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Tom Burr’s Zog (a series of setbacks) takes its name and inspiration from a feature of Minneapolis’s Philip Johnson–designed IDS Center, the building’s zigzagging glass profile. Burr’s aim: to examine dualities of inside and outside, playing the architect’s hard-edged corporate facades against his softer domestic architecture and personal story—“a mid-century homosexual who lived in a glass house.” More
Tom Burr’s sculpture Zog (a series of setbacks) is on view through May 21, 2017, in the exhibition Question the Wall Itself.
“I am concerned with the separation between the spectacular and the everyday, between subject and object, between bystander and viewer.” In Maria Hassabi’s STAGING (2017), eight dancers will inhabit locations throughout the Walker, creating a live installation. Here she discusses the work, her approach to institutional spaces and the body, and the relationship between the spectacular and the intimate. More
Commissioned by the Walker, Maria Hassabi’s STAGING (2017) will be performed throughout the building February 8–12 and 14–19, 2017, in conjunction with the exhibition Merce Cunningham: Common Time.
Merce Cunningham’s first mature choreographic work, Root of an Unfocus (1944), was a do-it-yourself affair: he made the costumes, John Cage designed the flyers, and both footed the bill to rent out the theater. For Cunningham, this moment was the beginning of a career that operated out of a “root of an unfocus” that was based in collaborative work and would stretch over six decades of restive creation. More
Merce Cunnigham: Common Time is on view Feb. 8–July 30, 2017.
Remounting Ocean, a 1994 Merce Cunningham/John Cage collaboration, in 2008 was one of the most challenging projects ever for both Cunningham and the Walker. Despite a deluge of rain, technical obstacles, and chilly weather, the work was a triumph, bringing 13 dancers, 150 musicians, and 5,000 audience members together for a powerful dance experience in an unlikely site—a granite quarry in Minnesota. More
Visitors taking in the new mural by Frank Big Bear in the Target Project Space in December were greeted by some of the art world’s newest educators—members of the Little Earth Arts Collective, a cohort of Native youth who participated in a 10-week program aimed at helping them see the arts as a viable career path and teaching valuable job skills such as organization and public speaking. More
Frank Big Bear’s The Walker Collage, Multiverse #10 is on view for one year in the Target Project Space, adjacent Esker Grove restaurant.
Gary Simmons created Everforward—a pair of gleaming white boxing gloves embroidered with the words “Everforward” and “Neverback”—in response to troubled times: the killing of Yusef Hawkins, recession, the AIDS epidemic, the Crown Heights riots. Commemorating Inauguration Day, he reconsiders the work nearly 25 years later—its echoes today and its optimistic call for artists and others to fight back. More
Gary Simmons’s essay is part of the ongoing Artist Op-Eds series, which invites artists—including Dread Scott, Ana Tijoux, and Jack Whitten—to respond to events in the news.
What will the relationship between art museums and their publics look like following recent global events like Brexit and the US elections? Weaving together the January 20 Artstrike and Liberate Tate, Donald Trump’s election and the Walker’s Avant Museology symposium, artists João Enxuto and Erica Love offer an examination of social change and protest, both within and targeted at art institutions. More
This essay was commissioned as part of the ongoing Artist Op-Eds series.
Our country and world are clearly in the midst of seismic changes—politically, environmentally, socially. How do we prepare for the uncertain future we’re facing? We posed this question to an array of artists, writers, and curators—including Thomas Hirschhorn, Kimberly Drew, Lucy Lippard, and Hank Willis Thomas—seeking their help in building a reading list that could prove instructive in the coming years. More
M.H. Miller looks at six artists whose work responds to this moment, from Andrea Bowers’s repurposing of protest signs to Postcommodity’s border-focused art to Rirkrit Tiravanija’s quoting of Aldo van Eyck (“The tyranny of common sense has reached its final stage”).
Arte Povera icon Jannis Kounellis—known for installations using objects like coal, stone, and plaster heads—has died. The Rome-based artist described his work as “engaged in a permanent dialogue with the culture of the past.”
Some 200 art-world figures—including Steve McQueen, Wolfgang Tillmans, and Laurie Anderson—are backing the “Hands Off Our Revolution” movement, which asserts art’s role in opposing “right-wing populism, fascism and […] unapologetic intolerance.”
Indigenous arts collective Postcommodity recounts its history with the US-Mexico border. Works like Repellent Fence (2015) and a new installation, A Very Long Line (2016), aim to cast “light on complex socioeconomic dynamics” and dissect sociopolitical structures.
“The mark of a masterwork is that it is both ‘of its time’ and timeless.” Former MCDC dancer Patricia Lent discusses Fabrications—a “deeply familiar and yet still unpredictable” Cunningham classic—in anticipation of its Northrop restaging by CCN-Ballet de Lorraine.
“Usually the death of a great choreographer leads to an evident diminution of excellence… Yet so far this hasn’t happened with Cunningham; and with these Events, the opposite seemed true.” Alastair Macauley applauds the performances at the opening of Common Time.
Ira Brooker profiles local supergroup Ambassadors of Culture: former Aviette frontwoman Holly Muñoz; Dalmar Yare, a favorite in the Somali music scene; and solo artists Martin Dosh and Al Church. More
Tom Burr’s sculpture Zog (a series of setbacks), on view in the exhibition Question the Wall Itself, takes its name and inspiration from a feature of Minneapolis’s… More
Visiting a casino in the early 1980s, Ericka Beckman was struck by the “use of human value” on display: white gamblers in elevated seats placing bets on a jai-alai game played by Mexicans in a pit below. In a new interview Beckman… More
“I think that when you feel connected and you are not distracted, there is a greater possibility that you will feel joy.” As we present Thank You For Coming: Play, the second part of choreographer/director Faye Driscoll’s trilogy of… More
Renowned as both choreographer and dancer, Merce Cunningham (American, 1919–2009) revolutionized dance through his partnerships with leading artists who created costumes, lighting, films, music, and décor and whose independent… More
Save the date for Saturday June 3, 2017 for the opening of the renovated Minneapolis Sculpture Garden and the newly expanded Walker Art Center campus. Join us and see over 18 new artworks, a reimagined 19-acre campus, and a landmark that will be enjoyed for… More
A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists Ron Athey, Ana Tijoux, Dread Scott, and others.
Five artists have been commissioned to create a new work that will premiere online. These works respond to the inspirations, inquiry, and influence of key artists in the Walker’s Ruben/Bentson Moving Image Collection: Derek Jarman, Bruce Conner, and Marcel Broodthaers.
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.
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.
about 15 hours ago
In conjunction with the exhibition Merce Cunningham: Common Time (Feb. 8–Jul. 30, 2017), we revisit this 1981 Walker interview between Cunningham and frequent collaborator, John Cage, on their approaches to chance operations. More
In celebration of Jack Whitten being honored with a National Medal of Arts on September 22, 2016, we revisit the painter’s 2015 Artist Op-Ed, a powerful personal essay on the potential for art in times of violence and injustice. More