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With the ever-shifting demographics and economic realities of rural America, the dividing lines between country and city spheres are increasingly fluid. Art of the Rural founder Matthew Fluharty makes a case for rejecting calcified notions of “rural art” and redrawing the geography of the cultural center and periphery accordingly. More
Often seen as cold and distant, Pop art’s intimate strains were in evidence globally, from Marta Minujín and Rubén Santantonín’s installation that invited audiences into a couple’s bedroom to Niki de Saint Phalle, who says her art showed “everything: my heart, my pain, love, laughter, tenderness.” Our three-part International Pop documentary concludes with a look at Pop as a deeply personal pursuit. More
International Pop is on view April 11–August 29, 2015.
“Here is the most macabre sense of humor at work,” wrote Jonas Mekas in 1964, introducing young filmmakers George and Mike Kuchar to Village Voice readers. “Here is the Pop Cinema at its best pop… Here are banality and corniness transposed into their grotesque opposites.” Critic and International Pop Cinema curator Ed Halter looks at the Pop sensibilities in George Kuchar’s Hold Me While I’m Naked (1966). More
A rubber raft filled with passive world leaders, their arms locked in unity. This image—an uncredited mashup circulated online—combines a photo-op of western politicos at the Paris Charlie Hebdo march with a more recent tragedy: the deaths of hundreds of migrants in the Mediterranean. It’s an apt metaphor, writes Natascha Sadr Haghinian, for an EU refugee policy that’s hopelessly adrift. More
This essay is the fifth in our ongoing series of Artist Op-Eds.
From #BlackLivesMatter to the #UmbrellaMovement, the Web helps artist-activists inform, inspire, and organize around key issues. But art can play a special role within social-change movements as well: It can help transform the Internet into a space for affirmation, self-worth, and emotional healing. More
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
“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
In “It’s Not Climate Change—It’s Everything Change,” Margaret Atwood looks at what art can tell us about the climate crisis: “The kind of art a society makes and values is joined at the hip with the kind of energy that society depends on to keep itself going.”
“Women are allowed to do drawings and paintings but still that idea of physical engagement is a bit far off.” Arlene Shechet, whose first museum survey is now on view at ICA Boston, discusses women in sculpture and her 20-year career.
Ingrid Sischy—dubbed “A Girl of the Zeitgeist” by the New Yorker in 1986—has died at age 63. Named Artforum editor in 1979 at age 27, she edited Interview from 1990 to 2008 and wrote for the New Yorker and Vanity Fair, among others.
In a wide-ranging interview on the critique embedded in his art, Hans Haacke discusses Gift Horse, his sculpture for London’s Fourth Plinth, his work with Gulf Labor, and his inclusion in the Whitney exhibition, America Is Hard to See.
Rirkrit Tiravanija has incorporated cooking into his art since the early 1990s, and now he’s opened his first commercial endeavor—a part-time cafe serving locally sourced fare (and one free menu item) in Hancock, New York, a three-hour drive from Manhattan.
Negativland’s “tape-razor madman,” Don Joyce, has died at age 71. Credited for coining the term “culture jamming,” he introduced the band to the pre-sampling practice of hand-cut audio editing, and lent his vocals to its socio-politically charged compositions.
Intermedia Arts has spent the last year aiming to turn talking points about diversity and community engagement into action. It’s progress, artists say, but we’re not there yet. 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
The global, multidisciplinary spectrum of artists we have invited in 2015–2016 demonstrate the force of the individual imagination and the power of collective art-making. These 27 events offer a window on a vast and ecstatically… More
Often seen as cold, distant, and mass-produced, Pop art’s intimate strains were in evidence around the world, from Marta Minujín and Rubén Santantonín’s installation in Buenos Aires that invited audiences to witness a man and a… 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
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