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“I wanted to create an atmosphere for two old friends and psychedelic warriors to get together in a relaxed, loving setting to reminisce on the past and contemplate the eternal future, as Leary was facing the end of his life, shedding the mortal coil as his spacesuit wore out.” Gay Dillingham on Dying to Know, her film about the yin and yang of Timothy Leary and Ram Dass’s culture-changing friendship. More
Dying to Know: Ram Dass and Timothy Leary will screen during Winter of Love, a 12-hour Valentine’s celebration, running 2 pm February 13 to 2 am February 14.
“Mary Halvorson’s guitar is not a reflection of her voice, but an eruption of a communal voice,” writes Marvin Lin. He sees this “voicing” as rebellion—“against silence, against assent, against coherence, against convention, against acceptance. It’s a protest that seeks commonalities and communal modes of operation, as in line with Brandon Seabrook and Marc Ribot as Mick Barr and Annette Peacock.” More
Sound Horizon, a series of in-gallery concerts, begins February 11, 2016 with three free performances by Mary Halvorson.
“When I look up, I see an Open Source Space Agency; I see Aerocene—the opportunity to ‘de- and re-engineer the hydrocarbon and intellectual property infrastructures that envelop our world,’ and to reinvent existing methods of flying in ways that do not harm the Earth.” Tomás Saraceno writes about the influence of Buckminster Fuller’s “Spaceship Earth” metaphor on his series of air-fueled sculptures. More
Katharina Fritsch’s giant blue rooster. Commissions by Nairy Baghramian, Theaster Gates, Mark Manders, Philippe Parreno, and others. Sculptures by Sam Durant, Kcho, and Liz Larner. When the renovated Minneapolis Sculpture Garden opens in 2017, visitors will see the return of old favorites plus the arrival of 16 new works. Here’s a first look at the art and artists that’ll animate the new 19-acre campus. More
“Caretaking is where the word ‘curating’ comes from. Curare means to take care—to care for something outside one’s self.” German artist Andrea Büttner, Walker Artistic Director Fionn Meade, and Walker Lead Technician Peter Hannah discuss the meaning, maintenance, and cultivation of a delicate moss garden within the galleries of Andrea Büttner, the artist’s first US solo exhibition. More
Andrea Büttner is on view November 21, 2015 to April 10, 2016.
Men’s faces rarely make the cut in Todd Haynes’s new film, Carol (2015), writes Samuel Catlin, who notes how this “minimalism of the frame” allows the film’s female characters—not the men in their lives—to tell their story. “A visual work in ethos as well as form,” the Academy Award–nominated film resists patriarchal Hollywood standards in both its storyline and visual elements. More
Video of Todd Haynes’s November 2015 Walker Dialogue is now online.
Exploring NYC’s “nocturnal underworld” at age 24, Coco Fusco stumbled upon her “first encounter with a full-on feminist art intervention”: a show at the Palladium curated by the Guerrilla Girls. “This was an activist approach that I could connect with, as it spoke truth to power playfully, with wit and style,” she writes in honor of the Girls’ 30th anniversary—and one that influenced how she makes art today. More
Groupon, Uber, and bank-funded bike-share programs, writes Josh MacPhee, “have taken the Diggers’ belief that human beings relating to, and depending on, each other creates unique forms of value and surplus and moved it firmly from the realm of quality to quantity.” Here he reflects on the ’60s community-action group, his work as an artist-archivist today, and his coming of age in the ’90s anarchist scene. More
The screenprints of the early ‘70s Berkeley Political Poster Workshop—a selection of which are on view in Hippie Modernism and at London’s Shapero Modern—were made by “the artistically untrained with heartfelt messages against violence, for love.”
“For black people to be seen as victims and worthy of empathy, they must be exemplary and angelic. Free of blemish, nothing ambiguous or messy. Artist Kameelah Rasheed considers the “perfect victim” narrative and the Movement for Black Lives.
In the UK, as elsewhere, artists are grappling with humanity’s relationship to technology. Featuring Nam June Paik, James Bridle, and others, Electronic Superhighway: 2016–1966 surveys the impact of the digital on everything from identity to politics.
Art-house film has a new home: Monrovia, Liberia. In a city whose last modern cinema closed during the 1990s civil war, Pandora Hodge plans to renovate and re-open an abandoned one. She discusses the importance of giving Liberian artists such a venue.
After a 7-1 House committee vote, Robert Smithson’s Spiral Jetty (1970) is a step closer to becoming the first artwork in the US to be declared a state symbol. If approved, it’ll join other Utah symbols, including the official animal (elk) and cooking pot (Dutch oven).
Gavin Turk reflects on the work of Piero Manzoni: from his provocative Merda d’Artista to his elegant Linee, the Italian conceptualist’s art reflects a desire to “purify thought into action and deed” and push the boundaries of what art, or artistic practice, can be.
Artist Alexa Horochowski’s personal essay wanders through the bitter chill of midwinter, from experiments in the Soap Factory’s raw, third-floor space to a broken boiler and a winter’s tale at the movies. More
“Caretaking is where the word ‘curating’ comes from. Curare means to take care—to care for something outside one’s self.” German artist Andrea Büttner, Walker Artistic Director Fionn Meade, and Walker… More
“As an abstract painter, I work with things that I cannot see,” says Jack Whitten. “Google has mapped the whole earth. We have maps of Mars. We don’t have a map of the soul, and that intrigues me.” Here the painter discusses Soul Map… 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
Filmmakers Todd Haynes and Christine Vachon join Scott Foundas of Amazon Studios for the 60th Walker Dialogue. Illuminated by film clips, the talk explores the creative process, influences from the… More
The Walker presents the first US solo exhibition of the work of German artist Andrea Büttner (b. 1972), including a newly commissioned installation. Büttner’s work often creates connections between art history and social or ethical issues, with a particular… More
The art and culture of the 1960s had high aesthetic and political stakes, but less well known is the decade’s ambiguous and conflicted relation to modernism. Independent curator and art historian… More
Six artists have each been commissioned to create a new work that will premiere online. These works respond to the inspirations, inquiry, and influence of three key artists in the Walker’s Ruben/Bentson Moving Image Collection: Derek Jarman, Bruce Conner, and Marcel Broodthaers.
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.
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With the Walker’s International Pop now on view at the Dallas Museum of Art we revisit this discussion on the role of the traveling mass-produced image during the 20th century. More
For nearly fifty years, Design Quarterly chronicled the changing terrains of architecture, urban planning, and design. Here’s a selection of our favorite issues, featuring the likes of Muriel Cooper, Martin Filler, and Armin Hofmann. More