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For a woman in the male-dominated world of hip hop, Dessa says it was “brain-scrambling” yet gratifying to hear herself as a man—or, rather, to hear her voice slowed to sound like that of a male rapper. That’s what The Hood Internet—one of eight producers asked to remix vocals from her album Parts of Speech—did with “Fighting Fish.” Here she gives the Walker an exclusive first look at the track’s new video. More
“Mickey Friedman thought with her eyes,” writes Cooper-Hewitt design curator Ellen Lupton. She is among a growing list of friends, peers, and admirers of the former Design Quarterly editor and Walker design director—from Olga Viso to designer Abbott Miller, New York Review of Books critic Martin Filler to architect James Dayton—who are sharing their memories of Friedman following news of her passing. More
For Mildred “Mickey” Friedman, curating design was less about acquiring objects than letting such artifacts tell stories within the galleries, “not for veneration but explication,” writes curator Andrew Blauvelt of Friedman, who passed away Sept. 3. As Design Quarterly editor and design curator for nearly 23 years, she consistently “drew upon the power of design itself to create a compelling experience.” More
“I’m engaged in presenting what’s in plain sight,” says Valerie Cassel Oliver of Radical Presence, a survey of three generations of Black artists exploring the “elasticity of disciplines.” “Even in the new millennium we’re still omitting certain people from those conversations.” In curating the show, she sought to include a “trajectory” of artists, from younger makers back to those who influenced them. More
Radical Presence: Black Performance in Contemporary Art is on view July 24, 2014–January 4, 2015.
“If you’re the head of an empire and see that an unarmed youth is gunned down by the police and your advice is for people to be calm,” writes Dread Scott in his essay on Michael Brown’s death, “your rule is illegitimate.” Taking his name from the slave who unsuccessfully sued the government in a St. Louis court, Scott salutes protesters in Ferguson while decrying those who aim to control them through force. More
Dread Scott, whose work is featured in Radical Presence: Black Performance in Contemporary Art, shares his perspective as part of Artist Op-Eds, an ongoing series of essays appearing online and in print-on-demand pamphlets.
“We’re interested in this idea of taking something that is permanent, that seems incontestable, and rendering it fragile, ephemeral, open to questioning,” said Jennifer Allora, half of the art-making team Allora & Calzadilla. Ten years after the duo’s Walker residency, we republish a 2004 conversation on their early projects, including Chalk (1998), a now-iconic work just acquired for the Walker collection. More
“The cloud renders geography irrelevant,” writes James Bridle, “until you realize that everything that matters, everything that means you don’t die, is based not only on which passport you possess, but on a complex web of definitions of what constitutes that passport.” The case of Mohamed Sakr, a man deprived of his UK citizenship and later killed by a US drone, shows how such definitions are under attack. More
London-based artist James Bridle kicks off Artist Op-Eds, our new series featuring artists’ reactions to the news.
For many in the museum world, the term scholarly collections catalogue can conjure daunting impressions: a book about a museum’s holdings, it involves years of collecting, researching, photographing, and writing, plus a huge printing budget, all to create a tome that is likely out of date the moment it hits the shelf. Enter The Living Collections Catalogue, the Walker’s new serial online publication. More
Painting and sculpting are transcendent processes; compelled by vague forces, one finishes a work and experiences a rebirth, says Anselm Kiefer, who intends his survey at the Royal Academy to be a “concentration” of his sprawling studio compound in France.
“A rose in a cornfield is a weed,” says experimental musician Mark Stewart of Bang on a Can, urging a reconsideration of the difference between noise and music. BOAC’s art assignment: find everyday sounds—a dryer’s whir, the hum of a light—and make music with it.
Finding a spittoon shaped like a black man’s head at a flea market, artist Nick Cave says, “I literally just flipped out.” For his new show, he’s assumed the role of “an artist with responsibility,” curating such objects into a series of enigmatic assemblages.
In a recent interview, artist Eleanor Antin reveals her thoughts on the subjects that informed her works: the concept of an artist’s “style,” her penchant for historical contexts, her training in acting, feminism, the Internet, and documentation.
For his new show at Paul Cooper, LA artist Sam Durant has used artillery shells to make bells for a wind chime. Tapping into the history of “trench art,” the work stands as “a reminder of the inextricable link between war and art, violence and culture.”
Cairo-based artist Hassan Khan reformulates his idea of the “corrupt intellectual”: such “functionaries,” whose definition of the nation contrasts that of the mass public, led to Egypt’s rupture in 2011 and perpetuates an unstable environment.
The installation Balancing Ground in downtown Minneapolis takes its cues from barn-raisings, playgrounds, and chapels to create a site for both play and quiet contemplation. Is it trying to do too much? 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
Exhibition curator Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum Houston (CAMH), is joined by contributing artists Adam Pendleton, Jacolby Satterwhite, and Xaviera Simmons for a lively conversation about the… More
This groundbreaking exhibition is the first comprehensive survey of performance art by black artists working from the perspective of the visual arts from the 1960s to the present. More
Drawn from the Walker’s extensive collection of artworks, films, archival materials, and ephemera, this exhibition explores the many facets of the so-called “expanded arts” scene of the 1960s and ’70s, charting a transformational phase in the history of 20th-century… 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.
about a day ago
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
For her first art foray online, Jenny Holzer brought her iconic text-based work to the web in 1995, presenting five series of works (truisms, living, survival, inflammatory essays, laments). More
Philip Bither highlights some of Trisha Brown’s less-recognized but tremendously influential dance innovations, from aerial movement inventions to equipment-based performance. More