives in the back with his family.

During our visit, a lovely aroma wafts through the studio-Barack Obama incense, Ward tells us. He is in the process of brainstorming for a March show at the Lehmann Maupin Gallery on the Lower East Side, in New York. Against the cultural backdrop of Occupy Wall Street, he's been thinking a great deal about the police-specifically, the oddly sci-fi-Iooking "tactical platforms" used by law enforcement to literally tower over a crowd. "It's that oId·school metaphor of 'We have the authority, the power. Look: We're taller, we're bigger,'" Ward says. He intends to build a version of one such platform using offbeat materials, including plastic tarps (omnipresent during the encampment in Zuccotti Park, in Manhattan's financial district) and laser pointers.

"Making it look elegant and funky at the same time-that's kind of my goal and what my aesthetic is," he explains. "I want to braid hair-from African American to blond, gray to white-a braid of hair that's going to float to the ground, almost as if someone's in the tower, like a fairy tale."

SEED SHINE "This is my version of a crucifixion. It's about potentiality. There's all this tying down but at the same time its trying to spring up. It's made of a crutch, there's a fan in the middle-there's so much in there. It's sprayed with silver paint. The piece had to be charged."

A SCULPTURE FROM "ALL STARS' "For me it was about referencing cotton picking, but also that I could combine something dealing with violence-this primal club-with something dealing with healing, which was cotton. What I did was dip the cotton into sugar and then iron and burn the edges. I was subjugating the club. It became this ritualized object for me, giving it some power."

RUM BOTTLES "This is from a project I did in Cuba. I collected rum bottles, and then I'd go along the beach and pick up anything that was small enough to put into them. I found more bullets than anything else. There's some really strange stuff: screws, rubber balloons, cards, batteries, plastic flowers."

DRAWN-ON BASKETBALL CARDS "I negate every thing including the ball except the players' hands and heads. It accentuates the gesture. It's meditative. I get into another world when I'm doing it, like therapy. There's a sense of completion when I finish each card thai feels really nice, and then I tile them or quilt them together into a grid."

TAXIDERMIED FOX WITH AFRO WIG TAIL, NAMED AFTER CORNEL WEST
"I got Cornel on eBay. The seller was in Philadelphia. I went to this weird suburban neighborhood to pick it up. There was this estate sale or something. The whole place was ransacked, and this guy was on his computer looking all caffeinated or drugged up. I was like, 'Give me the fox! The taxi is waiting!' For a while I was kind of stuck and had all this anxiety about my Lehmann Maupin show. Once I got this fox, I knew what I was going to do. It's truly the mascot, this great, cunning presence that doesn't make any real sense at all."