Walker Art Center

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Construction Update: We’re open! Enter the Walker through the underground parking garage or Hennepin Avenue doors.

Mark Manders: Self-Portrait as a Building

By Misa Jeffereis June 15, 2016

Checking in on the progress of Mark Manders’s commission for the renovated Minneapolis Sculpture Garden—one of 16 new works to be unveiled in 2017 and the artist’s first major public artwork in the US—Misa Jeffereis visits the artist’s studio in Ronse, Belgium. There, she witnesses the process behind Manders’s uncanny bronzes and experiences first-hand the artist’s “self-portrait as a building.” More

For more on the Minneapolis Sculpture Garden’s renovation, visit walkerart.org/campus.

Chance the Rapper Colors Outside the Lines

By Toki Wright June 14, 2016

“Young artists of color are literally dying because they don’t feel like they have any other way into the music industry except through displays of violence,” writes Toki Wright. But Chicago’s Chance the Rapper presents an alternative: “Much of Chance’s Coloring Book mixtape sounds like a prayer for the youth of his city and proof that you can make it out of hard times when you express your best self.” More

Chance the Rapper performs at Rock the Garden 2016, an eight-band, two-stage concert held June 18 at Minneapolis’s Boom Island.

Chris Larson, Hüsker Dü, and Land Speed Record

By Siri Engberg June 8, 2016

On August 15, 1981, Hüsker Dü ran through a blistering set at downtown Minneapolis’s 7th St. Entry, recording 17 songs in 26 minutes to create the punk trio’s debut album Land Speed Record. Thirty-five years later, artist Chris Larson channels that energy in an immersive installation that reflects on memory, loss, and the fire-damaged remains of Hüsker Dü drummer Grant Hart’s childhood home. More

Chris Larson: Land Speed Record is on view June 9, 2016–January 8, 2017.

A Lexicon for Ordinary Pictures in the Internet Age

By Eva Respini May 31, 2016

Digital technology enables us to create, duplicate, alter, disseminate, and appropriate images like never before. In this “somewhat arbitrary, and decidedly personal, lexicon of how we might navigate the unruly landscape of ordinary pictures in the age of the Internet,” Eva Respini introduces concepts and artists—from “JPEG” to “Post-Internet”—that help define our changing relationship to images. More

Ordinary Pictures is on view February 27–October 9, 2016.

Petrified Unrest: Paul Chan on Sade for Sade’s Sake

By Fionn Meade May 25, 2016

In Paul Chan’s installation Sade for Sade’s sake, jittering figures, silhouetted on a wall of pallets and toy guns, perform violent and sexual acts. Created in the wake of revelations of abuse at Abu Ghraib and Guantanamo, it speaks to a state of paralyzed anxiety Chan calls “petrified unrest.” Here he discusses the work’s relationship to religion, philosophy, and today’s Trumpian rhetoric. More

Paul Chan’s Sade for Sade’s sake (2009) is on view in Less Than One through December 31, 2016.

7 Genders, 7 Typographies

By Riley Hooker May 19, 2016

Positioning “gender hackers” as radical innovators in the ongoing design of the human, Façadomy editor Riley Hooker invited boundary-pushing graphic designers to reflect on gender through typographic metaphor. Here Hooker, Lobregat Balaguer, Ely Kim, Nontsikelelo Mutiti, Mylinh Trieu Nguyen, Ksenya Samaskaya, and Andrew Sloat respond to the seven genders defined by sexologist Esben Esther P. Benestad. More

Meredith Monk: Getting Down to the Bones

By Deborah Jowitt May 18, 2016

What thread runs through Meredith Monk’s works in film, music-theater, and dance over the past half century? “A sense of multidimensionality,” she tells Deborah Jowitt. “And an attempt to get down to the bones of the form.” Revisited in commemoration of her 50th anniversary as an artist, this 1998 conversation goes deep into the inspirations, processes, and experimentation that have defined Monk’s iconic career. More

Meredith Monk’s 16 Millimeter Earrings (1966/1998) is on view through December 31 in the exhibition Less Than One.

Remembering Martin Friedman (1925–2016)

By Joan Rothfuss May 9, 2016

Martin Friedman, Walker Art Center director from 1961 to 1990, has passed away at age 90. In commemoration of his pivotal role in shaping the Walker’s values, vision, and future, curator Joan Rothfuss shares her perspective on Friedman’s life and legacy—from his keen curation to his transformation of the Walker into a “laboratory for artists” to the vision that brought us the Minneapolis Sculpture Garden. More

Art News from Elsewhere More

Via latimes.com

(Social) Media Arts (External)

Arbitrary censorship of nudity is but one drawback of social media for artists. Carolina Miranda looks at self-censorship, Instagrammable art, and the way criticism works in a culture of “likes”—as well as how social media can spark real dialogue about art.

