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As an institution committed to free expression and fairness, we stand behind couples—regardless of gender—who wish to express their love and commitment for each other through marriage. Because of these values, the Walker proudly joins organizations across our state in endorsing the Minnesotans United for All Families Campaign, which aims to defeat the marriage amendment in November. More

Ruben Nusz’s contributions to the exhibition Lifelike are easy to overlook: 20 sculpted ashtrays—created using acrylic, oil, tea, and walnut ink on wax and resin, with incense and ashes—discreetly placed throughout the Walker’s public spaces and its administrative offices. Here he shares his notes on the project, which he considers “fictitious realism.” More
Lifelike is on view February 25–May 27, 2012.

A new kind of planning process is focusing on cultural organizations, creative placemaking, and the insights of artists in order to reinvent downtown Minneapolis’ Hennepin Avenue. In the process, it’s bringing artists to the fore, and developing a sustainable alternative to traditional, big-money revitalization efforts. More

The cinematic experience is in turmoil, caught between the push to the future—an industry-wide switch to all-digital projection—and the pull of the past. The Walker Cinema’s renovation allows us to play it both ways: advancing the art of film, while also showcasing its rich history. More
The Walker Cinema, closed for renovations in May and early June, reopens June 22, 2012, with the first of three films programmed to celebrate the new space.

An Amana 25 refrigerator, an oven/range with Perma-View glass window, a rotary phone in harvest gold: These items are part of Bremen Towne, Keith Edmier’s reconstruction of the kitchen in the suburban home of his youth. Exactingly reproduced for Lifelike, the piece is paradoxical: it’s the product of the artist’s memories, yet the act of re-creating it supplanted some of those same memories. More
Part of the exhibition Lifelike, Bremen Towne is on view February 25–May, 27, 2012.

Hailed as “a born storyteller who’s chosen rock as his medium” (Pitchfork), Craig Finn is many things: Springsteen acolyte, avowed Twins fan, Breck High grad, stand-up guy, and frontman for the Hold Steady. As Finn returns to his roots and readies the band to headline Rock the Garden 2012, I took a moment to catch up with him on music, the Twin Cities, and the shape of things to come. More
Rock the Garden—featuring Howler, tUne-yArDs, Doomtree, Trampled by Turtles, and The Hold Steady—will be held June 16, 2012.

A graphic designer, guerrilla artist, and urban planner, Candy Chang has spent the last decade instigating site-specific interventions, from chalk stencils indicating nice spots for trees to a boarded house turned into a chalkboard for New Orleanians to share dreams. In advance of her Minneapolis visit, she paused to discuss street art, listening to community voices, and reclaiming public space. More
Candy Chang spoke in the Walker Cinema April 26, 2012, as part of Plan-It Hennepin.

Artist Kaz Oshiro creates pieces that occupy a kind of middle ground—between Pop Art and Abstract Expressionism, representation and conceptualism, painting and sculpture. In a new conversation, he discusses his work in the Walker’s Lifelike exhibition and how he creates art to help address his “painting problem”—a desire to progress from exacting realism to hesitation-free abstraction. More
Lifelike is on view February 25–May 27, 2012.

Amos Vogel—founder of Cinema 16 and, later, the New York Film Festival—felt that “in a democracy it was crucial to offer the public a range of films that would question, enlighten, and enervate with the goal of undermining previous ways of thinking and feeling.”

Thanks to a tweet-fed mobile street-painting robot, citizens kept out of this weekend’s G8 summit at Camp David can have a say: 40-character tweets about global poverty and hunger will be stenciled using water-soluble paint on nearby streets.

Dan Byers, former Walker curatorial fellow and a co-curator of the 2013 Carnegie International, has been named the Richard Armstrong Curator of Modern and Contemporary Art at the Carnegie Museum of Art. He’s the first appointee to the new endowed position.
It’s a job you’re unlikely to hear about at Career Day, so read along as Dalal Al-Mutairi, Kuwait’s senior censor, discusses her work. “Many people consider the censor to be a fanatic and uneducated person, but this isn’t true. We are the most literate people.”
Maybe we’re missing the point of this cats+internet thing—cuteness counts, right?—but we couldn’t pass on Lee Hardcastle’s spot-on, but grisly remake of Gareth Evans’ ultra-violent Indonesian film The Raid (2011), using claymation cats.
Remembering disco diva and multi-Grammy-winning singer Donna Summer, who died this week, Beware the Blog posts “The Old Victrola,” in which avant-garde musician Alan Licht adds drone guitar loops over Summer’s 1979 hit “Dim All the Lights.”

For this month’s episode of mnartists.org’s literary podcast, comedienne and writer Colleen Kruse offers a very funny story about cannibal hamsters and the black heart of motherhood. More

Artist Jennifer Nevitt profiles David Lefkowitz, a prolific, award-winning artist who conjures whole worlds with the simplest materials. More
Jay Orff reviews Boarded Windows, an engaging tangle of competing stories and unreliable narrators with its own soundtrack (the accompanying new album Sings Bolling Greene) by musician and writer Dylan Hicks. More
“Dance is not merely specialized movement, but also a way of seeing,” writes Lightsey Darst. “Dance is a lens”—one she takes outside the theater to the work-a-day world beyond, offering a guided tour through “the undance.” More

Curators Siri Engberg and Yesomi Umolu discuss artist Robert Therrien’s No title (Folding table and chairs, dark brown) (2007) and the process of installing it for the Walker Art Center exhibition Lifelike. More

Video: Artist Keith Edmier discusses the kitchen from his work Bremen Towne (2006–2007), part of the exhibition Lifelike. More

Marcel Duchamp talks with Martin Friedman, Walker Art Center director (1961-1990), about the readymade. More

A rapid-fire presentation of projects oriented to public space, with subjects ranging from Occupy Wall Street to how the architecture of an apartment speaks to feminism. More

If you’re wondering, “what is agonism?,” join designer Carl DiSalvo, artist/educator Marisa Jahn, media theorist Warren Sack, and architect Mark Shepard for a lively and interactive presentation to unpack and debate the term. More

Join a conversation on art, design, and agonistic democracy with artist Krzysztof Wodiczko and philosopher-theorist John Rajchman. Part of Discourse and Discord: Architecture of Agonism from the Kitchen Table to the City Street More

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The year was 1984, the site was the Walker concourse, the hall between the museum and the Guthrie Theater, and the artist—then the toast of New York’s graffiti and gallery scene—was Keith Haring. More

Commissioned in 1979 to make a piece for the Walker collection, Jud Nelson took two years to carve from marble a garbage bag bursting with familiar throwaways from the latter half of the 20th century. More

It’s taken 32 years, but Frank Gaard’s Walker solo show marks a homecoming of sorts for the Minneapolis-based artist: Poison & Candy is the painter’s first solo show here since 1980. More