- 11 am – 5 pm
- 11 am – 5 pm
- 11 am – 9 pm
In intimate dance works, Panaibra Gabriel Canda (Mozambique) and Faustin Linyekula (Democratic Republic of Congo) have telescoped their immensely complex histories to the scale of the person. The artists seem to say: “Come, look through my lens. You’ll recognize what was previously unseen, unnamed, or unknown to you. Think of me as an alter ego. It is a matter of the life or death of our shared humanity.” More
Faustin Linyekula performs November 7, 2014, and Panaibra Gabriel Canda performs November 8, 2014, as part of Tales of Home: Congo / Mozambique.
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.
No matter the project, Miranda July’s work tends to focus on the quiet messiness that characterizes human lives. Whether it’s a sculpture that compels strangers to stand on a pedestal and hug or a short story that inserts a naive first-person narrator into a sex scene, one thing audiences can expect from July is an awkward scenario. Her latest performance piece, New Society, capitalizes on this very thing. More
The world premiere of Miranda July’s New Society takes place in the McGuire Theater on October 30 and 31, 2014.
Described as a film without materiality, Derek Jarman’s Blue consists of an unvarying 79-minute view of International Klein Blue, animated by a soundtrack chronicling his experiences living with AIDS. The work’s formlessness parallels that of the disease that killed him in 1994. By the time Blue was finished, complications from AIDS and its treatments left Jarman with a haze of blue in place of vision. More
A rare 35mm print of Derek Jarman’s Blue (1993) will be screened October 29, 2014.
“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.
What does it mean to present the art of our time? Why do we need a safe place for unsafe ideas? How can art show us who we are—and aren’t? The Walker’s founding as a public art center in 1940 was sparked by a question, and during the 75 years since it’s been animated by relentless inquisitiveness. Launching our 75th anniversary celebration, Olga Viso reflects on the power of the well-formed question. More
In anticipation of the Walker’s 75th anniversary as a public art center, Olga Viso launches our WALKER@75 celebration with an ode to questioning.
“Where are the videos showing a woman in her role as sister—or protector, or economic head of family, or devoted daughter, or grandmother dignified in her old age?” In her Artist Op-Ed, Chilean hip-hop MC and activist Ana Tijoux looks at la violencia del cuerpo en la musica: the objectification of female pop stars, which she likens to “visual punches: it’s about snatching away the very beauty of women.” More
For his new work Lev Manovich used thousands of Instagram photos taken during the 2014 Ukraine unrest to create data landscapes: “[A]s opposed to a journalist who thinks about the ‘data’ as a kind of truth, it’s a question of making interesting questions.”
“[Odor] makes it so much easier to manipulate visitors, because you can’t guard against your perception of smells.” From baby powder to cadaverine, the Soap Factory’s Haunted Basement uses an elaborate odor-landscape to enrich the visitors’ sensory experience.
“The only reason to do more expressive buildings is to humanize them. Dull glass boxes are cold and not friendly to humanity, and I am trying to change some of that.” Inspired by Paris and the “sacredness” of the site, Frank Gehry reveals what motivates him.
In an apparent effort to attract new audiences, the Metropolitan Opera has commissioned artists, including TJ Wilcox, Paul Chan, and George Condo, to design two-minute trailers promoting the opera’s new season. Condo’s trailer for Carmen premieres on Nov. 1.
Camille LeFevre weighs in on the recent return of the dance company Rosas to the Twin Cities to perform the mid-’80s work that made Anne Teresa De Keersmaeker famous. 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
“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
Spoonbridge and Cherry installation 1988. In this video we see Claus Oldenburg and Coosje van Bruggen discussing the piece with children for a documentary on the Minneapolis Sculpture Garden. More
As part of the Walker’s 75th anniversary we are releasing a variety of clips from the Walker’s archives. This documentary on the creation of Red Grooms’ sculpture The Discount Store was commissioned by the Walker Art Center for… More
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.
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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