Via frieze.com

Stay or Go? (External)

In advance of the June 23 “Brexit” vote—on whether the UK should leave the EU—Jennifer Higgie asks a range of figures in the arts to weigh in, from Cornelia Parker and Damien Hirst to Alice Rawsthorn and Hans Ulrich Obrist. The consensus: stay.

Via thenewinquiry.com

Ali in Dhaka  (External)

Artist Naeem Mohaiemen considers Muhammad Ali’s 1978 trip to Bangladesh as part of the boxer’s embrace of a “Muslim International,” as well as a balm for both an unsteady new nation and for himself, having just been humiliatingly beaten by Leon Spinks.


Via deadline.com

Human Flow (External)

Ai Weiwei is shooting a feature documentary on the global refugee crisis, and he’s signed on with Hollywood agency UTA to help with financing and distribution. Shot in France, Germany, Greece, Israel, Jordan, and elsewhere, it’ll be titled The Human Flow.

Via artnews.com

Zoom Pavilion (External)

Offering the rare political work at Art Basel, Rafael Lozano-Hemmer and Krzysztof Wodiczko turn the gallery experience into surveillance, tracking visitors and presenting their real-time images—complete with red box around their faces—enlarged on the walls.

Via printmag.com

Power in Print (External)

From the iconography of the fist and the gun to bold type choices, Josh MacPhee chronicles the black power movement through book-cover designs—from various versions of Stokely Carmichael and Charles V. Hamilton’s Black Power to Julius Lester’s Look Out, Whitey!


Minnesota Art News

Via mnartists.org

Let’s Talk About the “Universal” (White, Male) Artist

Andrea Carlson unpacks the tangled, Eurocentric assumptions inherent in art historical notions of Abstract Expressionism as a bastion for universal, “pure” artistic expression.  More

Via mnartists.org

Reconciling a Hyphenated Identity

In a conversation that ranges from take-out to geopolitical trade, feminism, and the identity-blurring experience of immigration, Susannah Schouweiler profiles ceramic artist and sculptor Katayoun Amjadi. More

Artspeaks

Commentary

Amanda Ross-Ho on OMEGA and Her Creative Origins

For her contribution to Ordinary Pictures, Amanda Ross-Ho worked with movie industry prop fabricators to create a large-scale, hand-made replica of the photo enlarger she remembers her parents, both artists, using when she was a… More

Commentary

Andrea Büttner’s Piano Destructions

“There are many ways to destroy a piano,” says Andrea Büttner of Piano Destructions (2014), a video installation that presents interventions by (largely male) artists alongside footage of women pianists performing Chopin, Schumann, and… More

Commentary

On Curation, Care, and Andrea Büttner’s Moss Garden

“Caretaking is where the word ‘curating’ comes from. Curare means to take care—to care for something outside one’s self.” German artist Andrea Büttner, Walker Artistic Director Fionn Meade, and Walker… More

Walker Channel

Trailer

Chris Larson: Land Speed Record

Titled after a live album by punk band Hüsker Dü, who rose to cult status in the 1980s, Chris Larson’s exhibition Land Speed Record explores a group of objects that occupied his studio (a repurposed industrial warehouse space) for… More

Miscellaneous

Sol LeWitt Time-lapse

Watch the installation of Sol LeWitt’s Arcs from four corners, with alternating bands of white and brown stone. The floor is bordered and divided horizontally and vertically by a black stone band. (1988/2016) More

Trailer

Lee Kit: Hold your breath, dance slowly

The first US solo museum exhibition of artist Lee Kit (b. 1978) features work from the past five years, including an ambitious 13-channel video installation acquired by the Walker—I can’t help falling in love (2012)—alongside a… More

Quoted

Ongoing Series

Superscript Reader

Five 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.

Superscript Reader

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.

Artist Op-Eds

A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists Ron Athey, Ana Tijoux, Dread Scott, and others.

Art (re)Collecting

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.

Lowercase P

An election-year series on personal politics and the way artists contribute to the conversation on making a better society.

From the Archives

Growing the Garden

As we break ground on an expansion to the Minneapolis Sculpture Garden, we revisit a 1988 Design Quarterly account of the birth of this iconic art park by former director Martin Friedman, who passed away May 9, 2016.  More

By Liz Glass

The Moment of Enlightenment Is a Sound

In commemoration of the life and legacy of filmmaker, visual artist, musician, and inventor Tony Conrad, who passed away in April 2016, a look at the artist’s quest for a “new musical culture.” More

Charlotte Cotton

Pop and the Traveling Image

With the Walker’s International Pop now on view at the Philadelphia Museum of Art we revisit this discussion on the role of the traveling mass-produced image during the 20th century. More