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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

Artinfo


22 Questions for Multimedia Sculptor Nari Ward
By Chloe Wyma

Name: Nari Ward
Age: 48?
Occupation: Visual artist?
City/Neighborhood: Harlem, N.Y.

What project are you working on now?

“Casings”: Works using the language and form of the NYC Police Department stop-and-frisk report.

While creating work for your latest show at Lehmann Maupin, "Liberty and Orders," you were also working towards becoming a U.S. citizen. How did the naturalization process influence your artwork?

It made me more sensitive to the role of ordinary citizens and more aware of the malleability of our democracy.

The centerpiece of your new show is an installation called “T.P. Reign Bow,” a tactical police tower wrapped in a blue tarp and adorned with used pant zippers and hair. You’ve spoken to Modern Painters about this piece in the context of the Occupy movement. How might the installation reflect our current political climate?

I considered the Tactical Platform as a symbol of authority and control; the archetypal tower of power. I wanted to know if I adopted the form and introduced a more problematic role for its interpretation what other possibilities could it frame for the viewer. The Occupy movement is one possible reference for the work, however it could frame any number of questions, or anxiety regarding control, resistance, and complacency.

Much of the work in this show reflects your continued interest in the politics of authority and surveillance. “Castings” and “Homeland Sweet Homeland” put a human face on impersonal legalese, particularly the NYPD’s stop-and-frisk procedures and the Miranda Rights. What draws you to these subjects?

Although my work seems very politically charged, it actually starts from a very personal spiritual place. I like to think of the works as a meditation or prayer, which addresses my angst, frustration, or anger. The challenge is how to mold the emotional, political, and material form in a manner, which tells a uniquely poetic story for each viewer to interpret.

You voraciously reclaim found materials, such as neon signs, church pews, TVs, a boat, and Anselm Kiefer’s scrap wood, in your work. Where do you find all this stuff (particularly Kiefer's wood)?

I actually got the Kiefer wood from MassMoCA (Massachusetts Museum of Contemporary Art) which had leftover materials from one of his installations there. I was invited to do a new work and when I saw the abundance of these magnificent hemlock planks I knew I had to find a way to incorporate them into my work.

Do you have tips for dumpster-divers?

No, I do not consider myself an expert in anything associated with inspiration; everyone has his or her own path.

What's the last show that you saw?

A solo show of a former student of mine, Yuh-Shioh Wong, at Thomas Erben Gallery.

What's the last show that surprised you? Why?

I enjoyed the "Ungovernables" exhibition at the New Museum. Why? Because there were so many artist I have never hear about and was able to discover these other voices.

What's your favorite place to see art?

The Studio Museum in Harlem and the Brooklyn Museum.

What's the most indispensable item in your office?

A human skeleton that is next to my desk.

Where are you finding ideas for your work these days?

Books and life.

Do you collect anything?

I am currently collecting hundreds of pants pockets.

What's the last artwork you purchased?

A paper replica of a 357 magnum, complete with carrying case.

What's the weirdest thing you ever saw happen in a museum or gallery?

I am more likely to be surprised by things I see on the street more than in a gallery or museum.

What's your art-world pet peeve?

I dislike it when galleries place red dots on work or description lists to indicate a sale. I find that tasteless and distracting.

What's your favorite post-gallery watering hole or restaurant?

I don’t have one.

Do you have a gallery/museum-going routine?

No.

Know any good jokes?

One of my frustrations is that I can never remember jokes I like; they just refuse to stick.

What's the last great book you read?

"The Art History of Love," by Robert Farris Thompson.

What work of art do you wish you owned?

Walter De Maria’s "Earth Room."

What would you do to get it?

Trade several works of art.

What international art destination do you most want to visit?

Africa.