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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

Art in America


Art in America
May 2010

Exhibition Reviews
Nari Ward
Lehmann Maupin
By Casey Ruble

Tackling the multivalent subject of support – with its implication of preexisting threat – "LIVESupport," Nari Ward's first solo show at Lehmann Maupin, included a roomful of sculptures (all works 2010). All sustain the mode for which the Jamaica-born artist is knows: visually clean found-object assemblages that touch on identity politics without declining more universal themes.

The ghostly and alarming Sick Smoke, an ambulance covered in white vinyl, dominated the gallery. Topped by flashing red lights, it periodically filled with thick smoke. The piece is weirdly similar to the The Bruce High Quality Foundation's white hearse/ambulance in the current Whitney Biennial, though mercifully less nostalgic. Made mostly of dark materials, Ward's other 10 sculptures contrasted with Sick Smoke – some, constructed on slatted, roll-down security gates and hung on the wall, approached painting. But they all addressed the theme of life support, in the broadest sense of the term, incorporating references to protection, frailty, mobility and healing. In Church State, for example, two church-pew ends coated in black ink are outfitted with wheelchair wheels. Ambulascope, an all-black columnar assemblage of walking canes adorned with MRI images of the spine, is surmounted by a telescope aimed at the floor, reminding us that where we are now is as important as where we strive to go.

A suite of eight drawings and an almost four-minute video proved the most thought-provoking works of the show. The drawings employ the common yet fruitful tactic of blacking out portions of found images – in this case, photographic test cards used by schools to assess students' psychological states. In one, two boys vie for possession of a ball inked out by Ward, while the teacher, also inked out, stands seemingly oblivious a few yard away. The intentionally ambiguous meanings of the original images – fraught with a subtext of the relationship between authority and responsibility – allow for a wealth of interpretations that Ward wisely leaves fluid.

Father and Sons, the video, depicts a uniformed black police officer and his two teenage sons standing silently in front of a microphone in the Reverend Al Sharpton's National Action Network House of Justice. Shots framing the faces of the family members – whose expressions range from noble to bored, defiant to diffident – are interspersed with close-ups of the sons' hands running over the father's uniform and badge. A soundtrack of the sons reciting the Miranda rights, layered to the point of unintelligibility, runs in the background. At one point the father turns to the sons and says, "Take your time: you can do this": good advice not only for those navigating the tricky territory between remaining mute and expressing one's views when "anything you say can and will be used against you," but also for viewers wading through the whirlpool of fragility, fortitude and tentative optimism that this show evokes.