- 11 am – 5 pm
- 11 am – 5 pm
- 11 am – 9 pm
Construction Update: We’re open! Enter the Walker through the underground parking garage or Hennepin Avenue doors.
Checking in on the progress of Mark Manders’s commission for the renovated Minneapolis Sculpture Garden—one of 16 new works to be unveiled in 2017 and the artist’s first major public artwork in the US—Misa Jeffereis visits the artist’s studio in Ronse, Belgium. There, she witnesses the process behind Manders’s uncanny bronzes and experiences first-hand the artist’s “self-portrait as a building.” More
For more on the Minneapolis Sculpture Garden’s renovation, visit walkerart.org/campus.
“Young artists of color are literally dying because they don’t feel like they have any other way into the music industry except through displays of violence,” writes Toki Wright. But Chicago’s Chance the Rapper presents an alternative: “Much of Chance’s Coloring Book mixtape sounds like a prayer for the youth of his city and proof that you can make it out of hard times when you express your best self.” More
Chance the Rapper performs at Rock the Garden 2016, an eight-band, two-stage concert held June 18 at Minneapolis’s Boom Island.
On August 15, 1981, Hüsker Dü ran through a blistering set at downtown Minneapolis’s 7th St. Entry, recording 17 songs in 26 minutes to create the punk trio’s debut album Land Speed Record. Thirty-five years later, artist Chris Larson channels that energy in an immersive installation that reflects on memory, loss, and the fire-damaged remains of Hüsker Dü drummer Grant Hart’s childhood home. More
Chris Larson: Land Speed Record is on view June 9, 2016–January 8, 2017.
Digital technology enables us to create, duplicate, alter, disseminate, and appropriate images like never before. In this “somewhat arbitrary, and decidedly personal, lexicon of how we might navigate the unruly landscape of ordinary pictures in the age of the Internet,” Eva Respini introduces concepts and artists—from “JPEG” to “Post-Internet”—that help define our changing relationship to images. More
Ordinary Pictures is on view February 27–October 9, 2016.
In Paul Chan’s installation Sade for Sade’s sake, jittering figures, silhouetted on a wall of pallets and toy guns, perform violent and sexual acts. Created in the wake of revelations of abuse at Abu Ghraib and Guantanamo, it speaks to a state of paralyzed anxiety Chan calls “petrified unrest.” Here he discusses the work’s relationship to religion, philosophy, and today’s Trumpian rhetoric. More
Paul Chan’s Sade for Sade’s sake (2009) is on view in Less Than One through December 31, 2016.
Positioning “gender hackers” as radical innovators in the ongoing design of the human, Façadomy editor Riley Hooker invited boundary-pushing graphic designers to reflect on gender through typographic metaphor. Here Hooker, Lobregat Balaguer, Ely Kim, Nontsikelelo Mutiti, Mylinh Trieu Nguyen, Ksenya Samaskaya, and Andrew Sloat respond to the seven genders defined by sexologist Esben Esther P. Benestad. More
What thread runs through Meredith Monk’s works in film, music-theater, and dance over the past half century? “A sense of multidimensionality,” she tells Deborah Jowitt. “And an attempt to get down to the bones of the form.” Revisited in commemoration of her 50th anniversary as an artist, this 1998 conversation goes deep into the inspirations, processes, and experimentation that have defined Monk’s iconic career. More
Meredith Monk’s 16 Millimeter Earrings (1966/1998) is on view through December 31 in the exhibition Less Than One.
Martin Friedman, Walker Art Center director from 1961 to 1990, has passed away at age 90. In commemoration of his pivotal role in shaping the Walker’s values, vision, and future, curator Joan Rothfuss shares her perspective on Friedman’s life and legacy—from his keen curation to his transformation of the Walker into a “laboratory for artists” to the vision that brought us the Minneapolis Sculpture Garden. More
“When the artist most famous for hawking a diamond-studded skull for £50 million pleads, blandly, that ‘Britain is stronger and safer in the EU,’ I can’t help but think it only helps Remain seem like the cause of the entitled.” Ben Davis on art and Brexit.
Ben Patterson, a composer and founding artist of the the Fluxus movement, has died at age 82. With artists like John Cage, George Maciunas, and Yoko Ono, he worked in the 1960s to push “music and performance to profound, radical extremes.”
Exemplifying “the best current work in book and book cover design,” Design Observer and the AIGA have revealed the winners of the annual “50 Books | 50 Covers” competition; among them are exhibition catalogues for the Walker’s Hippie Modernism and International Pop.
“To see a Bill Cunningham street spread was to see all of New York. Young people. Brown people. People who spent fortunes on fashion and people who just had a strut and knew how to put an outfit together out of what they had.”
Arbitrary censorship of nudity is but one drawback of social media for artists. Carolina Miranda looks at self-censorship, Instagrammable art, and the way criticism works in a culture of “likes”—as well as how social media can spark real dialogue about art.
In advance of the June 23 “Brexit” vote—on whether the UK should leave the EU—Jennifer Higgie asks a range of figures in the arts to weigh in, from Cornelia Parker and Damien Hirst to Alice Rawsthorn and Hans Ulrich Obrist. The consensus: stay.
Andrea Carlson unpacks the tangled, Eurocentric assumptions inherent in art historical notions of Abstract Expressionism as a bastion for universal, “pure” artistic expression. More
In a conversation that ranges from take-out to geopolitical trade, feminism, and the identity-blurring experience of immigration, Susannah Schouweiler profiles ceramic artist and sculptor Katayoun Amjadi. 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
“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
“Caretaking is where the word ‘curating’ comes from. Curare means to take care—to care for something outside one’s self.” German artist Andrea Büttner, Walker Artistic Director Fionn Meade, and Walker… More
Titled after a live album by punk band Hüsker Dü, who rose to cult status in the 1980s, Chris Larson’s exhibition Land Speed Record explores a group of objects that occupied his studio (a repurposed industrial warehouse space) for… More
Watch the installation of Sol LeWitt’s Arcs from four corners, with alternating bands of white and brown stone. The floor is bordered and divided horizontally and vertically by a black stone band. (1988/2016) More
Five 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.
about 13 hours ago
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
In commemoration of the life and legacy of filmmaker, visual artist, musician, and inventor Tony Conrad, who passed away in April 2016, a look at the artist’s quest for a “new musical culture.” More