Walker Art Center

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Burn the Maps

July 23, 2015

With the ever-shifting demographics and economic realities of rural America, the dividing lines between country and city spheres are increasingly fluid. Art of the Rural founder Matthew Fluharty makes a case for rejecting calcified notions of “rural art” and redrawing the geography of the cultural center and periphery accordingly. More

This essay was commissioned for Superscript Reader, an online companion to the Walker’s recent digital arts journalsm conference.

Personal Pop

July 14, 2015

Often seen as cold and distant, Pop art’s intimate strains were in evidence globally, from Marta Minujín and Rubén Santantonín’s installation that invited audiences into a couple’s bedroom to Niki de Saint Phalle, who says her art showed “everything: my heart, my pain, love, laughter, tenderness.” Our three-part International Pop documentary concludes with a look at Pop as a deeply personal pursuit. More

International Pop is on view April 11–August 29, 2015.

“Pop Cinema at Its Best Pop”

By Ed Halter July 9, 2015

“Here is the most macabre sense of humor at work,” wrote Jonas Mekas in 1964, introducing young filmmakers George and Mike Kuchar to Village Voice readers. “Here is the Pop Cinema at its best pop… Here are banality and corniness transposed into their grotesque opposites.” Critic and International Pop Cinema curator Ed Halter looks at the Pop sensibilities in George Kuchar’s Hold Me While I’m Naked (1966). More

George Kuchar’s Hold Me While I’m Naked (1966) screens daily as part of International Pop Cinema, presented in conjuction with the exhibition International Pop.

A Crossing: On the EU’s Failed Refugee Policies

By Natascha Sadr Haghighian July 8, 2015

A rubber raft filled with passive world leaders, their arms locked in unity. This image—an uncredited mashup circulated online—combines a photo-op of western politicos at the Paris Charlie Hebdo march with a more recent tragedy: the deaths of hundreds of migrants in the Mediterranean. It’s an apt metaphor, writes Natascha Sadr Haghinian, for an EU refugee policy that’s hopelessly adrift.  More

This essay is the fifth in our ongoing series of Artist Op-Eds.

An Activism of Affirmation

By An Xiao Mina June 30, 2015

From #BlackLivesMatter to the #UmbrellaMovement, the Web helps artist-activists inform, inspire, and organize around key issues. But art can play a special role within social-change movements as well: It can help transform the Internet into a space for affirmation, self-worth, and emotional healing. More

This essay was commissioned for Superscript Reader, an online editorial complement to the Walker’s recent digital arts journalism conference.

Tour the 2015 Edition of Walker on the Green

By Lodanne Assad June 22, 2015

Walker on the Green: Artist-Designed Mini Golf is back for another summer. This year’s course, open now through September 7, features 14 favorite designs from the past—including Be A Sculpture, Move Your Hole!, and The Uncertainty Principle—along with four new holes inspired by International Pop, the Walker’s current survey of global Pop art from the 1950s through the early 1970s. More

Walker on the Green is open through September 7, 2015. International Pop is on view through August 29, 2015.

Tania Bruguera: Artivism & Repression in Cuba

By Gerardo Mosquera June 17, 2015

Leaving her Havana home on May 24 after a 100-hour public reading of The Origins of Totalitarianism, Tania Bruguera was intercepted by police—again. After releasing a white dove and throwing Hannah Arendt’s book into the sky, she was driven off in what Cuban curator Gerardo Mosquera calls “a unique case in art history: a street performance that was completed in response to its very repression.” More

Why the Hell Ornette Went All Up In Eden

By Greg Tate June 11, 2015

“It’s hard to think of any musician whose sonic convictions have been so personally liberating for themselves and so determined to liberate others,” writes Greg Tate of Ornette Coleman, who passed away June 11. “His music did all the things jazz was supposed to do, but in ways that made everybody else, from Coltrane to Cage, sound like they were too fixed, ordered, calibrated and two-dimensional.” More

Art News from Elsewhere More

Via bbc.com

Visa Reversal (External)

Ai Weiwei got a six-month visa and an apology from Britain’s Home Secretary after officials denied his visa request over his “criminal conviction.” He’ll now be able to install a survey of his work at the Royal Academy of Arts.

Via soundcloud.com

Kruger Speaks (External)

“I believe in doubt,” Barbara Kruger tells LA high school students in a wide-ranging new interview. “As long as you ask questions, you can have an understanding of how the world works, of how power works.”

Via nytimes.com

Brando’s Head (External)

A striking moment in Stevan Riley’s documentary Listen to Me Marlon features the digitized, 3D head of Brando reading from Macbeth. The clip uses scans made of the actor’s head more than 20 years ago, animated through modern technologies.


Via bbc.com

Travel Limit (External)

Ai Weiwei’s has been denied a six-month UK visa as officials claim he failed to note a “criminal conviction” (Ai says he’s never been charged with a crime). A 20-day visa will let him to attend, but not help install, his September Royal Academy of Arts show.

Via fastcodesign.com

Utopian Design (External)

“Hippie modernism is really the first critique of high modernism,” says curator Andrew Blauvelt of his October exhibition of counter-cultural design, which highlights projects by Archigram, Emory Douglas, Corita Kent, Haus-Rucker-Co, and others.

Via artnet.com

ARTnews in America (External)

One 113 years old, the other 102, art magazines ARTnews and Art in America are merging. Both will continue publishing print versions, but under the ownership of Brant Publications, digital operations will consolidate at artnews.com.


Minnesota Art News

Via mnartists.org

In Practice: Curator Sarah Schultz

Lightsey Darst and curator Sarah Schultz discuss work vs. jobs (and what lies between), the vagaries of chance, and balancing a sense of agency with acceptance in dealing with both.  More

Via mnartists.org

Diversity, Equity, and Engagement

Intermedia Arts has spent the last year aiming to turn talking points about diversity and community engagement into action. It’s progress, artists say, but we’re not there yet.  More

Artspeaks

Commentary

Lynda Benglis Discusses Adhesive Products

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

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

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

Walker Channel

Trailer

Performing Arts 2015-2016 Season Trailer

The global, multidisciplinary spectrum of artists we have invited in 2015–2016 demonstrate the force of the individual imagination and the power of collective art-making. These 27 events offer a window on a vast and ecstatically… More

Commentary

International Pop: Personal Pop

Often seen as cold, distant, and mass-produced, Pop art’s intimate strains were in evidence around the world, from Marta Minujín and Rubén Santantonín’s installation in Buenos Aires that invited audiences to witness a man and a… More

Dialogue / Interview

Ruben/Bentson Moving Image Collection

Learn about the history of the Ruben/Bentson Moving Image Collection since its formation in 1973. Now comprised of more than 1,000 titles, the collection has expanded and diversified over the years, serving as a basis for an… More

Quoted

Ongoing Series

Superscript Reader

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.

Superscript Reader

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.

Artist Op-Eds

A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists Ron Athey, Ana Tijoux, Dread Scott, and others.

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.

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

Andrew Blauvelt

A Timeline of Design History

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

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