- 11 am – 8 pm
- 11 am – 6 pm
- Tue, Wed
- 11 am – 5 pm
- 11 am – 8 pm
Come in from the cold and see some art: Free gallery admission January 10–February 7.
Our country and world are clearly in the midst of seismic changes—politically, environmentally, socially. How do we prepare for the uncertain future we’re facing? We posed this question to an array of artists, writers, and curators—including Thomas Hirschhorn, Kimberly Drew, Lucy Lippard, and Hank Willis Thomas—seeking their help in building a reading list that could prove instructive in the coming years. More
“If these works are challenging, discomforting, or destabilizing, it is because I am discomforted and destabilized. We all should be. Comfort gets us nowhere anymore, and by the way, there is just as much comfort to be found in outrage as there is in pleasure.” Hanna Piper Burns introduces her Mediatheque playlist, a timely selection by Antoni Muntadas, Tony Oursler, Leslie Thornton, and others. More
The Bentson Mediatheque, the Walker’s self-select cinema, can be experienced during regular museum hours; Hannah Piper Burns’s playlist is featured through February 2017.
A boundless innovator, choreographer Merce Cunningham has had an unparalleled impact on the fields of dance, art, and music. In advance of the February 8 opening of Merce Cunningham: Common Time we revisit this 1981 segment produced by Twin Cities Public Television, in which the famed choreographer discusses his methodology and how a vocabulary of movement fuels his way of thinking. More
Merce Cunnigham: Common Time is on view Feb. 8–July 30, 2017.
In Question the Wall Itself, the viewer passes through a series of interiors in which the active construction of identity holds uneasy sway over the place of exhibition making itself, with the viewer implicated in an unfolding drama, whether as protagonist or mere passerby. Here, the show’s curator reflects on key installations by Nina Beier, Marcel Broodthaers, Tom Burr, Walid Raad, and others. More
Question the Wall Itself is on view November 20, 2016 through May 21, 2017.
“One of the more impressive new buildings in Minneapolis,” according to architecture professor and critic Thomas Fisher, the Walker’s Vineland entrance and lobby has been welcoming the art-curious since November. Visit virtually by scrolling through photographs and tour a space made for conversation and connection, where the museum is not separate from the community but rather a home for and agent of it. More
The personal and the public collide in Frank Big Bear’s The Walker Collage, Multiverse #10, a large-scale work that mashes up a staggering array of images, from the Vietnam War to members of the artist’s family, hairless cats to fashion nudes. To give a glimpse at the intersecting worlds that comprise the piece, Big Bear offers a rare look at Facebook posts made as he developed this intricate new work. More
Frank Big Bear’s The Walker Collage, Multiverse #10 is on view for one year in the Target Project Space, adjacent Esker Grove restaurant.
“Flood a gallery, embalm an animal, smash an object—critics hail these gestures as having the power to ‘shape worlds.’ But when artists sit down with museum administrators and read a list of demands for labor rights, this work suddenly becomes illegible to the same museum.” Naeem Mohaiemen reflects on the Gulf Labor Coalition’s fight for fair conditions for workers constructing western museums in Abu Dhabi. More
In the eighth installment of the Artist Op-Eds series, Naeem Mohaieman and Hans Haacke look at the Gulf Labor Coalition’s activism around western museums’ plans in the Middle East.
“Nobody should be allowed to burn the American flag,” Donald Trump tweeted on November 29. “If they do, there must be consequences—perhaps loss of citizenship or year in jail!” The statement shocked many, including artist Dread Scott, who in 1989 created What is the Proper Way to Display a US Flag?, an artwork that enraged legislators and sparked laws banning flag desecration. More
President-elect Trump reportedly aims to change government support for culture: “The Corporation for Public Broadcasting would be privatized, while the National Endowment for the Arts and National Endowment for the Humanities would be eliminated entirely.”
On the road to “tell nuanced black stories,” Minnesota actor Sha Cage and writer-director E.G. Bailey will show their short film New Neighbors—inspired by the experience of Fay Wells—at Sundance, following their screening at the Walker in Fall 2016.
What do a Buddhist sutra, a Beckett play, a Baroque violin sonata, and Kubrick’s Dr. Strangelove have in common? They all found a place in documentary director Joshua Oppenheimer’s multimedia playlist—a curation of books, film, and music that makes him think.
“I had gotten to walk with him to the end of the world. Life—so beautiful, painful and dazzling—does not get better than that.” After her husband, Lou Reed’s death, artist Laurie Anderson weighs in on topics from loss, love, bliss, and Buddhism to the US election.
Tania Bruguera was stopped by police in Havana while trying to deliver aid to Cubans in the wake of Hurricane Matthew. Her detention is indicative of “authorities’ crackdown on artists and activists… She was told that she will never again be an artist in Cuba.”
“Indigenous visual cultures have existed for thousands of years, so why are they still relegated to ‘special topics’ classes instead of serving as foundational principles to standard design curricula?” To change this: embrace diversity and reject Eurocentrism.
Filmmaker Kevin Obsatz on the ritual and ethos of practice in game-play, games as media of communication, and some related reflections for those who make art, at a time when the language of audience engagement is central to cultural conversation. More
Christina Schmid on the “dancing together naked in public” that artists and critics do, as seen through the lens of an exhibition of work curated by Public Functionary’s Tricia Heuring and a recent Star Tribune review of the show. 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
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
Save the date for Saturday June 3, 2017 for the opening of the renovated Minneapolis Sculpture Garden and the newly expanded Walker Art Center campus. Join us and see over 18 new artworks, a reimagined 19-acre campus, and a landmark that will be enjoyed for… More
Question the Wall Itself examines ways that interior spaces and décor can be fundamental to the understanding of cultural identity. The multimedia exhibition showcases work by 23 international, multigenerational artists who explore the political and social… 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 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