Nari Ward
Nari Ward
Lab Grant Resident
Gift of God by Nari Ward
Nari Ward is known for his sculptural installations of discarded materials; he acts as a visual poet of ordinary things, infusing them with political, historical, cultural, spiritual import. Ward has repurposed baby strollers, shopping carts, bottles, doors, television sets, cash registers and shoelaces, among other objects. Ward re-contextualizes found/discarded objects in juxtapositions that create complex and metaphorical meanings that highlight cultural values or offer social critique. In his White Lies Subjects series, Ward molds a cardboard sign, reminiscent of one used by those seeking charity, that relates subject lines from a phishing scam meant to prey on our desires.
—Jenny Gerow, Curator of Seeing Things As They Really Are: Three-Dimensional Paperworks at Dieu Donné, 2019
About the Artist
Nari Ward (b. 1963, St. Andrew, Jamaica; lives and works in New York) is known for his sculptural installations composed of discarded material found and collected in his neighborhood. He has repurposed objects such as baby strollers, shopping carts, bottles, doors, television sets, cash registers and shoelaces, among other materials. Ward re-contextualizes these found objects in thought- provoking juxtapositions that create complex, metaphorical meanings to confront social and political issues surrounding race, poverty, and consumer culture. He intentionally leaves the meaning of his work open, allowing the viewer to provide his or her own interpretation.
One of his most iconic works, Amazing Grace, was produced as part of his 1993 residency at The Studio Museum in Harlem in response to the AIDS crisis and drug epidemic of the early 1990s. For this large-scale installation, Ward gathered more than 365 discarded baby strollers—commonly used by the homeless population in Harlem to transport their belongings—which he bound with twisted fire hoses in an abandoned fire station in Harlem. Echoing through the space was an audio recording of gospel singer Mahalia Jackson’s Amazing Grace on repeat. The lyrics speak about redemption and change, generating optimism and a sense of hope. As with most of his work, this installation explored themes informed by the materials, community, and location in which Ward was working. The work has since been recreated at the New Museum Studio in 2019, the New Museum’s Studio 231 series in 2013, and in several locations across Europe. With each change of context, the significance of the work changes as each community associates differently with these found objects.
Nari Ward received a BA from City University of New York, Hunter College in 1989, and an MFA from City University of New York, Brooklyn College in 1992. Solo exhibitions of his work have been organized at the Contemporary Arts Museum Houston, Houston, TX (2019); New Museum, New York (2019); Institute of Contemporary Art, Boston (2017); Socrates Sculpture Park, New York (2017); The Barnes Foundation, Philadelphia (2016); Pérez Art Museum Miami (2015); Savannah College of Art and Design Museum of Art, Savannah, GA (2015); Louisiana State University Museum of Art, Baton Rouge, LA (2014); The Fabric Workshop and Museum, Philadelphia (2011); Massachusetts Museum of Contemporary Art, North Adams, MA (2011); Isabella Stewart Gardner Museum, Boston (2002); and Walker Art Center, Minneapolis, MN (2001, 2000). Select group exhibitions featuring his work include Objects Like Us, The Aldrich Contemporary Art Museum, Ridgefield, CT (forthcoming, 2018-2019); UPTOWN: nastywomen/badhombres, El Museo del Barrio, New York (2017); Black: Color, Material, Concept, The Studio Museum in Harlem, New York (2015); The Great Mother, the Fondazione Nicola Trussardi, Palazzo Reale, Milan (2015); The Freedom Principle: Experiments in Art and Music, 1965 to Now, the Museum of Contemporary Art Chicago (2015); NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York (2013); Contemplating the Void: Interventions in the Guggenheim Rotunda, Solomon R. Guggenheim Museum, New York (2010); the Whitney Biennial, New York (2006); Landings, Documenta XI, Kassel, Germany (2002); Passages: Contemporary Art in Transition, The Studio Museum in Harlem, New York; Projects: How to Build and Maintain the Virgin Fertility of Our Soul, MoMA PS1, Long Island City; The Listening Sky, Studio Museum in Harlem, New York; the Whitney Biennial, New York (1995); and Cardinal Points of the Arts, 45th Venice Biennale, Venice, Italy.
Ward’s work is in numerous international public and private collections, including Albright-Knox Art Gallery, Buffalo, NY; Baltimore Museum of Art, Baltimore, MD; the Blanton Museum of Art, Austin, TX; the Brooklyn Museum, New York, NY; Crystal Bridges Museum of American Art, Bentonville, AR; GAM, Galleria Civica di arte, Torino, Italy; the Institute of Contemporary Art, Boston, MA; Istanbul Modern, Istanbul, Turkey; the Museum of Contemporary Art, Los Angeles, CA; Musée d’Art Moderne Grand-Duc Jean, Luxembourg; the Museum of Modern Art, New York, NY; the Nasher Museum of Art at Duke University, Durham, NC; National Gallery of Victoria, Southbank, Australia; the New York Public Library, New York, NY; Pérez Art Museum Miami, FL; Smithsonian American Art Museum, Washington, D.C.; Speed Art Museum, Louisville, KY; the Studio Museum in Harlem, New York, NY; the Walker Art Center, Minneapolis, MN; and the Whitney Museum of American Art, New York, NY.
Ward has received numerous honors and distinctions including the Fellowship Award, The United States Artists, Chicago (2020); Vilcek Prize in Fine Arts, Vilcek Foundation, New York (2017); the Joyce Award, The Joyce Foundation, Chicago (2015), the Rome Prize, American Academy of Rome (2012), and awards from the American Academy of Arts and Letters (1998), the Pollock-Krasner Foundation (1996); and the National Endowment for the Arts (1994). Ward has also received commissions from the United Nations and the World Health Organization. (Source: Lehmann Maupinn)
For more information, please visit their website: https://www.nariwardstudio.com
