- 11 am – 5 pm
- 11 am – 5 pm
- 11 am – 9 pm
For his Northern Studies series, Justin Newhall took the train to northern Manitoba, where—inspired by a Glenn Gould radio documentary—he sought to capture the idea of “the North.” He found it in an unlikely package: a duct tape-covered stash of glossy pornographic photos that had deteriorated over time, leaving ghosts of the originals—and of the tragic story of the Dene Village where he found them. More
Sage Cowles had a “real social vision,” says choreographer Bill T. Jones. “Sage and [husband] John were interested in Change with a capital C, which earned her high marks in my way of thinking.” A philanthropist, mother, political activist, and—perhaps most importantly—a dancer, Cowles passed away November 21, 2013, at age 88. Camille LeFevre recounts a life dedicated to dance, family, and community. More
Karl Unnasch’s The Ruminant (The Grand Masticator) towered like a cathedral in the cornfield: a combine outfitted with illuminated stained-glass panels. On view as part of The Wormfarm Institute’s Fermentation Fest in Reedsburg, Wis., the work mashes up the histories of comic books, stained glass, and farm machinery to create a funny, expansive re-telling of the harvest narrative, writes Aaron Dysart. More
“Writing about HIJACK, the dance duo of Arwen Wilder and Kristin Van Loon, is a little like trying to dance the writing of David Foster Wallace,” writes Linda Shapiro. “Dense, sly, rampant with references and footnotes, HIJACK’s work brings tight compositional form to a rampage of ideas.” Conversing with the artists, she previews the Walker-commissioned work redundant, ready, reading, radish, Red Eye. More
HIJACK will perform redundant, ready, reading, radish, Red Eye December 5–7, 2013.
While Minneapolis is a national leader in support for urban agriculture, advocates for farmers here are urging public policy-makers to push past the feel-good rhetoric and embrace a more comprehensive vision of what a 21st-century American city can be—one that fully taps urban farming’s potentials for environmental, social, and economic betterment. More
For Yto Barrada, Morocco’s defunct Cinéma Rif offered an opportunity to “bring a certain kind of magic back to the city” through an artistic intervention. The result—now nearly a decade old—is Cinémathèque de Tanger, an artist-run cinema, archive, and educational center in Tangier. It’s also, as she discusses with Bouchra Khalili, a vibrant community hub and repository of cultural memories. More
The multimedia exhibition Album: Cinematheque Tangier, a project by Yto Barrada is on view November 21, 2013–May 18, 2014.
“I don’t think slavery has been taboo at all,” Steve McQueen says, having just noted that his film 12 Years a Slave is one of less than two dozen to address this painful part of US history. “[Racism has] actually been very visible and obvious—the elephant in the room.” In a Q&A with Rob Nelson, McQueen discusses slavery, art, and how he sees Solomon Northup’s 1853 book as “the Anne Frank diary of America.” More
We’re surrounded by invisible forces, from neutrinos and radio waves passing through our bodies to gravitational and emotional forces pulling on us. In conversation with writer Sean Donovan, Luke Fischbeck and Sarah Rara of Los Angeles–based experimental art/music duo Lucky Dragons discuss the realms of the unseen and ways that science and mystery interact in their immersive art investigations. More
“Nineteen years after the beginning of multiracial democracy in South Africa, the Born Frees—the first generation of the so-called rainbow nation—have come of age.” Krisanne Johnson documented the images and voices of the first post-apartheid generation.
“The art world has merely been a kind of postgraduate film college for [Steve] McQueen,” Jonathan Jones argues, “and as such it is the best place a serious film-maker can experiment in the 21st century. But that is all video art is.”
Okwui Enwezor, director of the Haus der Kunst in Munich, has been named visual arts director of the 2015 Venice Biennale. He succeeds Massimiliano Gioni, who oversaw the 55th edition, which drew nearly a half million visitors.
Kenneth Goldsmith discovers a small but thriving subculture of people obsessed with documenting errors in Google Books—from digital glitches to hands of unseen laborers (or “Google hands”) accidentally captured by scanners.
Jeremy Walker wonders: why has no one in this arts-generous, cultured city stepped up to save The Artists’ Quarter, the vibrant home for jazz that’s closing at year’s end? More
For Scott Murphy paint serves as a mode of communion, his own distinct way of seeing and showing the surrounding world and its almost-but-not-quite knowable inhabitants. More
Claes Oldenburg discusses his sculpture Shoestring Potatoes Spilling from a Bag (1966), part of the Walker Art Center’s exhibition Claes Oldenburg: The Sixties. More
Geoff McFetridge’s art has graced nearly every kind of surface—from Nike sneakers to toast (for a music video by OK Go). Now it appears on the Walker’s construction fencing, through a commission as part of our Insights Design… More
Yto Barrada (b. 1971; lives and works in New York and Tangier) combines the strategies of documentary with a metaphoric approach to imagery in her photographic, film, and sculptural work. Her artistic… More
The choreographic duo HIJACK talks about ways that they channel visual art and culture, including music videos and newspapers, from their eye sockets to their hip sockets. More
In this ongoing web series, the 15 artists in the Walker-organized exhibition Painter Painter respond to an open-ended query about their practices.
An election-year series on personal politics and the way artists contribute to the conversation on making a better society.
about 4 hours ago
Claes Oldenburg’s most famous piece of writing, I Am For …, isn’t a manifesto. It’s a “slightly satirical ode or paean to the possibilities of using anything in one’s surroundings” to create art. More
In an interview from 1983, Claes Oldenburg discusses Upside Down City (1962), a soft sculpture that was part of the last Happening in the artist’s The Store. More
Before the Minneapolis Sculpture Garden existed, the land it sits on was a formal garden, a playing field and, once upon a time, a swamp. More