Walker Art Center

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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.

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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.

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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.

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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

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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

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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.

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“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.

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The Best of Five Decades of Design Quarterly

By Andrew Blauvelt October 10, 2014

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, Martin Filler, and Armin Hofmann—DQ charted design’s history, from a form-follows-function modernism of the ’40s to the affectations of postmodernism in the ’80s and ’90s. More

As part of the Walker’s 75th anniversary celebration, 15 issues of Design Quarterly have been made available for free download.

Art News from Elsewhere More

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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 citizens arrest. His newest art project aims to raise awareness of surveillance and government data-gathering.

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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.

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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.


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Via vulture.com

40 Years On (External)

Four decades after Lynda Benglis published a then-shockingly naughty ad in Artforum, she reflects on the work: “It was a study of the objectification of the self, myself in relation to the subject of the pinup. And when I did get it right I felt that image as one.”

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Via artinamericamagazine.com

Nude in a Box (External)

“I’m sitting naked inside an Yves Klein artwork; it’s a wooden box fitted with holes into which disembodied hands reach, touching my flesh”: Brian Boucher on his experience as a nude model in Yves Klein’s never-before-exhibited experiential work, Tactile Sculpture.

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Via creativetime.org

Women in WoW (External)

Sexism runs rampant in World of Warcraft, where the “façade of avatars” lets gamers freely perpetuate misogynistic gender stereotypes, writes Angela Washko, who founded the Council on Gender Sensitivity and Behavioral Awareness in WoW to discuss the issues.


Artspeaks
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Commentary

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

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Commentary

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

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Commentary

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

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Commentary

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

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Lecture

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

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Trailer

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

Quoted

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

Centerpoints

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

Centerpoints

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

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Via walkerart.org

Sturtevant in Conversation with Peter Eleey

In a rare 2009 conversation, Sturtevant—who passed away in May 2014—discusses her repetitions of works by Warhol, Beuys, and others, as well as the discourse on “dangerous potent power” of our cybernetic world.  More