Prospect New Orleans works closely with Carolina Nitsch Contemporary Art to create special limited editions by former Prospect artists. The sales of these editions benefit the organizational efforts of Prospect.
Kevin Beasley, Module 9, 2024, Raw Virginia cotton, polyurethane resin, fiberglass, aluminum, plywood, walnut, MDF, HDPE, metal wax, amplifier, custom speakers, cables, fasteners, 44 min. 48 sec. 2-channel recording on glass crystal USB drive, 59 ½ x 11 ¾ x 17 1/16 in (151.1 x 29.8 x 43.3 cm), Edition of 9 unique variants, Signed certificate, Produced by Carolina Nitsch for Prospect New Orleans.
PROSPECT LIMITED EDITION: KEVIN BEASLEY
Kevin Beasley’s Module 9 consists of a fully functional console with custom speakers playing an original sound work. Working in sculpture, sound, video, and installation, Beasley’s works incorporate process art, assemblage, and performance. ‘Module 9’ is a hybrid work that combines disparate materials and references. The aluminum and wood console encases speaker baffles made with raw Virginia cotton and polyurethane resin; a composite material rife with both personal and historical associations that the artist works with frequently.
The console plays a 44-minute 2-channel electronic sound work, much of which is ambient, with punctuations of percussive moments that enliven a dynamic contrapuntal pressure radiating beneath.
Kevin Beasley lives and works in New York. He was born in 1985, Lynchburg, Virginia. He received his MFA from Yale University in 2012. His works and performances have been featured in exhibitions at museums including the Whitney Museum of American Art, The Institute of Contemporary Art, Boston, The Studio Museum in Harlem, and Prospect.5, New Orleans, among many others.
Full details:
Raw Virginia cotton, polyurethane resin, fiberglass, 6061-T6 aluminum, baltic birch plywood, flat sawn walnut, MDF, HDPE, metal wax, Cambridge Audio 150 EVO amplifier, Satori 9.5” TeXtreme Cone, Woofers, Satori TeXtreme Dome Tweeters, SB Acoustics 10” passive radiators, custom audio crossovers, wool felt, polyfill, cables, fasteners, 44 min. 48 sec. 2-channel recording on glass crystal USB drive
For inquiries, please contact info@carolinanitsch.com or call +1 (212) 463-0610.
Nari Ward, OH FREEDOM!, 2024-25, Cast bronze, 19 1/2 x 57 x 3 inches, Edition of 12, with 3 AP, Incised with initials, date, edition number, foundry mark Published by Carolina Nitsch for Prospect, New Orleans © Nari Ward Studio.
PROSPECT LIMITED EDITION: NARI WARD
Nari Ward’s sculptural works employ language, architecture, and found materials to explore themes of racism, power, national identity, and collective memory. OH FREEDOM! is the artist’s first project of its kind in cast bronze, expanding upon Ward’s ongoing use of shoelaces as material. Comprised of nearly 400 different shoelaces cast in bronze and welded to a plaque, the work pushes the possibilities of bronze casting. ‘Oh, freedom’ is a post-Civil War African-American freedom song associated with the Civil Rights Movement.
Nari Ward (born in 1963 in St. Andrew, Jamaica; currently based in New York) is renowned for his sculptural installations made from discarded materials he collects from his neighborhood. His work incorporates objects like baby strollers, shopping carts, bottles, doors, televisions, cash registers, and shoelaces, among others. Ward reimagines these found items through striking juxtapositions, imbuing them with complex, metaphorical meanings that engage with social and political issues such as race, poverty, and consumerism.
He deliberately leaves his work open to interpretation, inviting viewers to draw their own conclusions. One of his best-known works, Amazing Grace, was produced during 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 installation, Ward collected over 365 discarded baby strollers, often used by people experiencing homelessness in Harlem to carry their belongings. He bound them together with twisted fire hoses in an abandoned fire station. The installation was accompanied by a recording of gospel singer Mahalia Jackson’s Amazing Grace playing on a loop, with
lyrics that speak of redemption and transformation, evoking a sense of hope and optimism.
As with much of his work, this piece reflects themes tied to the materials, community, and environment in which Ward worked. The installation has been recreated at various locations, including the New Museum’s Studio 231 series in 2013, the New Museum Studio in 2019, and multiple sites across Europe. With each new context, the meaning of the work shifts as different communities interpret the found objects in their own unique ways.
For inquiries, please contact info@carolinanitsch.com or call +1 (212) 463-0610.
About Carolina Nitsch
Carolina Nitsch actively publishes editions in all media with a growing roster of internationally recognized artists, ranging from traditional prints and monotypes, to sculpture editions and large installations. Our aim in publishing is to encourage the artist to explore new possibilities and media and thus we work with a large network of printers and fabricators to achieve the most innovative and original projects. Nitsch founded her business in 2000 after ten years of working with many important artists as director of Brooke Alexander Editions and now continues to maintain a focused inventory of significant 1960’s editions with an emphasis on minimal and conceptual art. The gallery is also known as the principal dealer of the graphic oeuvres of numerous artists including Louise Bourgeois, Donald Judd, and Thomas Schütte. Furthermore, the gallery has been entrusted to produce editioned projects for the New Museum of Contemporary Art since 2003 and the Whitney Museum of American Art since 2008. Nitsch serves as Vice President on the board of directors of the IFPDA (International Fine Print Dealers Association), as well as Printed Matter, Inc. and is currently expert for the Edition Sector at Art Basel.