317:, "Mr. Ward found all the abandoned strollers for this work on the streets of Harlem in the early 1990s, at the height of the AIDS crisis and a drug epidemic that disproportionately affected residents there." The exhibition is designed as a "room-size installation of baby strollers arranged so that you walk around them on a carpet of fire hoses, in a space lit like a church or mausoleum", according to
434:, Ward discusses his use of snowmen in his work, stating, "Also: the label they always give me is 'the artist from Jamaica.' I’ve been living in New York most of my life, but when I go to Europe they're always calling me 'the Jamaican artist who lives in New York.' I'm like, 'Wait a second. I'm a New Yorker!' I like the idea of messing with expectations: 'Snowmen! He's from the Caribbean, isn’t he?'"
534:, a work where Ward used "an old neon liquor store sign upside down, lights up only the letters that spell "soul," and festoons it with fake flowers, shoe tips, and shoelaces", which "reads like a roadside memorial, and weighs alcohol as a killer against alcohol as a spirit and sacramental offering," according to Cate McQuaid of the
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notes, "African-American history is embedded everywhere. The colored patterns in the floor installation are derived from 19th-century
African-American quilts. Perforations cut into the wall sculptures refer to the breathing holes found in the floorboards of churches that sheltered escaped slaves." A
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prayer symbol, that were used to allow air into the hidden spaces beneath where escaped slaves would hide; in the interview, Nair said, "I was really intrigued by the fact that these holes represented a history that was preserved yet hidden in plain sight. I wanted to use the pattern and figure out
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and moved to the United States at age 12. By then, his talent for drawing was apparent, but according to Ward, his parents "didn’t know any artists or grow up around artists, so the artist was always the crazy guy on the outside and always broke," so he first studied advertising before changing his
558:, "In one sense, it's morbid", but according to Ward, is reminiscent of exposed rebar in buildings in Jamaica and other countries that allows further building development, and "When I see the rebar sticking out the roof, I always think about it as optimistic possibilities for the next generation."
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describes the inclusion of "symbols, which Ward encountered in a church in
Savannah, Georgia, were created by punching holes in the floorboards, which enabled the escaped slaves once concealed beneath them to breathe – though not to breathe easy", when the series was exhibited at the
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that the strollers in the work "were arranged in the shape of a ship’s hull, in reference to the origin of the hymn, which was written by John Newton, an eighteenth-century
British slave trader, after his conversion to Christianity during a storm at sea." As told to the
608:'s Artist-in-Residence program Ward has received commissions from the United Nations and the World Health Organization, and Awards from the American Academy of Arts and Letters, the National Endowment for the Arts, New York Foundation for the Arts,
207:. His installation filled all of the museum's second floor and investigated transformative spaces that straddle the division between leisure and work. In the previous year he exhibited in a solo exhibition at Lehmann Maupin Gallery and was part of
512:(1996), after it had been in storage since its original installation, and was described as "a kind of time capsule, its everyday materials preserving obscure narratives of racial politics from the age before social media" by Kirsten Swenson of
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describes the exhibit as "evok the social cost" of "indifference" to landlord neglect that caused fires in minority neighborhoods and "characteristic of Ward's ongoing examination of race and its relationship to the urban environment."
570:, featuring "Amazing Grace" (1993), "Hunger Cradle" (1996), and "We the People" (2011), as well as smaller works such as "Trophy" (1993), Savior" (1996), "Den" (1999), "Glory" (2004), and "Spellbound" (2015). A 2020 review by
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as a work "in which gigantic snowmen made of yellow foam, discarded electrical parts, and mango seeds conjure the images of
America as the magical place that Ward envisioned as a kid growing up in Jamaica," and by the
344:, "As a hymn about a slave trader begging for forgiveness and promising to change while caught in a storm at sea, the recording resonated with Nari, and allowed for a more hopeful interpretation of the installation."
