Walker Art Center

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Further Speculation on Arts Media’s Future(s)

By Paul Schmelzer May 27, 2015

Between technology’s continuous advance and an ever-narrowing digital divide, the future of online cultural publishing is hazier than ever. How will we be reading and writing about art 10 years from now? We posed this questions to array of critics, cultural producers, and journalists—from critic Brian Droitcour to podcast producer Tyler Green, museum technologist Koven Smith to curator Willa Köerner.  More

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Speculations on Digital Arts Media’s Future(s)

May 26, 2015

How we will be reading and writing on the arts ten years from now? We invited web-savvy journalists, critics, artists, curators, and media innovators—from national platforms like the Washington Post, Art in America, ArtSlant, and Culturebot to regional voices from Chicago Artist Writers, MinnesotaPlaylist.com, and Springboard for the Arts—to speculate on the future of cultural media online.  More

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Instagram Archi-tourism

By Alexandra Lange May 21, 2015

Archi-tourism is a web community waiting for its own digital address, writes Alexandra Lange. She longs for a dream site—“Archimaps, Designtrip, whatever”—to map her architectural explorations using smartphone photos. A sense of immediacy, essential to Instagram’s appeal, transforms old structures into new discoveries. The trick: how to keep that contagious energy as you make snaps into an archive. More

The third commission for Superscript Reader, this essay examines themes related to the May 28–30 conference, Superscript: Arts Journalism and Criticism in a Digital Age.

VA

Pervasive Pop

May 19, 2015

“What’s interesting about Pop as a term,” says International Pop co-curator Bartholomew Ryan, is that it’s “a linguistic virus that gloms itself onto any production by artists of the period that engages the popular.” Part two of the International Pop three-part documentary looks at the global pervasiveness of Pop tendencies in art during the 1960s.  More

International Pop is on view April 11–August 29, 2015.

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New Music, Expiring Aesthetics

By Marvin Lin May 14, 2015

In a time of digital hyperacceleration and an ever-shifting technocultural landscape, we encounter an influx of trends, microgenres, and fads. But how do we talk about music when so much of what we listen to now feels so transitory and historically inconsequential? Marvin Lin, editor-in-chief of Tiny Mix Tapes, explores our critical voice in the face of such expiring aesthetics. More

Commissioned for Superscript Reader, this essay examines themes related to the May 28–30 conference, Superscript: Arts Journalism and Criticism in a Digital Age.

VA

Toward a New Digital Landscape

By Kimberly Drew May 11, 2015

With dismal representation by women and people of color in tech and art fields, it’s time to imagine a new landscape of digital art, one that’s as diverse and equitable as possible, writes Black Contemporary Art founder Kimberly Drew. In hopes of sparking conversation about representation, erasure, and the future of digital art, she highlights—in their own words—18 artists shaping this new terrain. More

This commissioned feature launches Superscript Reader, an editorial supplement to the May 28–30 conference, Superscript: Arts Journalism and Criticism in a Digital Age.

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Christopher Nolan: A Cinematic History

By Tim Lammers May 8, 2015

“I love movies and love the history of movies,” director Christopher Nolan told film critic Tim Lammers. “With it—just as you have the history of the Batman comics to draw on with all their great writers and artists—you have this great history of experimentation and innovation of the past masters of moviemaking.” Here Lammers shares the best of Nolan from nine films, eight years, and four interviews.  More

Christopher Nolan’s nine-film retrospective runs May 7–24, 2015.

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Homage to the 21st Century

By Bartholomew Ryan April 30, 2015

After a 1964 coup in Brazil, intense censorship scattered artists across the globe or forced them to adopt less public forms of art-making. One, Antônio Henrique Amaral, is best known for large paintings of bananas, a critique that the military dictatorship was turning Brazil into a banana republic. “They can’t censor bananas,” said Amaral, who passed away April 24 at age 79, in this final interview. More

Antônio Henrique Amaral’s Homenagem séc. XX/XXI (20th/21st-Century Tribute)(1967) is featured in International Pop on view April 11, 2015–August 29, 2015.

Art News from Elsewhere More

NM

Via e-flux.com

Digital Art’s Economy (External)

“The significance of digital art’s immateriality is not in its denial of a salable object.” How should the market circulation of such work be regulated to ensure equitable pay? Art Agenda asks WAGE to set up compensation standards for digital art commissions.

VA

Via artnews.com

The Gender Issue (External)

“I’ve always sensed that women artists have to prove themselves exceptional in order to get their foot in the door, to be considered for something, whereas many, many mediocre men artists easily get by”: Cindy Sherman on the pervasiveness of sexism in the art world.

VA

Via artpractical.com

Freedom of Speech (External)

Even if the art world purports to be a free-speech zone, “we still have to work constantly toward its achievement,” argues Dushko Petrovich, who edited Art Practical‘s new issue exploring “the full spectrum of speech acts” in the art world.


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Via thetalkhouse.com

Evans on Herndon (External)

YACHT’s Claire Evans on Holly Herdon’s latest: “Platform is keenly aware of how watching and being watched have become the primary forms of identity construction in our age, and for that it might well serve as an accurate representative of 21st-century life.”

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Via pbs.org

Commodifying Experience (External)

“When you call it artwork, it gives it sort of the reverence that it deserves. When you call it a product, it has a certain honesty that I really like”: Emmet Byrne on the Walker’s line of intangible products by artists including Alec Soth and BodyCartography.

PA

Via temporaryartreview.com

Art & Race (External)

“I’m not exactly seeing changes in how the art world is addressing race,” says Tameka Norris (a.k.a Meka Jean). In a new interview, she discusses her recent move to Berlin, sparked by “constantly feeling like a monument if you will, constantly representing something.”


Minnesota Art News

Via mnartists.org

Graham Revisited

Camille LeFevre on the raw violence and emotional candor of Martha Graham’s dance, on view in the repertory and new works presented by the Martha Graham Dance Company recently in Minneapolis.  More

Wunderkammer Redux (Or, An Unnatural History)

Kate Casanova’s work across media sets out to make our habits of perceiving the boundaries between human-made environments and the so-called “natural world” a whole lot messier.  More

Artspeaks
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Commentary

Lynda Benglis Discusses Adhesive Products

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

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Commentary

Chuck Close Discusses Big Self-Portrait (1967–1968)

“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

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Commentary

Valerie Cassel Oliver Discusses Radical Presence

Exhibition curator Valerie Cassel Oliver of the Contemporary Arts Museum Houston discusses the development of Radical Presence: Black Performance in Contemporary ArtMore

Walker Channel
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Commentary

International Pop: Pervasive Pop

“What’s interesting about Pop as a term,” says International Pop co-curator Bartholomew Ryan, is that it’s “a linguistic virus that gloms itself onto any production by artists of the period that engages the popular real.” Part two of… More

VA

Commentary

International Pop: Becoming Pop

In the early 1960s, as artists around the world responded to an onslaught of advertising and pop-culture imagery, they earned labels from critics and the public alike, from the “new vulgarians” to “commonists,” and their work was… More

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Dialogue / Interview

Tokyo Pop

Art historian Hiroko Ikegami leads a conversation with artists Ushio Shinohara and Keiichi Tanaami about their encounters with US Pop in Tokyo in the 1960s and their somewhat subversive, even sardonic response to it. They ask if we can speak of a “Tokyo Pop” and… More

Quoted

Ongoing Series

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

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Andrew Blauvelt

A Timeline of Design History

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

Centerpoints

Ghost Building: Walker Galleries 1927

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

Centerpoints

Shall We Take It? The Walker’s Founding Question

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