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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
“Black work is inherently radical or political, just by the sheer fact that a Black person is making it. Your choice not to make work about being Black is just as important as making work about being Black.” Lara Mimosa Montes sits down with members of the Minneapolis College of Art and Design’s Black Artist Student Union to discuss their experiences navigating the Twin Cities scene as artists of color. 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
Why does the term “native” lose meaning south of the border? And why are some white people calling themselves “nativists”? The indigenous art collective Postcommodity (Raven Chacon, Cristóbal Martínez, and Kade L. Twist) melds poetry and prose in a powerful reflection on native self-determination, ethnic and national identity, and the year 2043—when whites are expected to become a minority in the US. More
Vito Acconci, an influential performance artist who later delved into experimental architecture, has died at age 77. He is best known for “unsettling” work of the 1970s, including Trademarks (1970), in which he turned bite marks on his nude body into an ink stamp.
“Whiteness in our society is the space that produces the conditions and terms against which all other lives are measured and enabled or disabled. Dance doesn’t escape those power dynamics.” Will Rawls discusses his new collaboration with Claudia Rankine.
Noting that indigenous issues are under-represented in public art, Edgar Heap of Birds says his Genocide and Democracy prints “look like they’re coming out of some bloody, violent event—blood is pooling on them, and there’s a violence implied by the words.”
Inspired by Hulu’s series The Handmaid’s Tale, an adaptation of Margaret Atwood’s 1985 dystopian tale of a totalitarian theocracy, a new High Line installation by artists Paula Scher and Abbot Miller is distributing 4,000 free copies of the novel.
Jonathan Demme, the award-winning director of Silence of the Lambs and Philadelphia, has died at age 73. From music films to monologues to adaptations of fiction, his works include Stop Making Sense, Swimming to Cambodia, Beloved, and The Manchurian Candidate.
“Rap has long had a messianic streak running through its veins,” writes Burnt Sugar’s Greg Tate. “Who can the more-woke-than-napping masses call on but a rap-Jesus like Kendrick Lamar when the truth they see marching upon them is that cast with four horsemen?”
With two Warhol print as a jumping-off point, the Rochester Art Center’s current show features Minnesota artists—including Frank Gaard, Rory Wakemup, and Ziyang Wu—putting a fresh, distinctively regional spin on 20th-century Pop ideas. 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
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
Choreographer Merce Cunningham took chances. Over a seven decade career, his explorations reshaped dance into a new kind of art form, deeply influencing visual art, film, and music along the way. Through experimental collaborations… 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