Walker Art Center

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All Printing Is Political

By Andrew Blauvelt December 9, 2016

The founding manifesto of the Detroit Printing Co-op (1969–1985) offered printing facilities and equipment as “social property” to “provide access to all those individuals in the community who desire to express themselves (on a non-profit basis), with charges made only to maintain the print shop.” Revisiting the co-op’s work today, Andrew Blauvelt notes how printing is, and always has been, political. More

The Loneliness of the Long-Distance Campaign

By Naeem Mohaiemen (Text) & Hans Haacke (Images) December 7, 2016

“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.

Breaking New Ground

December 6, 2016

When shovels hit soil last fall to begin a renovation that’ll unify all 19 acres of the Walker/Minneapolis Sculpture Garden campus, it was a groundbreaking in literal and figurative senses: the project is the physical manifestation of a reorientation toward our community that’s also happening behind the scenes. Our aim: to make the Walker even more open and responsive to artists and audiences alike. More

Just released, the Walker’s 2015/2016 Annual Report chronicles a year of change as we work toward completion of the renovated Walker campus.

Dread Scott on Trump, Dissent, and the Flag

By Dread Scott December 5, 2016

“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

Artist Dread Scott, a 2014 contributor to the Walker’s Artist Op-Ed series, shares his perspective on the president-elect’s tweet.

Bringing Backstage into the Spotlight

By Karen Sherman December 2, 2016

To bring any theater piece to life, a raft of unseen technicians works quietly backstage. In Karen Sherman’s new dance/performance work, stagehands—and their vulnerabilities and mortality—take center stage in an arresting meditation on labor, life, and loss. Here, she discusses Soft Goods, the tragedies that sparked it, and the challenges of crossing between roles as performer and technician. More

Karen Sherman’s Soft Goods, a Walker commission, makes its world premiere December 8–10, 2016.

The Future Should Come in Multiples

By Jacqueline Stahlmann November 30, 2016

How can design help us imagine alternative futures? And, more importantly, how can anyone contribute to such imaginings? Here Elliott Montgomery and Chris Woebken, cofounders of the Extrapolation Factory art and design team, discuss their practice, the way techniques used by think tanks, futurists, and designers can reshape the future, and what participants can expect at their upcoming Walker workshops.  More

Be part of Extrapolation Factory’s drop-in workshops during Walker Open House Weekend, December 1–4, 2016.

Shining X Greets Visitors to the New Walker Entry

By Pavel Pyś November 11, 2016

Oscillating between the two- and three-dimensional, between drawing and sculpture, artist Liz Larner’s works draw attention to the relationship between ourselves and the surrounding environment. Here, curator Pavel Pyś discusses one such work—a gleaming, stainless-steel X that greets visitors to the Walker’s new main entrance—with the Los Angeles–based sculptor.  More

The new Walker entrance and lobby opened to the public on November 11, 2016.

Storylines/Bloodlines: Robert & Dylan Redford

By Dylan Redford November 10, 2016

Stories are the connective tissue in Robert Redford’s family: the actor, director, and Sundance founder’s son James is a documentary filmmaker, and his grandson Dylan is an artist and the Walker’s Bentson Research Associate. In a cross-generational interview, Dylan and Robert discuss the power of narrative, celebrity, and the elder Redford’s announcement that he’ll soon be retiring from acting. More

The film retrospective Robert Redford: Independent/Visionary concludes November 12 with a Walker Dialogue between Redford and critic Amy Taubin.

Art News from Elsewhere More

Via artnews.com

Debtfair (External)

“Debt is the key to American art today,” perhaps especially in “a post-Trump reality.” Occupy Museums calls for artists in debt to submit their work as they plan for the next iteration of their ongoing Debtfair project, to be exhibited at the 2017 Whitney Biennial.

Via hyperallergic.com

Talking Race (External)

“We have allowed whiteness to hold onto universality without questioning how it’s constructed.” Claudia Rankine and Glenn Ligon share how artists of color find their work marginalized and labeled as political while the construct of whiteness remains unexamined.

Via theatlantic.com

Art’s Turbulent Moment (External)

In this post-election moment of possibility, Adam Pendleton insists that “arriving at one place or political situation or dynamic that isn’t desirable just means there’s somewhere else to go.” Here the artist gives insight into his new show, Midnight in America.


Via hyperallergic.com

Marrow (External)

“Gorgeous and intense,” the music video for Anohni’s “Marrow” features artist Lorraine O’Grady. A simple black background focuses attention on O’Grady as she mouths lyrics, “absorbing the music in the moment” and mediating between song and audience.

Via pitchfork.com

Grammys 2017 (External)

Among nominees for the 59th Grammy Awards is artist Eric Timothy Carlson, who’s up for Best Recording Package for designing the artwork for Bon Iver’s 22, a Million—a release that received a nod of its own, for best Alternative album.

Via artnet.com

Call for Relevance (External)

“It will not be enough to languish in mythological beliefs about art’s value as a humanistic salve, or to fly the flag for ‘political art.’ […] We have to debate strategy.” Critic Ben Davis unpacks the liberal art world’s failure to influence minds during the election.


Minnesota Art News

Via mnartists.org

The Golden Age of VHS

Filmmaker Kevin Obsatz ponders slow watching in a streaming age with an essay ranging through Marshall McLuhan, Kubrick, and an education in moving image by way of the neighborhood video store. More

Via mnartists.org

Anger in the Work of Love

Ben Weaver on the work of activism, love, and putting anger to good use for both as we contemplate the future of ourselves, the land, the wildlife, and the clean water necessary to sustain them all. More

Artspeaks

Commentary

Ericka Beckman’s You The Better

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

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

Walker Channel

Trailer

Question the Wall Itself

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

Trailer

Avant Garden 2016

We had a lot to celebrate this year! Avant Garden marked the grand opening of the Walker’s new main entrance and the exhibition Question the Wall Itself. The event also revealed site-specific commissions by artists Frank Big Bear and Philippe Parreno. Top that… More

Commentary

The Rise & Demise of Otto Piene’s Black Stacks Helium Sculpture (1976)

“Dear Otto,” wrote former Walker director Martin Friedman to Otto Piene 40 years ago this week. “It’s just possible that having your spectacular work shot down may have hastened its immortalization… More

Quoted

Ongoing Series

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.

Superscript Reader

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.

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.

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.

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

By Jack Whitten

Art in Times of Unspeakable Violence

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

Untitled (Blog)

The Sculpture is Never Finished

Named a MacArthur Foundation Fellow on September 22, 2016, sculptor Vincent Fecteau discussed his studio practice with the Walker’s Brooke Kellaway in 2012.  More

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