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Eighteen new artworks—by Sam Durant, Katharina Fritsch, Theaster Gates, Mark Manders, Monika Sosnowska, and others. Five additional acres of green space. 300 new trees. Environmental upgrades to make an iconic park more sustainable for decades to come. On June 3, the reconstructed Minneapolis Sculpture Garden and expanded Walker Art Center campus reopen as a renewed, 19-acre hub for culture and community. More
Join us June 3, 2017, for the Minneapolis Sculpture Garden Grand Reopening.
“What would Prince think of what I’m doing/thinking/feeling right now?” For TV on the Radio’s Tunde Adebimpe, the question is a good barometer for a life well lived. In Minneapolis to premiere his music/animation examination of grief, mortality, and the afterlife, A Warm Weather Ghost, he discusses his music and art practices, as well as his efforts to evade the “cosmic side-eye” from the late, great Prince. More
Tunde Adebimpe’s A Warm Weather Ghost makes its world premieres May 18–20, 2017.
Choreographer Beth Gill’s work doesn’t elicit the kind of response other radical new ideas tend to: there’s no booing from the crowd or scathing reviews. It’s a subtler form of risk-taking: her “abstract storytelling,” evidenced in a new Walker-commissioned dance work, Brand New Sidewalk, questions the dichotomy of meaning versus abstraction by reclaiming the pursuit of meaning within abstraction. More
Beth Gill’s Brand New Sidewalk premiers in the McGuire Theater May 5–6, 2017.
A beam of light traversing the stage as the Merce Cunningham Dance Company performed Canfield (1969) was realized through a design by Robert Morris: a 25-foot aluminum column of lights mechanically moving along a track. Rarely seen since, the Canfield décor is now on view at the Museum of Contemporary Art Chicago exhibition Common Time, but only after six months of restoration by Walker technicians. More
“For 100 days in Aristotle’s Lyceum, ghosts are speaking to ghosts. Restless contemporary spirits are interrogating the dead.” Novelist Louise Erdrich (LaRose, The Round House) considers a sound installation by the indigenous art collective Postcommodity at documenta that transforms military-grade audio weaponry—recently used against water protectors at Standing Rock—to serve more spiritual ends. More
“The reason for bigness isn’t largeness. It’s to be engulfed by peripheral vision; it questions the self and questions self-consciousness,” said Pop artist James Rosenquist, who passed away March 31 at age 83. Misa Jeffereis looks at his background and legacy, from his midwestern roots to the development of his iconic painting style, which rendered movie stars, automobiles, and food in vivid detail. More
The elimination of the NEA and other culture-focused agencies would make it harder for the Walker to fulfill its mission to serve as a catalyst for the creative expression of artists and the active engagement of audiences, writes director Olga Viso. More importantly, it would be a step backwards for our great nation, which has long benefited from the federal government’s modest investment in the arts. More
“Hers was a dance practice that sought to reveal itself; her simple never lacked.” With a 1973 letter between dancemaker Trisha Brown and curator Suzanne Weil as her guide, Gwyneth Shanks reflects on the legacy and passing of a choreographer with deep Walker ties. While rigorous, Brown’s work—from Accumulation (1971) to her performance drawings of 2008—“was always marked by a directness of address.” More
Dance critic Siobhan Burke underlines the brilliance of the performers “who catapult [Merce] Cunningham’s spirit into the present,” reflecting on the recent Events at the Walker and the dancers who vivified Common Time. “It’s dancers who keep dancing alive.”
“I’m grateful to be influential around the world. People look at what I do. I can’t ask for more than that.” John Baldessari’s ferocious creative pace hasn’t slowed; a studio visit sheds light on five series of paintings and prints the 85-year old is working on.
Donald Trump’s proposed federal budget for 2018 includes funds for a border wall and a $54B spike in military spending, while eliminating the NEA, NEH, and other agencies and slashing funding for Medicaid, student loans, and food stamps, among other social programs.
“I think art can make a difference. I think art can help.” MoMA president emerita Agnes Gund discusses diversity in the art world and Studio in a School, a successful program she founded that “brings art lessons, taught by real working artists” to NY public schools.
Technologies from driverless cars to AI, Amazon to Airbnb, are designed to replace direct human interaction, writes David Byrne, who fears that we lose the ability to cooperate when out of touch wiht “capricious, erratic, emotional, irrational and biased” humans.
“It’s a meditation on what happens to your spirit or your soul as it leaves your body, the trip it takes.” TV on the Radio’s Tunde Adebimpe on A Warm Weather Ghost, a Walker-commissioned performance/animation work that features Money Mark, Mia Doi Todd, and others.
Despite key similarities between Warhol’s art and that of Wendy Red Star, there are clear differences: where Warhol created his images from a place of privilege, Red Star celebrates the lived material reality of some of the least-celebrated communities in the US. 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
Supporting the Garden Fund is easy. Simply click here to make tax-deductible gift, or click on the link at the end of the video to make a contribution. More
In 2015, the art collective Postcommodity installed 26 ten-foot balloons—giant replicas of the commercial “scare-eye” bird deterrents used by farmers and gardeners—at the US/Mexico border. Extending away from the border fence 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.
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In commemoration of Trisha Brown’s passing on March 18, 2017, we look to art historian Susan Rosenberg’s 2014 reflection of the unique appeal of Brown’s thinking and dance to visual artists. More
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