The exhibition Clapping with Stones is a chilling reminder that the history of art is also the history of power.
Artists come together to discuss Nari Ward’s repurposed objects as a reflection of place, culture, and identity.
Ward doesn’t just utilize found objects; he communicates with them — intellectually, visually, soulfully.
Three artists tackle notions of blended culture and identity in Worlds Otherwise Hidden at the Kemper Museum of Contemporary Art.
The work of Teresita Fernandez and Nari Ward presents two contradictory views of the United States — one of the most hopeful, and one of the least.
Nari Ward’s exhibition TILL, LIT at Lehmann Maupin gallery alludes to and signifies those key systems of social organization that we can’t seem to escape: race and class.
With his current show at Socrates Sculpture Park, Nari Ward takes the lawn ornament to some odd, hallucinatory places.
MIAMI — At the Pérez Art Museum, Nari Ward’s retrospective looks at simulations of paradise.
MILAN — The most startling pairing in The Great Mother, an exhibition that tracks the iconography of motherhood in art and popular culture from 1900 to 2015, is a sculptural stand-off between Sarah Lucas and Thomas Schütte.
No Longer Empty’s current exhibit, If You Build It, manages to avoid the ickiness of so many other art projects exploited to anoint development projects on the verge of fruition, and in an art economy that’s popularized the practice of artwashing that’s no small feat.