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From #BlackLivesMatter to Hong Kong’s #UmbrellaMovement, the Internet helps activists inform, inspire, and organize around important issues, writes An Xiao Mina. But art and creative expression can play a special role within social-change movements as well: “They can help transform the Internet into a space for affirmation, self-worth, and emotional healing as well.” More
When looking for cover art for their album Wildewoman (2014), Lucius founders Holly Laessig and Jess Wolfe felt Evelyne Axell’s Ice Cream (1964) expressed everything they wanted: “playfulness, joy, feminine strength—and some humor.” Before playing Rock the Garden, the band viewed the work in International Pop and then sat down to discuss symmetry, soul, and the role of visual art on their music. More
International Pop is on view through August 29, 2015.
Walker on the Green: Artist-Designed Mini Golf is back for another summer. This year’s course, open now through September 7, features 14 favorite designs from the past—including Be A Sculpture, Move Your Hole!, and The Uncertainty Principle—along with four new holes inspired by International Pop, the Walker’s current survey of global Pop art from the 1950s through the early 1970s. More
Leaving her Havana home on May 24 after a 100-hour public reading of The Origins of Totalitarianism, Tania Bruguera was intercepted by police—again. After releasing a white dove and throwing Hannah Arendt’s book into the sky, she was driven off in what Cuban curator Gerardo Mosquera calls “a unique case in art history: a street performance that was completed in response to its very repression.” More
The Walker’s Intangibles line of products range from the involved (BodyCartography’s “performance interventions,” in which artist and buyer agree to meet in public to perform a dance) to the simplified (K-HOLE’s champagne cocktail, with an uncirculated penny inside), but all speak to a reclamation of tangible experience, a compensation for the physicality we’ve been forfeiting to the data stream. More
“It’s hard to think of any musician whose sonic convictions have been so personally liberating for themselves and so determined to liberate others,” writes Greg Tate of Ornette Coleman, who passed away June 11. “His music did all the things jazz was supposed to do, but in ways that made everybody else, from Coltrane to Cage, sound like they were too fixed, ordered, calibrated and two-dimensional.” More
When a white, male critic wrote that African-American artist Alma Thomas’s art echoes “the special middle-ground pleasures of domestic life,” ARTS.BLACK’s founders had a question: How might this assessment look if written by a Black art critic? Reflecting on their site’s mission, Taylor Aldridge and Jessica Lynne discuss the power of the digital in countering dominant critical narratives. More
This essay is the fifth in an ongoing series of reflections for Superscript Reader on digital arts publishing’s present and its possible futures.
In 1969, Barry Le Va created an installation in the soon-to-be-demolished Walker Art Center using shattered glass, iron oxide powder, and congealing mineral oil. One of the earliest interventions in a condemned architectural site, it offers a key to appreciating one of the most deeply beautiful aspects of Le Va’s art: its invocation of a keen ambivalence about what can be known by an observer. More
Barry La Va’s On Center, On Edge Shatter Scatter (1968) is on view through July 26, 2015, in 75 Gifts for 75 Years.
Aiming for a “transparency and porosity” that invites in “the lively street life of 125th Street,” David Adjaye’s design for a new Studio Museum will create a 70,000-square foot home for the Harlem mainstay. The new facility is scheduled to open in 2019.
As the EU’s referendum on Greece was underway this weekend, artist Oliver Bienkowski projected the message “Außer Betrieb” (“out of order”) on the European Central Bank headquarters in Frankfurt. “We want to leave it open to interpretation,” he said of the act’s meaning.
For Julia Weist, a Queens billboard is a place to map the terrain of the Internet. She used it to print “parbunkells”—a word not previously appearing on the web—and let the Internet do its thing: t-shirts, Instagram and Twitter accounts, and mashups ensued.
TV is riding high, says Dustin Hoffman, and film “is the worst it’s ever been—in the 50 years that I’ve been doing it.” He blames low budgets and digital production: now films are shot in 20 days, instead of the 100 days it took to make The Graduate.
“I photographed people who were held back,” says 90-year-old Robert Frank, whose series “The Americans” remains one of the most influential bodies of photography. “My sympathies were with people who struggled. There was also my mistrust of people who made the rules.”
“It seems like every day, places that once represented communities are being replaced by global chains with no stake in local history or culture,” says Molly Woodward, whose Vernacular Typography site has catalogue imagery of some 10,000 artisan-made signs.
Sarah Stonich and Mickey Smith team up for a photo-essay on the new iteration of “headland Sculpture on the Gulf,” a contemporary public sculpture biennial in New Zealand. More
After beginning her career as a painter, Lynda Benglis began seeking a “more sensuous kind of surface.” Her nine-piece work Adhesive Products (1971)—commissioned for the Walker Art Center’s Edward Larabee Barnes–designed building—is… More
“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
Exhibition curator Valerie Cassel Oliver of the Contemporary Arts Museum Houston discusses the development of Radical Presence: Black Performance in Contemporary Art. More
Learn about the history of the Ruben/Bentson Moving Image Collection since its formation in 1973. Now comprised of more than 1,000 titles, the collection has expanded and diversified over the years, serving as a basis for an… More
The history of the Walker’s Moving Image department is examined since its formation in 1973. Interviews conducted by moving image curator Sheryl Mousley include former curators John Hanhardt, Melinda Ward, Richard Peterson, and… More
Six artists have each been commissioned to create a new work that will premiere online. These works respond to the inspirations, inquiry, and influence of three key artists in the Walker’s Ruben/Bentson Moving Image Collection: Derek Jarman, Bruce Conner, and Marcel Broodthaers.
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.
A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists Ron Athey, Ana Tijoux, Dread Scott, and others.
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.
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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… More
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
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