Walker Art Center

23° FMostly CloudyVia Yahoo! Weather

Painting on, or as, Film

November 26, 2014

No other work in Yves Klein’s oeuvre speaks to the transitive, vulnerable nature of human existence as does the Mondo Cane Shroud. His decision to realize the work in front of a camera drove home his pursuit of the immaterial, as the impromptu, faint traces of nude bodies on porous gauze were rendered as a film frame—an ephemeral moment stilled and visible. More

Yves Klein’s Suaire de Mondo Cane (Mondo Cane Shroud) (1961) is featured in the exhibition Art at the Center: 75 Years of Walker Collections, on view October 16, 2014–September 11, 2016.


Light & Space: Liz Deschenes’s Gallery 7

By Eric Crosby November 21, 2014

Using photography’s most elemental aspects—namely paper, light, and chemicals—Liz Deschenes has recently worked without a camera to produce mirrored photograms that reflect our movements in time and space. For her new exhibition, she has reconfigured the space of the Walker’s 7th-floor gallery with a “photographic intervention.” Exhibition curator Eric Crosby offers an early look. More

Liz Deschenes: Gallery 7 is on view November 22, 2014–November 22, 2015.


The Drawings of Trisha Brown

November 18, 2014

To Trisha Brown, drawings are more than investigatory tools to examine the limits of her body; they let her look at her body as an object, allowing her to incorporate “found” gestures into dance and reorient our bodies to our environment, writes curator Peter Eleey. At a time when commodifiable art objects were favored over ephemeral movements, she made action, at long last, good enough by itself. More

Trisha Brown’s It’s a Draw—For Robert Rauschenberg is featured in the exhibition Art at the Center: Recent Acquisitions, on view October 16, 2014–July 5, 2015.


Deceptive Rhythms and Accidental Influences

By Sam Segal November 14, 2014

Growing up in Morocco, Amino Belyamani was immersed in “deceptive” rhythms—“music where the underlying pulse is where you least expect it, where the silences are.” Now part of the acoustic jazz ensemble Dawn of Midi, he’s exploring these rhythms through an album that blends Ghanaian sounds, jazz, and electronic influences. In a new interview, he discusses the group’s 2013 album DysnomiaMore

Copresented by the Walker and the SPCO’s Liquid Music series, Dawn of Midi performs Saturday, November 15, 2014, at the Amsterdam Bar & Hall, St. Paul.


The Colorization of America

By Jeff Chang November 10, 2014

“How has the national culture changed over the past half-century that we could elect a black president? Just as important,” writes Jeff Chang in his new book Who We Be: The Colorization of America, “how has it not changed?” Chronicling the rise and fall of multiculturalism through the lens of visual culture, Chang looks at political and aesthetic struggles for racial equity, inside the art world and out. More


The Internet Is More Powerful than China

By Ben Valentine November 4, 2014

“You can never know what is and what is not powerful, but you can always find out what the powerful people are scared of,” says Ai Weiwei. “A state like China looks so powerful, but they are so scared of the Internet, so the Internet is more powerful than them.” Journalist Ben Valentine visits with Ai in his Beijing studio to discuss art and the enduring potency of online activism. More


Martin Friedman Recalls Duchamp’s 1965 Visit

By Martin Friedman November 3, 2014

“And what exactly is it that you do, Mr. Duchamp?” That question was posed to the Walker’s guest one fall evening 49 years ago during a dinner in honor of Duchamp and his wife, Teeny. “Well,” the 78-year-old exemplar of Dada coolly responded, “I play chess.” Former Walker director Martin Friedman recalls Duchamp’s 1965 visit to Minneapolis and their conversations about readymades, Precisionism, and Pop. More

This essay launches Art (re)Collecting, a five-part series of previously unpublished writings by Martin Friedman, the Walker’s iconic director from 1961 to 1990.


“Notice Me”: Chuck Close on Big Self-Portrait

October 13, 2014

“There’s no question, I had some attitude about the way I wanted to be perceived,” said Chuck Close of Big Self-Portrait in 1980. “Now it seems very funny wanting to look like this tough guy with a cigarette sticking out of the corner of my mouth and a big, aggressive image of myself, saying to the viewer, ‘Hey, notice my painting, notice me.’ I think I was trying to find out who I was as an artist.” More

Chuck Close’s Big Self-Portrait (1967–1968) is featured in the WALKER@75 exhibition Art at the Center: 75 Years of Walker Collections, on view October 16, 2014–September 11, 2016.

