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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

Artforum


ARTFORUM
May 2010

Nari Ward
By Lauren O'Neill-Butler

Over the course of the past decade, Nari Ward's large-scale sculptures and installations have often been invested in the local. At the 2008 Prospect. 1 biennial in New Orleans, for instance, his installation of a diamond-shaped structure made with damaged gym equipment seemed an appropriate reflection on the city's powerlessness in the wake of Hurricane Katrina. Ward's exhibition at the Isabella Stewart Gardner Museum in Boston in 2002 responded to the institution by exploring the staff's role as caretakers; and in 2000, during a residency at the Walker Art Center in Minneapolis, the artist held workshops in which he asked residents from several Twin Cities communities about the word home and then created a cagelike edifice based on the region's historic ice palaces, which stood in the Minneapolis Sculpture Garden for two years. For "LIVESupport," his solo debut at Lehmann Maupin Gallery, Ward focused on a single theme-the notion of aid evoked in the show's title-through a range of media including sculpture, video, and works on paper.

An ambulance titled Sick Smoke (all works 2010) created a tension between crisis and stasis, with its lights gently blinking, a blast of smoke occasionally filling its interior, and white vinyl stickers muting its original signage. As the first piece that Ward planned for the show, presumably with the debate over health-care reform in mind, it stood in contrast-also since it was the largest work on view-with the peculiar sculptures surrounding it. Yet all the works were united through the conceit of marking out, covering up, detouring, and otherwise transforming (mostly therapeutic) objects to make the appear at once strange and familiar. Wheelchairs had been make with seats from church pews; walking canes propped up a downward-facing telescope; and spheres were covered with pustules of ironed cotton balls, which resembled tiny cannonballs or some other sort of projectile.

Since 2000, Ward has lived and worked in Harlem and has gathered, as a contemporary bricoleur, the neighborhood's discarded clothes, ephemera, and trash for his work. A Chase Bank banner was repurposed into AfroChase, with the company's name, logo, and a motto-STRENGLENING OUR COMMUNITIES-depicted in gray felt home insulation adorned with hair picks and cowrie shells, an iconic early form of tender in West Africa as well as an emblem of fortune-telling and divination. Collapsing two symbols of power (however clichéd)-the corporation and Black Nationalism-the work effectively evoked the anxiety of the economic downturn through a single community's distress rather than its more abstract global effects.

The most coherent consideration of the used and abuses of support, however, was Father and Sons, the artist's first exhibited video. An investigation of the tensions between black youth and black police officers, this seamless, looped projection features two teenagers and a cop standing on the stage in Reverend Al Sharpton's National Action Network House of Justice on West 145th Street in New York. Rapid streams of tangled voices (I made out bits of a Miranda warning) accompany views of the boys' blank stares, rows of empty chairs, and disquieting moments in which their hands gently touch the officer's uniform. These scenes suggest a reversal of the NYPD's controversial "Stop-and Frisk" program, under which more than 575,000 people were "randomly" stopped on New York City streets last year, and so brings to mind the racial profiling endemic to the tactic. The more general suggestion that a house divided cannot stand seemed applicable to the entire exhibition, and-as the health-care bill was (finally) signed into law midway through the exhibition's run-seemed a salient reminder of the need for solidarity among local communities as wall as the nation s a whole.