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To Trisha Brown, drawings are more than investigatory tools to examine the limits of her body; they let her look at her body as an object, allowing her to incorporate “found” gestures into dance and reorient our bodies to our environment, writes curator Peter Eleey. At a time when commodifiable art objects were favored over ephemeral movements, she made action, at long last, good enough by itself. More
Growing up in Morocco, Amino Belyamani was immersed in “deceptive” rhythms—“music where the underlying pulse is where you least expect it, where the silences are.” Now part of the acoustic jazz ensemble Dawn of Midi, he’s exploring these rhythms through an album that blends Ghanaian sounds, jazz, and electronic influences. In a new interview, he discusses the group’s 2013 album Dysnomia. More
Copresented by the Walker and the SPCO’s Liquid Music series, Dawn of Midi performs Saturday, November 15, 2014, at the Amsterdam Bar & Hall, St. Paul.
“How has the national culture changed over the past half-century that we could elect a black president? Just as important,” writes Jeff Chang in his new book Who We Be: The Colorization of America, “how has it not changed?” Chronicling the rise and fall of multiculturalism through the lens of visual culture, Chang looks at political and aesthetic struggles for racial equity, inside the art world and out. More
“You can never know what is and what is not powerful, but you can always find out what the powerful people are scared of,” says Ai Weiwei. “A state like China looks so powerful, but they are so scared of the Internet, so the Internet is more powerful than them.” Journalist Ben Valentine visits with Ai in his Beijing studio to discuss art and the enduring potency of online activism. More
“And what exactly is it that you do, Mr. Duchamp?” That question was posed to the Walker’s guest one fall evening 49 years ago during a dinner in honor of Duchamp and his wife, Teeny. “Well,” the 78-year-old exemplar of Dada coolly responded, “I play chess.” Former Walker director Martin Friedman recalls Duchamp’s 1965 visit to Minneapolis and their conversations about readymades, Precisionism, and Pop. More
This essay launches Art (re)Collecting, a five-part series of previously unpublished writings by Martin Friedman, the Walker’s iconic director from 1961 to 1990.
In his new book Story/Time: The Life of an Idea—which explores the genesis of a performance inspired by John Cage’s Indeterminacy (1958)—Bill T. Jones attempts “to come to grips with my need to be in the modernist cool club and acceptance that I will not be in that club. You have to build your ideas on your forebearers, and it is sort of Freudian because you are fighting with your father.” More
Bill T. Jones’s Story/Time, co-commissioned by the Walker Art Center, will be performed Nobember 4–14, 2014, at New York Live Arts.
“There’s no question, I had some attitude about the way I wanted to be perceived,” said Chuck Close of Big Self-Portrait in 1980. “Now it seems very funny wanting to look like this tough guy with a cigarette sticking out of the corner of my mouth and a big, aggressive image of myself, saying to the viewer, ‘Hey, notice my painting, notice me.’ I think I was trying to find out who I was as an artist.” More
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, Martin Filler, and Armin Hofmann—DQ charted design’s history, from a form-follows-function modernism of the ’40s to the affectations of postmodernism in the ’80s and ’90s. More
As part of the Walker’s 75th anniversary celebration, 15 issues of Design Quarterly have been made available for free download.
An artist who has “figured out a way to make the perils of our time accessible,” Paul Chan has won the $100K Hugo Boss Prize. Working in video, 2D and 3D works, and experimental publishing, he’ll be subject of a 2015 Guggenheim solo show as part of the prize.
“I put a giant 10-foot vagina in the world and people respond to giant 10-foot vaginas in the way that they do. Maybe I’m sick. I was spying”: Kara Walker on secretly recording visitors to her recent show A Subtlety.
“Activists have always shared knowledge and strategy; social media has changed the organization and distribution of political protest, and it can do the same for architectural dissent,” writes Alexandra Lange.
“Must art confront ugly realities with ugliness of its own?” asks Barry Schwabsky, writing about recent works by Jenny Holzer and Arnold Mesches, two stylistically contrasting artists who have both used redacted government documents in their art.
“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
“I never tried to do anything to make my films friendly.” From his start in Britain’s video art scene in the 1990s to his first feature film in 2008 to the Oscar-nominated 12 Years a Slave, Steve… More
History of Contact Improvisation in the Twin Cities with Patrick Scully and Jane Shockley, and special guests Ric Watson, Kristin Van Loon, Linda Shapiro, Jeff Bartlett, Olive Bieringa, and Otto… More
Art at the Center looks at 75 years of collecting at the Walker—a history distinguished not only by bold and often risk-taking choices but also acquisitions that have consistently breached the boundaries of media or disciplines. More
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.
A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists James Bridle, Liz Deschenes, Liam Gillick, Metahaven, and others.
In 10 chapters, curator Bartholomew Ryan presents his keystone essay “If You Are Willing: The Army of the Individuals” from the 9 Artists catalogue.
about 17 hours ago
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
In a rare 2009 conversation, Sturtevant—who passed away in May 2014—discusses her repetitions of works by Warhol, Beuys, and others, as well as the discourse on “dangerous potent power” of our cybernetic world. More