427:
as "his gaggle of eight seared-foam, capacitor-bedecked, mango-seed-studded, 10-foot-tall figures , a wry reflection on the shared lives of the
Berkshire hills and sunburned Jamaica." In a 2011 interview with
378:"filled a floor with complex webs of rope, tubing, wire, and yarn, holding in suspension objects found on-site, including a crib, books, piano keys, and various tools", according to Kirsten Swenson of
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states "Ward's work has consistently examined the Black experience in
America, specifically through the lens of physicality, of actual lives lived, and in that way it connects inescapably to the
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406:, Ward "collected thousands of leftover electrical components and combined them with materials and themes evocative of other economic development projects", according to George Fishman of the
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311:, the exhibit "resembles a kind of post-apocalyptic landscape of discarded baby strollers and fire hoses, all culled from the surrounding neighborhood by the artist"; according to
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in Long Island City, Queens, featuring concrete goats. The sculptures include rebar "jutting from the backs" of the goats, which according to
Michael B. Farrell of the
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1753:-"In Past Show Nari Ward: Sun Splashed," at PĂ©rez Art Museum Miami (PAMM). Nari Ward | Mango Tourist (2011) | Artsy. N.p., n.d. Web. 1 May 2017
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1114:"How Nari Ward's hearse installation went from the Whitney Biennial to a permanent home (with a detour via partial destruction)"
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commented on citizenship, migration, racial and national identity through objects and installations. The show traveled to the
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1744:-"Installation Review: Nari Ward. Amazing Grace. New Museum." Digital Art Source. N.p., 6 February 2013. Web. 28 April 2017.
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1484:""Hidden in Plain Sight": Nari Ward in Conversation with Lowery Stokes Sims About His Exhibition at the New Museum"
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described it as "impossibly busy spider-web thick with trapped relics taken from an derelict Harlem firehouse."
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99:) is an American artist based in New York City. He is a distinguished professor and head of studio art at
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in an exhibition titled "NYC 1993: Experimental Jet Set, Trash, and No Star." According to a review in
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Ward has shown in a wide variety of solo and group exhibitions. Ward was included in the 1995 and 2006
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1457:"Nevin AladaÄź, Kimsooja, and Nari Ward Create Visual Metaphors for Migration, Exile, and Belonging"
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927:"Social Alchemist Nari Ward on Using Art to Rethink the Difference Between Money and Spirituality"
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in
Minneapolis, and the Museum of Contemporary Art in Detroit. His solo exhibitions include
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Amazing Grace was first exhibited in a former firehouse in Harlem and then in 2013 at the
604:(1994), and the John Simon Guggenheim Fellowship (1992). He has also participated in the
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moment, which itself is rooted in physicality, namely the death of
Minneapolis resident
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1429:"In 'Breathing Directions,' Nari Ward Gathers Layers of African-American History"
600:' Willard L. Metcalf Award (1998), Pollock Krasner Foundation grant (1996), The
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1747:-"Nari Ward: Bibliography ." Nari Ward. N.p., 3 February 2003. Web. 1 May 2017.
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at the
Palazzo delle Papesse-Centro Arte Contemporanea in Siena, Italy (2006).
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366:, organised in an abandoned firehouse in Harlem with two friends, the artists
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898:"Nari Ward Exhibit at Boston's ICA Captures Tension of Immigrant Experiences"
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The exhibition includes a rendition of "Amazing Grace" sung by gospel singer
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1345:"Nari Ward brings Mango Tourists and other exotics to the Barnes Foundation"
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how it could relate to the present moment." According to Kirsten Swenson of
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1063:"Aesthetica Magazine - Nari Ward, Sun Splashed, PĂ©rez Museum of Art, Miami"
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262:, where Ward had a major mid-career retrospective in 2015. The exhibition
1750:-Sgarone. "Twenty-one Ten." Twentyone Ten. N.p., n.d. Web. 28 April 2017.
1741:-"Icaboston.org." Nari Ward: Sun Splashed. N.p., n.d. Web. 18 April 2017.
500:'s haunting 2014 cry, "I can't breathe," is also evoked by the panels."
