Walker Art Center

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Cultivating the Garden for Art

By Olga Viso May 25, 2017

The Minneapolis Sculpture Garden reopens June 3 after a reconstruction that will make this beloved destination more sustainable and environmentally friendly for generations to come. In tandem, the Walker will unveil its upper garden, which adds five more acres of green space. Here, director Olga Viso discusses the curatorial and civic thinking behind this collaboratively designed 19-acre expanse. More

The Minneapolis Sculpture Garden reopens June 3, 2017.

Avoiding the Cosmic Side-Eye from Prince

By Chris Cloud May 17, 2017

“What would Prince think of what I’m doing/thinking/feeling right now?” For TV on the Radio’s Tunde Adebimpe, the question is a good barometer for a life well lived. In Minneapolis to premiere his music/animation examination of grief, mortality, and the afterlife, A Warm Weather Ghost, he discusses his music and art practices, as well as his efforts to evade the “cosmic side-eye” from the late, great Prince. More

Tunde Adebimpe’s A Warm Weather Ghost makes its world premieres May 18–20, 2017.

Beth Gill: A Quiet Kind of Boldness

By Kaya Lovestrand May 1, 2017

Choreographer Beth Gill’s work doesn’t elicit the kind of response other radical new ideas tend to: there’s no booing from the crowd or scathing reviews. It’s a subtler form of risk-taking: her “abstract storytelling,” evidenced in a new Walker-commissioned dance work, Brand New Sidewalk, questions the dichotomy of meaning versus abstraction by reclaiming the pursuit of meaning within abstraction. More

Beth Gill’s Brand New Sidewalk premiers in the McGuire Theater May 5–6, 2017.

Transforming Sonic Weaponry to Spirituality

By Louise Erdrich April 18, 2017

“For 100 days in Aristotle’s Lyceum, ghosts are speaking to ghosts. Restless contemporary spirits are interrogating the dead.” Novelist Louise Erdrich (LaRose, The Round House) considers a sound installation by the indigenous art collective Postcommodity at documenta that transforms military-grade audio weaponry—recently used against water protectors at Standing Rock—to serve more spiritual ends. More

Read “2043: No Es Un Sueño,” Postcommodity’s recent contribution to the ongoing Artist Op-Ed series.

Larger than Life: James Rosenquist (1933–2017)

By Misa Jeffereis April 4, 2017

“The reason for bigness isn’t largeness. It’s to be engulfed by peripheral vision; it questions the self and questions self-consciousness,” said Pop artist James Rosenquist, who passed away March 31 at age 83. Misa Jeffereis looks at his background and legacy, from his midwestern roots to the development of his iconic painting style, which rendered movie stars, automobiles, and food in vivid detail. More

Sound off on Saving the NEA

By Olga Viso April 3, 2017

The elimination of the NEA and other culture-focused agencies would make it harder for the Walker to fulfill its mission to serve as a catalyst for the creative expression of artists and the active engagement of audiences, writes director Olga Viso. More importantly, it would be a step backwards for our great nation, which has long benefited from the federal government’s modest investment in the arts. More

Simplicity of Movement, Directness of Address

By Gwyneth Shanks March 22, 2017

“Hers was a dance practice that sought to reveal itself; her simple never lacked.” With a 1973 letter between dancemaker Trisha Brown and curator Suzanne Weil as her guide, Gwyneth Shanks reflects on the legacy and passing of a choreographer with deep Walker ties. While rigorous, Brown’s work—from Accumulation (1971) to her performance drawings of 2008—“was always marked by a directness of address.” More

Visions of a New New World

By Postcommodity March 6, 2017

Why does the term “native” lose meaning south of the border? And why are some white people calling themselves “nativists”? The indigenous art collective Postcommodity (Raven Chacon, Cristóbal Martínez, and Kade L. Twist) melds poetry and prose in a powerful reflection on native self-determination, ethnic and national identity, and the year 2043—when whites are expected to become a minority in the US. More

Join Postcommodity March 11, 2017 for a free artist talk launching their contribution to Walker’s Artist Op-Eds series.