Art News from Elsewhere More


Via dazeddigital.com

The unMonastery (External)

“A commune but with the Internet,” unMonastery is an open web platform that hosts tech idealists to brainstorm ideas for social change. One “unMonk” says the goal is to seek “an understanding of how a network can interact with [governmental] power.”


Via cphmag.com

Helicopterism (External)

Jörg Colberg coins the term “helicopterism” for a plague in contemporary photography: “[T]he approach taken by so many photojournalists who fly in for a day or two, snap some dramatic pictures without any deeper engagement and are then off to the next spot.”


Via thenewinquiry.com

Self-Creating (External)

Social media can be “anxiety-inducing, exposing the self’s ad hoc incompleteness while structuring the demand for a fawning audience to complete us, validate every effort, as a natural expectation”: Rob Horning argues that social media is not self-expression.


Via citymetric.com

They’re Watching (External)

While trying to photograph the 1,000+ CCTV cameras in London’s congestion zone this October, James Bridle found himself under citizen’s arrest. His newest art project aims to raise awareness of surveillance and government data-gathering.


Via hyperallergic.com

Frida’s Flora (External)

A forthcoming exhibition on Frida Kahlo at the New York Botanical Garden explores the artist’s relationship to plants. Comprised of both gallery and garden spaces, the show recreates Kahlo’s studio and showcases the Mexican flora often found in her work.


Via middleeastmonitor.com

Political Architecture (External)

“Architecture has always been a means to create hierarchies in space to produce and represent inequality, and to exercise control.” Architect and activist Eyal Weizman explains the intricate link between architecture and political powers.



Chuck Close Discusses Big Self-Portrait (1967–1968)

“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



Valerie Cassel Oliver Discusses Radical Presence

Exhibition curator Valerie Cassel Oliver of the Contemporary Arts Museum Houston discusses the development of Radical Presence: Black Performance in Contemporary ArtMore



Obliterating the Frame: Steve McQueen on Art and Film

“I never tried to do anything to make my films friendly.” From his start in Britain’s video art scene in the 1990s to his first feature film in 2008 to the Oscar-nominated 12 Years a Slave, Steve… More

Walker Channel


Midwest? The Past, Present, and Future of Minnesota’s Identity

A conversation about Minnesota’s historical identity as a member of the Midwest—a nether region lying somewhere between the East and West coasts and spanning a broad latitudinal range. Should… More



History of Contact Improvisation in the Twin Cities

History of Contact Improvisation in the Twin Cities with Patrick Scully and Jane Shockley, and special guests Ric Watson, Kristin Van Loon, Linda Shapiro, Jeff Bartlett, Olive Bieringa, and Otto… More



Art at the Center

Art at the Center looks at 75 years of collecting at the Walker—a history distinguished not only by bold and often risk-taking choices but also acquisitions that have consistently breached the boundaries of media or disciplines. More


Ongoing Series

Art (re)Collecting

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.

Artist Op-Eds

A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists James Bridle, Liz Deschenes, Liam Gillick, Metahaven, and others.

9 Artists

In 10 chapters, curator Bartholomew Ryan presents his keystone essay “If You Are Willing: The Army of the Individuals” from the 9 Artists catalogue.

Lowercase P

An election-year series on personal politics and the way artists contribute to the conversation on making a better society.

From the Archives



A Timeline of Design History

For nearly fifty years, the Walker’s Design Quarterly chronicled the changing terrains of architecture, landscape architecture, urban planning, and product and graphic design. Featuring provocative thinkers—including Muriel Cooper… More


Ghost Building: Walker Galleries 1927

A ghostly image of T.B. Walker on the grand staircase of the 1927 Walker Galleries reminds us that before the brick-and-aluminum facility we know today there was another home for the Walker. More


Shall We Take It? The Walker’s Founding Question

The Walker was founded on a question. “Shall we take it?” In 1939 Minneapolis citizens were offered the chance to start a federally funded art center. The answer? Yes. But how did this offer come about, and what did it mean? More