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at the Palazzo delle Papesse-Centro Arte Contemporanea in Siena, Italy,
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1317:"Photos: Nari Ward's First NYC Retrospective Takes Over The New Museum"
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1512:"Barnes Foundation: Nari Ward's "Sun Splashed" - 6abc Loves the Arts"
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http://www.whitney.org/www/2006biennial/artists.php?artist=Ward_Nari/
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In 2015, Ward exhibited the installation Breathing Directions at the
115:". His awards include the Vilcek Prize in Fine Arts in 2017, and the
354:, and it was later shown in 2004 in Athens and then Vienna in 2007.
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1588:""We the People": At the MCA, artist Nari Ward's material truths"
732:"Nari Ward Wins the Vilcek Prize and Launches a Major Exhibition"
994:"Contemplating the Void: Interventions in the Guggenheim Museum"
1560:"How Nari Ward reimagines the immigrant experience through art"
588:, who died while in the custody of police officers on 25 May."
209:
Contemplating the Void: Interventions in the Guggenheim Rotunda
384:. When the work was exhibited in the retrospective exhibition
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XI in Kassel (2003), and his works have been exhibited at the
1738:-Come Together: Surviving Sandy. N.p., n.d. Web. 1 May 2017.
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The ICA/Boston Presents Major Mid-Career Survey of Nari Ward
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assisted with the sale of the exhibition to Greek collector
233:
Nari Ward's Rites-of-Way in the Minneapolis Sculpture Garden
870:"Dumpster diving in search of redemption – and finding it"
485:, and how the floors included holes in the pattern of the
1539:"At Socrates Sculpture Park, Slyly Butting Expectations"
772:"Nari Ward Shows the Power of Objects at the New Museum"
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In 1996, Ward participated in the artist-run exhibition
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Ward is the recipient of numerous awards including the
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of the retrospective installation while it was at the
168:, the New Museum of Contemporary Art in New York, the
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from his neighborhood, and "address issues related to
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Nari Ward – John Simon Guggenheim Memorial Foundation
231:, Kassel, Germany (2002); a solo exhibition entitled
144:, CUNY in 1992. In 2011, he became a citizen of the
633:. exhibition catalog. New York: Prestel Publishing.
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1038:"Homeland Sweet Homeland • Pérez Art Museum Miami"
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258:(2012) is included in the permanent collection of
1841:Skowhegan School of Painting and Sculpture alumni
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508:This traveling retrospective exhibition included
247:in Boston (2002); and a solo exhibition entitled
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839:"PAMM mounts retrospective of artist Nari Ward"
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640:. exhibition catalog. New York: Phaidon Press.
239:, Minneapolis, MN; a solo exhibition entitled
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333:playing on repeat. Kirsten Swenson writes in
132:focus to his own art. He completed a BA from
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566:In 2019, a traveling installation opened at
1169:"Nari Ward: 2017 Vilcek Prize in Fine Arts"
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211:curated by Nancy Spector and held at the
199:In 2011, he had a solo exhibition at the
196:at the Walker Art Center in Minneapolis.
983:Nari Ward: LIVESupport at Lehmann Maupin
972:MASS MoCA – Nari Ward: Sub Mirage Lignum
201:Massachusetts Museum of Contemporary Art
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548:In 2017, Ward created an exhibition in
1634:Listing of Grants and Financial Report
1141:"Nari Ward - Artists - Lehmann Maupin"
612:, and the Pollock Krasner Foundation.
1851:20th-century African-American artists
1846:21st-century African-American artists
1788:Nari Ward interview with Fawz Kabra,
1631:The National Endowment for the Arts,
1266:"Nari Ward: The Empowerment of Place"
770:Schwendener, Martha (14 March 2019).
510:The Happy Smilers: Duty Free Shopping
249:The Refinery X: A small twist of fate
182:The Refinery X: A Small Twist of Fate
166:Institute of Contemporary Art, Boston
7:
1537:Sheets, Hilarie M. (28 April 2017).
1373:"North By South: Q+A With Nari Ward"
1239:"Tropical Fantasies, Dark Histories"
1237:Swenson, Kirsten (1 November 2017).
837:Fishman, George (10 December 2015).
