- Today
- 11 am – 5 pm
- Daily
- 11 am – 5 pm
- Mon
- Closed
- Thu
- 11 am – 9 pm

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.

While driving in Ohio recently, members of the band Here We Go Magic noticed a familiar-looking hitch-hiker on highway on-ramp. Circling back, they picked up none other than filmmaker, artist, and curator of our Absentee Landlord show John Waters.

Via Gallerist NY we learn that NASA has named 23 of Mercury’s “impact craters” after art figures. In addition to Nureyev, Nabakov and Alvin Ailey, visual artists like Magritte and Warhol are also honored with namesake divots on the planet closest the sun.

“Part memoir, part critique, part artistic statement,” Yayoi Kusama’s new autobiography is a unique if “weird” book, addressing themes of mental illness, poverty, and sexuality, including a comical if sad anecdote about making out with Joseph Cornell.
As an Art in America “roving eye,” Walker Art Center chief curator Darsie Alexander looks at the Minneapolis-St. Paul art scene and her studio visits with artists Cameron Gainer, Katherine Turczan, and Nate Young.
Falling in a lake at age 6 was a seminal experience for Bill Viola. “I saw the most beautiful world I’d ever seen: fish, shafts of light, plants waving in the breeze. That’s why my art has so much to do with water—because I dream about going back to that place.”
Work from net.art’s heyday can be a letdown when experienced through modern web browsers, writes Ben Fino-Radin. It’s like music: “Having the score or source code is not sufficient if it is not performed with the proper instrumentation.”

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
Camille LeFevre offers a dispatch from her recent trip down South to Bentonville, Arkansas, reporting back on the recently opened and oft critically dismissed “Walmart art museum,” Crystal Bridges. 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

@walkerartcenter
about 5 hours ago

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