Art News from Elsewhere More

Via sfmoma.org

Staying Alive (External)

Dance critic Siobhan Burke underlines the brilliance of the performers “who catapult [Merce] Cunningham’s spirit into the present,” reflecting on the recent Events at the Walker and the dancers who vivified Common Time. “It’s dancers who keep dancing alive.”

Via latimes.com

In the Studio (External)

“I’m grateful to be influential around the world. People look at what I do. I can’t ask for more than that.” John Baldessari’s ferocious creative pace hasn’t slowed; a studio visit sheds light on five series of paintings and prints the 85-year old is working on.

Via hyperallergic.com

Great Again? (External)

Donald Trump’s proposed federal budget for 2018 includes funds for a border wall and a $54B spike in military spending, while eliminating the NEA, NEH, and other agencies and slashing funding for Medicaid, student loans, and food stamps, among other social programs.

Via artnet.com

Solving Problems (External)

“I think art can make a difference. I think art can help.” MoMA president emerita Agnes Gund discusses diversity in the art world and Studio in a School, a successful program she founded that “brings art lessons, taught by real working artists” to NY public schools.

Via davidbyrne.com

Bypassing Humans (External)

Technologies from driverless cars to AI, Amazon to Airbnb, are designed to replace direct human interaction, writes David Byrne, who fears that we lose the ability to cooperate when out of touch wiht “capricious, erratic, emotional, irrational and biased” humans.

Via startribune.com

Afterlife Animated (External)

“It’s a meditation on what happens to your spirit or your soul as it leaves your body, the trip it takes.” TV on the Radio’s Tunde Adebimpe on A Warm Weather Ghost, a Walker-commissioned performance/animation work that features Money Mark, Mia Doi Todd, and others.

Minnesota Art News

Via mnartists.org

Reservation Pop

Despite key similarities between Warhol’s art and that of Wendy Red Star, there are clear differences: where Warhol created his images from a place of privilege, Red Star celebrates the lived material reality of some of the least-celebrated communities in the US. More

Via mnartists.org

Minnesota Goes Pop

With two Warhol print as a jumping-off point, the Rochester Art Center’s current show features Minnesota artists—including Frank Gaard, Rory Wakemup, and Ziyang Wu—putting a fresh, distinctively regional spin on 20th-century Pop ideas. More



Zigzagging Between Public and Private: Tom Burr on Philip Johnson, Sexuality and Architecture

Tom Burr’s sculpture Zog (a series of setbacks), on view in the exhibition Question the Wall Itself, takes its name and inspiration from a feature of Minneapolis’s… More


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


Faye Driscoll’s Thank You For Coming: Attendance

“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

Walker Channel

Dialogue / Interview

Intro to teamLab: Graffiti Nature–Still Mountains and Movable Lakes

Pushing the capabilities of interactive technologies to create compelling digital artworks, Graffiti Nature–Still Mountains and Movable Lakes, the first solo museum exhibition by the Tokyo-based… More


Minneapolis Sculpture Garden Fund

Supporting the Garden Fund is easy. Simply click here to make tax-deductible gift, or click on the link at the end of the video to make a contribution. More

Artist Talk

Artist Talk + Op-Ed Launch: Postcommodity

In 2015, the art collective Postcommodity installed 26 ten-foot balloons—giant replicas of the commercial “scare-eye” bird deterrents used by farmers and gardeners—at the US/Mexico border. Extending away from the border fence for… More


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

Susan Rosenberg

Accumulated Vision: Trisha Brown and the Visual Arts

In commemoration of Trisha Brown’s passing on March 18, 2017, we look to art historian Susan Rosenberg’s 2014 reflection of the unique appeal of Brown’s thinking and dance to visual artists.  More

Chance Conversations

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

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