Walker Art Center

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Story/Time: Bill T. Jones on John Cage

By John R. Killacky October 29, 2014

In his new book Story/Time: The Life of an Idea—which explores the genesis of a performance inspired by John Cage’s Indeterminacy (1958)—Bill T. Jones attempts “to come to grips with my need to be in the modernist cool club and acceptance that I will not be in that club. You have to build your ideas on your forebearers, and it is sort of Freudian because you are fighting with your father.”  More

Bill T. Jones’s Story/Time, co-commissioned by the Walker Art Center, will be performed Nobember 4–14, 2014, at New York Live Arts.

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Miranda July and the Awkward Encounter

By Katie Waddell October 28, 2014

No matter the project, Miranda July’s work tends to focus on the quiet messiness that characterizes human lives. Whether it’s a sculpture that compels strangers to stand on a pedestal and hug or a short story that inserts a naive first-person narrator into a sex scene, one thing audiences can expect from July is an awkward scenario. Her latest performance piece, New Society, capitalizes on this very thing. More

The world premiere of Miranda July’s New Society takes place in the McGuire Theater on October 30 and 31, 2014.

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Film Without Film: Derek Jarman’s Blue

By Isla Leaver-Yap October 23, 2014

Described as a film without materiality, Derek Jarman’s Blue consists of an unvarying 79-minute view of International Klein Blue, animated by a soundtrack chronicling his experiences living with AIDS. The work’s formlessness parallels that of the disease that killed him in 1994. By the time Blue was finished, complications from AIDS and its treatments left Jarman with a haze of blue in place of vision. More

A rare 35mm print of Derek Jarman’s Blue (1993) will be screened October 29, 2014.

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The Cerebral and Bodily Art of Ryoji Ikeda

By Sam Segal October 21, 2014

Ryoji Ikeda’s art might be described as cerebral, as evidenced by recent accomplishments, from a collaboration with a Harvard number theorist to his awarding of the 2014 Prix Ars Electronica Collide at CERN. But that doesn’t mean his art isn’t visceral: it circumvents cognitive processing by going straight for our bodies, and you don’t need a PhD in theoretical mathematics to feel the effects. More

Ryoji Ikeda’s superposition will be performed October 24–25, 2014.

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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.

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Question Everything

By Olga Viso October 9, 2014

What does it mean to present the art of our time? Why do we need a safe place for unsafe ideas? How can art show us who we are—and aren’t? The Walker’s founding as a public art center in 1940 was sparked by a question, and during the 75 years since it’s been animated by relentless inquisitiveness. Launching our 75th anniversary celebration, Olga Viso reflects on the power of the well-formed question. More

In anticipation of the Walker’s 75th anniversary as a public art center, Olga Viso launches our WALKER@75 celebration with an ode to questioning.

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La Cultura de la Basura: On Music & Misogyny

By Ana Tijoux October 2, 2014

“Where are the videos showing a woman in her role as sister—or protector, or economic head of family, or devoted daughter, or grandmother dignified in her old age?” In her Artist Op-Ed, Chilean hip-hop MC and activist Ana Tijoux looks at la violencia del cuerpo en la musica: the objectification of female pop stars, which she likens to “visual punches: it’s about snatching away the very beauty of women.” More

Santiago-based hip-hop artist Ana Tijoux, who performs October 4, 2014, contributes an Artist Op-Ed. Like others in this ongoing series, her online essay is also available as a print-on-demand pamphlet.

Art News from Elsewhere More

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Via dazeddigital.com

Wasting Time (External)

Poet Kenneth Goldsmith wants to give grades for wasting time on the internet in his new creative writing class at University of Pennsylvania. He claims that distraction can be “creatively fertile” and similar to Surrealist methodologies.

Via jsonline.com

“Soccer Mom” (External)

New York Times critic Ken Johnson is experiencing a backlash on social media following a “spectacularly lazy” review of artist (and 2014 Whitney Biennial co-curator) Michelle Grabner’s new work. Johnson called the work “dull” and Grabner a “middle-class soccer mom.”

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Via manpodcast.com

Board, Bath & Beyond (External)

Robert Gober always imagined his iconic sinks hanging in corporate boardrooms. “Art is about what you want to remind people about,” he tells Tyler Green, adding that they’d be “particulary reverbant” there. Also discussed: AIDS, faith, and installations as “sacred spaces.”


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Via vulture.com

Night and Day (External)

“This is [Chris] Ofili fashioning his own history of art,” writes Jerry Saltz, “one that shows Modernism’s warring mode of movements successively killing one another in order to live is less effective than letting all and any art live within one’s work.”

Via hyperallergic.com

Transformative Art (External)

It’s not artists’ responsibility to fix the world’s ills, says MacArthur “genius” grantee Rick Lowe, but as such work “takes a lot of creativity combined with empathy, compassion, and passion,” artists are well-suited to take it on.

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Via art21.org

Interrupt the Noise (External)

Scaffold Room’s complexity “lies in its refusal to adhere to one single narrative,” writes Shannon Gibney in her critique of Ralph Lemon’s piece. This refusal to focus, she argues, is at times too close to mere “cultural noise” in the face of the black female body.


Minnesota Art News

Via mnartists.org

#ReRosas

Camille LeFevre weighs in on the recent return of the dance company, Rosas, to the Twin Cities to perform the mid-‘80s work that made Anne Teresa De Keersmaeker famous.  More

Via mnartists.org

A Club at the End of the World

Christina Schmid reviews Alexa Horochowski’s melancholic new work, Club Disminucion, which she calls a playful but also dead-serious tribute to the decline of the human age.  More

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

Walker Channel
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Commentary

Why Not A Fork?

Spoonbridge and Cherry installation 1988. In this video we see Claus Oldenburg and Coosje van Bruggen discussing the piece with children for a documentary on the Minneapolis Sculpture Garden. More

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Films by Artists

Red Grooms’ Target Discount Store (1970)

As part of the Walker’s 75th anniversary we are releasing a variety of clips from the Walker’s archives. This documentary on the creation of Red Grooms’ sculpture The Discount Store was commissioned by the Walker Art Center for… More

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Trailer

T.B. Walker Pathe Newsreel (1927)

As part of the Walker’s 75th anniversary we are releasing a variety of clips from the Walker’s archives. Silent newsreel of T.B. Walker opening the Walker Galleries, May 21, 1927. More

Quoted

Ongoing Series

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