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Artist Nairy Baghramian Wins the 2022 Nasher Prize for Storytelling Through Sculpture
The Iranian-German visual artist’s work explores the relationship between architecture and the human body
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Nasher Prize Photo: Jessica Gomez Photography
After a lengthy hiatus, the Nasher Sculpture Center was finally able to bring together artists and patrons from across the globe in honor of a very special occasion: the coveted Nasher Prize Award. Given annually to an artist whose work has helped impact and evolve the understanding of sculpture, this year’s recipient was Iranian-German artist Nairy Baghramian. Her work, which addresses the relationship between architecture and the human body through curved lines and abstract configurations, has been exhibited in New York; Mexico City; Salzburg, Austria; and beyond.
Taking place in Dallas earlier this month, this year’s Nasher Prize ceremony marked the first in-person celebration since 2019, as festivities were cancelled due to the coronavirus pandemic. To make up for lost time, the institution brought an impressive lineup of events which included a Laureate lecture between Baghramian and Nasher Curator Dr. Catherine Craft, a dialogue series, as well as the extraordinary Nasher Prize Gala and dinner. A notable highlight of the evening consisted of the premiere of an original documentary on Baghramian, which gives audiences an inside look into her work process and life in Berlin.
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Nairy Baghramian awarded the 2022 Nasher Prize Award Photo: Amanda Marie Photography
The decision to select Baghramian for this year’s award was made by a jury of curators, architects, designers, and artists. According to Jeremy Strick, Director of the Nasher Sculpture Center, Baghramian’s work and themes hit a particular cord within the selectors, as it felt relatable to current events—particularly the pandemic.
“At a moment when we were all feeling physically threatened by the pandemic and aware of our fragility in the face of this, I think Nairy’s work really spoke in a lucid fashion to that condition,” Strick says. “So often her work refers to, in one way or another, the space it occupies. It’s not site-specific, but it has a relationship to the space it’s in. So as we’re all confined in our own spaces, I think her work spoke to the ambiguity of that. It really resonated this past year.”