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“The web is where the exceptional force the hands of the famed and established to recognize they’ve been pushing things forward, without their blessing or awareness,” writes Andrew Flanagan of thestand4rd, the St. Paul independent hip hop/R&B quartet that has thrust itself into the limelight—even attracting the attention of Kanye West—in the 11 months since uploading its first single on SoundCloud. More
thestand4rd opens Rock the Garden 2015, our two-day music festival, on Saturday, June 20.
“An early Pop artist was originally a Pop culture viewer,” says art historian Tomáš Pospiszyl. “Being a producer and a consumer was never so close.” Moderated by independent curator Charlotte Cotton, this discussion brings together key voices from Eastern Europe, Japan, and the UK to discuss the role of the traveling mass-produced image during the 20th century—and tell the story of international Pop. More
International Pop in on view April 11–August 29, 2015.
In 1966, two men stood outside of the Walker with guns. Raising them, they blasted pellets into a a painting by Niki de Saint Phalle. The work belonged to Saint Phalle’s series of “Shooting Paintings,” which consisted of plaster-coated bags of paint that, when shot, would burst to life, while dying at the same time—emphasizing the materiality of paint and the beauty of the “laws of chance.” More
In celebration of our 75th anniversary, we announce a new plan to unify the Walker and Minneapolis Sculpture Garden into a more welcoming and environmentally sustainable campus for the next generation. Key features of the 19-acre campus include a new entry pavilion for the Walker, reconstruction of the 26-year-old garden, the greening of Hennepin Avenue, the addition of hundreds of new trees, and more. More
As identity politics made their way into galleries and museums in the ’80s and ’90s, social conservatives took note, lashing out at artists like Robert Mapplethorpe, Karen Finley, and Ron Athey for work that addressed sexuality, multiculturalism, and LGBT rights. Featuring many of these artists, the Walker found itself at the center of the conversation—and the controversies—that marked the Culture Wars. More
The Culture Wars time capsule is on view in Art at the Center: 75 Years of Walker Collections through May 10, 2015.
Some objects are too vast or ever-changing, too immovable or ephemeral to be collected or contained within a museum—from buildings and parks to digital apps and intangible ideas. These “uncollectibles” remain a source of interest for design curators like Andrew Blauvelt, who discusses these objects’ link to Minnesota By Design, a virtual collection that maps the state’s rich design landscape. More
Minnesota By Design is a virtual collection of more than 100 designs made around the state.
Ever since a suicide attempt at age 15, death has been a constant companion for Ron Athey—even more so since 1985, the year he tested positive for HIV. Until it wasn’t. Healthy on the 30th anniversary of his diagnosis, the 53-year-old performance artist reflects on the “post-AIDS” body, the 1994 performance that put him at the center of the Culture Wars firestorm, and his homecoming after six years abroad. More
Ron Athey, who spoke at the Walker on March 26, 2015, contributes the fourth installment in our Artist Op-Eds series. Like others in this ongoing series, his essay is also available as a print-on-demand pamphlet.
“I said I’d never, ever do a reunion,” guitarist and singer Kat Bjelland told Rolling Stone recently. And yet this June, after a 14-year hiatus, her seminal punk band Babes in Toyland is returning to the city of its inception to play Rock the Garden 2015. Paul M. Davis looks at the obstacles the band overcame to get here and the “visceral live therapy”—in Bjelland’s words—the reunion represents. More
Babes in Toyland plays Rock the Garden on Sunday, June 21, 2015. View the full schedule for this two-day festival.
To be unveiled May 2 at Rhizome’s Seven on Seven conference, a new artwork by Ai Weiwei and Wikileaks collaborator Jacob Appelbaum “combines Appelbaum’s fervent desire to spread information with Ai’s desire to find the hidden, deeper meaning in ordinary objects.”
In an attempt to bring international attention to the human rights crisis in Mexico, hundreds of artists from around the world are creating a virtual quilt of remembrance for the 43 students from a college in Guerrero who went missing last year.
As he prepares to open a new building on NYC’s High Line, Whitney director Adam Weinberg recalls his art beginnings—at the Walker from 1981 to 1988—and how these early experiences shaped what he’s doing today.
New media art is not about illustrating the effects of the latest gadget, but about “questioning cultural change” and “creating dissonance with the process of innovation,” stresses Surround Audience co-curator Lauren Cornell in a new interview.
Is arts writing seeing a generational shift akin to the Post-Internet generation in art? Or do we need a new generation of writers to face new topics and aesthetics? Andreas Schlaegel surveys 21 critics, including Carson Chan, Jörg Heiser, and Ana Finel Honigman.
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
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
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
Argentine Pop and Its Dematerialization Panelists: Delia Cancela (artist, Buenos Aires), Eduardo Costa (artist, Buenos Aires), and María José Herrera (director, Museum of Art, Tigre, Argentina) Moderator: Bartholomew Ryan (co-curator, … More
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.
about 19 hours ago
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