614:The Carnegie Corporation of New York
598:American Academy of Arts and Letters
268:Institute of Contemporary Art/Boston
1558:Farrell, Michael B. (11 May 2017).
1455:Sharp, Sarah Rose (6 August 2018).
1427:Cotter, Holland (29 October 2015).
1343:Salisbury, Stephan (21 June 2016).
1586:Rinaldi, Ray Mark (12 July 2020).
925:Trouillot, Terence (18 May 2017).
694:Hunter City University of New York
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1400:"Nari Ward: Breathing Directions"
1315:Lynch, Scott (13 February 2019).
1112:Urist, Jacoba (8 February 2022).
896:Dooling, Shannon (23 June 2017).
662:"2019 Great Immigrants Recipient"
578:Museum of Contemporary Art Denver
462:Kemper Museum of Contemporary Art
1670:Carnegie Corporation of New York
1614:Willard L. Metcalf Award Winners
666:Carnegie Corporation of New York
610:John Simon Guggenheim Foundation
544:Nari Ward: G.O.A.T., again, 2017
473:, Ward describes a visit to the
418:Carnegie Corporation of New York
103:. His work is often composed of
602:National Endowment for the Arts
530:. The exhibition also included
245:Isabella Stewart Gardner Museum
178:Isabella Stewart Gardner Museum
804:Landi, Ann (16 January 2013).
562:Nari Ward: We The People, 2019
225:Whitney Museum of American Art
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1371:Hirsch, Faye (4 April 2011).
868:McQuaid, Cate (16 May 2017).
636:Gioni, Massimiliano. (2019).
1715:Gioni, Massimiliano (2019).
475:First African Baptist Church
284:Nari Ward is represented by
215:. Other exhibitions include
205:Nari Ward: Sub Mirage Lignum
806:"Nari Ward: Poetic Justice"
34:1963 (age 60–61)
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1197:"Nari Ward, Amazing Grace"
496:, "Police violence victim
438:Breathing Directions, 2015
1350:The Philadelphia Inquirer
954:"Nari Ward: Sun Splashed"
467:In a 2019 interview with
127:Ward was born in 1963 in
1831:African-American artists
1717:Nari Ward: We the People
638:Nari Ward: We the People
123:Early life and education
1826:Brooklyn College alumni
616:honored Ward with 2019
606:Studio Museum in Harlem
550:Socrates Sculpture Park
504:Sun Splashed, 2015-2017
279:Baltimore Museum of Art
273:In 2022, his sculpture
264:Nari Ward: Sun Splashed
256:Homeland Sweet Homeland
140:in 1991 and a MFA from
1856:Hunter College faculty
1778:Nari Ward by Lee Jaffe
1042:PĂ©rez Art Museum Miami
260:PĂ©rez Art Museum Miami
219:, New Orleans (2009);
190:PĂ©rez Art Museum Miami
1821:Hunter College alumni
1296:Paik, Sherry (2020).
1145:www.lehmannmaupin.com
631:Nari Ward: Sun Splash
629:Nawi, Diana. (2015).
618:Great Immigrant Award
481:that was part of the
446:gallery. A review by
424:Philadelphia Inquirer
1692:Nari Ward: Sun Splah
1690:Nawi, Diana (2015).
1640:15 June 2013 at the
1619:3 March 2016 at the
483:Underground Railroad
416:is described by the
277:was acquired by the
37:St. Andrews, Jamaica
1067:Aesthetica Magazine
999:5 June 2010 at the
398:Mango Tourist, 2011
374:. His installation
358:Hunger Cradle, 1996
297:Amazing Grace, 1993
227:, New York (2006);
129:St. Andrew, Jamaica
97:St. Andrew, Jamaica
70:Vilcek Prize (2017)
1544:The New York Times
1434:The New York Times
1274:. 14 February 2017
1017:nariwardstudio.com
776:The New York Times
449:The New York Times
319:The New York Times
314:The New York Times
1719:. Phaidon Press.
1271:Vilcek Foundation
1205:. 17 January 2013
1173:Vilcek Foundation
1119:The Art Newspaper
742:. 20 October 2017
700:. 16 January 2018
592:Honors and awards
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