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The term “hippie modernism” doesn’t delineate a unique style, writes Andrew Blauvelt of the title for the design exhibition he curated. It denotes a historical moment—the creative eruption of countercultural art, architecture, and technology between 1964 and 1974. But what does this mashup of seemingly opposing concepts mean? He outlines the show’s thesis in this excerpt from the exhibition catalogue. More
“I would call it more of an ordeal than a viewing,” recalls Tom Schroeder of his first exposure, in 1987, to the Quay Brothers. That first experience with Street of Crocodiles, as he recounts here, involved crying, shortness of breath, and, ultimately, the discovery of a secret doorway to a new career as an animator with a clear vision. More
Street of Crocodiles screens November 27–28, 2015, as part of The Quay Brothers in 35mm.
In the work of Ken Isaacs, creator of Superchair (1967) and the Knowledge Box (1962), simplicity is “absolutely monumental.” The architect/designer/writer discusses the ideas behind his pivotal designs, the concept of a “total environment,” his Microhouse project in Groveland, Illinois, and the way he developed and practiced “a lifelong commitment to a populist form of architecture.” More
One year ago, Coco Fusco made a radical transformation before our eyes—into the stunning likeness of Dr. Zira, the chimpanzee psychologist in the 1968 film Planet of the Apes. As she reprises that performance, Observations of Predation in Humans, at Monmouth University later this month, we look at the extensive processes—both intellectual and physical—that helped her get into character. More
Alec Soth believes that art is often “best when you’re forced into the world and you’re not behind a screen.” So this past summer he tried out an experiment that went so well he’s now making it an official program: the Winnebago Workshop will instruct teenagers for a week on the art of storytelling. The catch: the classroom is an RV, and each day’s destination is dictated by a dart thrown at a map. More
“With Minnesota as our sandbox,” writes educator Courtney Gerber, “I want to take stock of some of the work being done at the intersection of creativity and dementia care, while offering an invitation to artists with a yen for community impact to consider contributing to the lives of people affected by memory loss by embedding themselves, their passion and skills, in our ‘dementia-friendly communities.’” More
Todd Haynes is a grown man who plays with dolls, and American movies are immeasurably the richer because of it. For Haynes—whose films include Far From Heaven (1995), Velvet Goldmine (1998), Safe (2002), and Carol (2015)—is the great plastician of the modern cinema, modeling an elaborate simulacrum of the American experience out of the seeming ephemera of pop music and suburban domesticity. More
The series Todd Haynes: 20 Years of Killer Films runs November 4–15, 2015.
“In their struggle to create a new social, cultural, political, and ecological utopia, the counterculture expressed its political activism and activated its cultural radicalism in new and imaginative ways. ” Hippie Modernism curator Andrew Blauvelt looks at how the artistic practices and “aesthetics of refusal” of 1960s counterculture are at once products and catalysts of the era’s resistance. More
“It was an attempt to humiliate and ostracize me.” Brooklyn artist Kameelah Rasheed was questioned by the FBI and removed from a flight last week—“because I’m Muslim, because I’m traveling to Istanbul, because they have power with no checks and balances.”
A Paris climate march expected to draw 200,000 was cancelled over security concerns, but activists were present symbolically: 10,000 pairs of empty shoes were left in their place. In advance of the COP21 talks, climate marches are being held across the globe.
Stella reimagined it as an abstract sculpture. Koons placed one of his “looking balls” in front of it. Kippenberger substituted his image for its figures. Why has Gericault’s The Raft of the Medusa inspired so many contemporary artists?
Black artists are largely overlooked in art history. Sonia Boyce is aiming to change that, creating the first database of works by black British artists. Step 1: scour collections across the country for an estimated 300 relevant works.
Paul Pfeiffer’s new installation at Galerie Perrotin’s Hong Kong outpost transforms video of the Mayweather-Pacquiao boxing match into its most visceral elements, using meticulous editing, digital manipulation, and a soundtrack by “the world’s best foley artists.”
A non-Iranian curator co-organizes a show at the Tehran Museum of Contemporary Art for the first time since the 1979 Revolution—with late Iranian artist Farideh Lashai’s works hung alongside those by Westerners like Rothko, Pollock, and others.
Even 30 years after her death, viewed in light of current political battles over women’s autonomy and equality, the silent imagery in Ana Mendieta’s film works have never felt more urgent, necessary, and emphatically vocal. More
“As an abstract painter, I work with things that I cannot see,” says Jack Whitten. “Google has mapped the whole earth. We have maps of Mars. We don’t have a map of the soul, and that intrigues me.” Here the painter discusses Soul Map… More
After beginning her career as a painter, Lynda Benglis began seeking a “more sensuous kind of surface.” Her nine-piece work Adhesive Products (1971)—commissioned for the Walker Art Center’s Edward Larabee Barnes–designed building—is… More
“There’s no question, I had some attitude about the way I wanted to be perceived,” said Chuck Close in discussing his Big Self-Portrait (1967–1968) at the Walker in 1980. “Now it seems very funny… More
Part of Hippie Modernism: The Struggle for Utopia Ten pioneering local activists, artists, musicians, and innovators of the era share firsthand experiences of the Twin Cities in the 1960s and ’70s through personal stories and photos. Topics range from life on the… More
This Walker-organized exhibition, assembled with the assistance of the Berkeley Art Museum/Pacific Film Archive, examines the intersections of art, architecture, and design with the counterculture of the 1960s and early 1970s. A time of great upheaval, this period… More
Join exhibition curator Andrew Blauvelt for an overview of the exhibition’s themes and ideas. He will be joined by professors Greg Castillo (UC Berkeley), moderator Ross Elfline (Carleton College… More
Six artists have each been commissioned to create a new work that will premiere online. These works respond to the inspirations, inquiry, and influence of three key artists in the Walker’s Ruben/Bentson Moving Image Collection: Derek Jarman, Bruce Conner, and Marcel Broodthaers.
An editorial supplement to Superscript: Arts Journalism and Criticism in a Digital Age, an international conference held at the Walker Art Center May 28–30, 2015.
A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists Ron Athey, Ana Tijoux, Dread Scott, and others.
In celebration of the Walker’s 75th anniversary, Martin Friedman—Walker director from 1961 to 1990—shares his reflections on encountering artists from Duchamp to Cage.
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With the Walker’s International Pop now on view at the Dallas Museum of Art we revisit this discussion on the role of the traveling mass-produced image during the 20th century. More
For nearly fifty years, Design Quarterly chronicled the changing terrains of architecture, urban planning, and design. Here’s a selection of our favorite issues, featuring the likes of Muriel Cooper, Martin Filler, and Armin Hofmann. More