- 11 am – 5 pm
- 11 am – 5 pm
- 11 am – 9 pm
Archi-tourism is a web community waiting for its own digital address, writes Alexandra Lange. She longs for a dream site—“Archimaps, Designtrip, whatever”—to map her architectural explorations using smartphone photos. A sense of immediacy, essential to Instagram’s appeal, transforms old structures into new discoveries. The trick: how to keep that contagious energy as you make snaps into an archive. More
The third commission for Superscript Reader, this essay examines themes related to the May 28–30 conference, Superscript: Arts Journalism and Criticism in a Digital Age.
“What’s interesting about Pop as a term,” says International Pop co-curator Bartholomew Ryan, is that it’s “a linguistic virus that gloms itself onto any production by artists of the period that engages the popular.” Part two of the International Pop three-part documentary looks at the global pervasiveness of Pop tendencies in art during the 1960s. More
International Pop is on view April 11–August 29, 2015.
In a time of digital hyperacceleration and an ever-shifting technocultural landscape, we encounter an influx of trends, microgenres, and fads. But how do we talk about music when so much of what we listen to now feels so transitory and historically inconsequential? Marvin Lin, editor-in-chief of Tiny Mix Tapes, explores our critical voice in the face of such expiring aesthetics. More
Commissioned for Superscript Reader, this essay examines themes related to the May 28–30 conference, Superscript: Arts Journalism and Criticism in a Digital Age.
With dismal representation by women and people of color in tech and art fields, it’s time to imagine a new landscape of digital art, one that’s as diverse and equitable as possible, writes Black Contemporary Art founder Kimberly Drew. In hopes of sparking conversation about representation, erasure, and the future of digital art, she highlights—in their own words—18 artists shaping this new terrain. More
This commissioned feature launches Superscript Reader, an editorial supplement to the May 28–30 conference, Superscript: Arts Journalism and Criticism in a Digital Age.
“I love movies and love the history of movies,” director Christopher Nolan told film critic Tim Lammers. “With it—just as you have the history of the Batman comics to draw on with all their great writers and artists—you have this great history of experimentation and innovation of the past masters of moviemaking.” Here Lammers shares the best of Nolan from nine films, eight years, and four interviews. More
Christopher Nolan’s nine-film retrospective runs May 7–24, 2015.
In the early 1960s, as artists around the world responded to an onslaught of advertising and pop-culture imagery, they earned labels from critics and the public alike, from the “new vulgarians” to “commonists,” and their work was variously categorized as neo-Dada, polymaterialism, new realism, and Pop art. In the first installment of our three-part documentary series, we look at Pop’s global emergence. More
International Pop is on view April 11–August 29, 2015.
After a 1964 coup in Brazil, intense censorship scattered artists across the globe or forced them to adopt less public forms of art-making. One, Antônio Henrique Amaral, is best known for large paintings of bananas, a critique that the military dictatorship was turning Brazil into a banana republic. “They can’t censor bananas,” said Amaral, who passed away April 24 at age 79, in this final interview. More
Antônio Henrique Amaral’s Homenagem séc. XX/XXI (20th/21st-Century Tribute)(1967) is featured in International Pop on view April 11, 2015–August 29, 2015.
“The web is where the exceptional force the hands of the famed and established to recognize they’ve been pushing things forward, without their blessing or awareness,” writes Andrew Flanagan of thestand4rd, the St. Paul independent hip hop/R&B quartet that has thrust itself into the limelight—even attracting the attention of Kanye West—in the 11 months since uploading its first single on SoundCloud. More
thestand4rd opens Rock the Garden 2015, our two-day music festival, on Saturday, June 20.
Two days before the the Havana Biennial opens, Cuban artist Tania Bruguera will stage a performance in reaction to the “atrocious form of capitalism” that has been arising in her country. A 100-hour reading of Hannah Arendt’s The Origins of Totalitarianism.
Film director and editor Eric Kutner interviews the man who shot artist Chris Burden in his 1971 landmark risk-centric performance, Shoot. The well-trained sharpshooter was a fellow art student of Burden’s, as well as his trustworthy friend.
A feature-length documentary on the dramatic life of Eva Hesse has been released, 45 years after her death. Directed by Marcie Begleiter, the film focuses on both the work and the human being—on “how her life created her work and how her work created her life.”
“The inherent subjectiveness of music, film, and literature encourages anyone with a blog or Twitter handle to play critic, drowning out once-authoritative voices.” So, asks Chris Ip in a preview of the Superscript conference, “What is the role of the critic today?”
Camille LeFevre on the raw violence and emotional candor of Martha Graham’s dance, on view in the repertory and new works presented by the Martha Graham Dance Company recently in Minneapolis. 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
Exhibition curator Valerie Cassel Oliver of the Contemporary Arts Museum Houston discusses the development of Radical Presence: Black Performance in Contemporary Art. More
“What’s interesting about Pop as a term,” says International Pop co-curator Bartholomew Ryan, is that it’s “a linguistic virus that gloms itself onto any production by artists of the period that engages the popular real.” Part two of… More
In the early 1960s, as artists around the world responded to an onslaught of advertising and pop-culture imagery, they earned labels from critics and the public alike, from the “new vulgarians” to “commonists,” and their work was… More
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.
about 10 hours ago
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
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
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