- 11 am – 6 pm
- 11 am – 6 pm
- Tue, Wed
- 11 am – 5 pm
- 11 am – 8 pm
The founding manifesto of the Detroit Printing Co-op (1969–1985) offered printing facilities and equipment as “social property” to “provide access to all those individuals in the community who desire to express themselves (on a non-profit basis), with charges made only to maintain the print shop.” Revisiting the co-op’s work today, Andrew Blauvelt notes how printing is, and always has been, political. More
“Flood a gallery, embalm an animal, smash an object—critics hail these gestures as having the power to ‘shape worlds.’ But when artists sit down with museum administrators and read a list of demands for labor rights, this work suddenly becomes illegible to the same museum.” Naeem Mohaiemen reflects on the Gulf Labor Coalition’s fight for fair conditions for workers constructing western museums in Abu Dhabi. More
In the eighth installment of the Artist Op-Eds series, Naeem Mohaieman and Hans Haacke look at the Gulf Labor Coalition’s activism around western museums’ plans in the Middle East.
When shovels hit soil last fall to begin a renovation that’ll unify all 19 acres of the Walker/Minneapolis Sculpture Garden campus, it was a groundbreaking in literal and figurative senses: the project is the physical manifestation of a reorientation toward our community that’s also happening behind the scenes. Our aim: to make the Walker even more open and responsive to artists and audiences alike. More
“Nobody should be allowed to burn the American flag,” Donald Trump tweeted on November 29. “If they do, there must be consequences—perhaps loss of citizenship or year in jail!” The statement shocked many, including artist Dread Scott, who in 1989 created What is the Proper Way to Display a US Flag?, an artwork that enraged legislators and sparked laws banning flag desecration. More
To bring any theater piece to life, a raft of unseen technicians works quietly backstage. In Karen Sherman’s new dance/performance work, stagehands—and their vulnerabilities and mortality—take center stage in an arresting meditation on labor, life, and loss. Here, she discusses Soft Goods, the tragedies that sparked it, and the challenges of crossing between roles as performer and technician. More
Karen Sherman’s Soft Goods, a Walker commission, makes its world premiere December 8–10, 2016.
How can design help us imagine alternative futures? And, more importantly, how can anyone contribute to such imaginings? Here Elliott Montgomery and Chris Woebken, cofounders of the Extrapolation Factory art and design team, discuss their practice, the way techniques used by think tanks, futurists, and designers can reshape the future, and what participants can expect at their upcoming Walker workshops. More
Be part of Extrapolation Factory’s drop-in workshops during Walker Open House Weekend, December 1–4, 2016.
Oscillating between the two- and three-dimensional, between drawing and sculpture, artist Liz Larner’s works draw attention to the relationship between ourselves and the surrounding environment. Here, curator Pavel Pyś discusses one such work—a gleaming, stainless-steel X that greets visitors to the Walker’s new main entrance—with the Los Angeles–based sculptor. More
The new Walker entrance and lobby opened to the public on November 11, 2016.
Stories are the connective tissue in Robert Redford’s family: the actor, director, and Sundance founder’s son James is a documentary filmmaker, and his grandson Dylan is an artist and the Walker’s Bentson Research Associate. In a cross-generational interview, Dylan and Robert discuss the power of narrative, celebrity, and the elder Redford’s announcement that he’ll soon be retiring from acting. More
“We have allowed whiteness to hold onto universality without questioning how it’s constructed.” Claudia Rankine and Glenn Ligon share how artists of color find their work marginalized and labeled as political while the construct of whiteness remains unexamined.
In this post-election moment of possibility, Adam Pendleton insists that “arriving at one place or political situation or dynamic that isn’t desirable just means there’s somewhere else to go.” Here the artist gives insight into his new show, Midnight in America.
“Gorgeous and intense,” the music video for Anohni’s “Marrow” features artist Lorraine O’Grady. A simple black background focuses attention on O’Grady as she mouths lyrics, “absorbing the music in the moment” and mediating between song and audience.
Among nominees for the 59th Grammy Awards is artist Eric Timothy Carlson, who’s up for Best Recording Package for designing the artwork for Bon Iver’s 22, a Million—a release that received a nod of its own, for best Alternative album.
“It will not be enough to languish in mythological beliefs about art’s value as a humanistic salve, or to fly the flag for ‘political art.’ […] We have to debate strategy.” Critic Ben Davis unpacks the liberal art world’s failure to influence minds during the election.
“What’s up with the nudity, Dude?” “What about all the sharks?” Youth from the Little Earth Arts Collective question artist Frank Big Bear about Multiverse #10, his massive collage featured in the Walker Art Center’s newly redesigned entrance.
Filmmaker Kevin Obsatz ponders slow watching in a streaming age with an essay ranging through Marshall McLuhan, Kubrick, and an education in moving image by way of the neighborhood video store. More
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
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
Question the Wall Itself examines ways that interior spaces and décor can be fundamental to the understanding of cultural identity. The multimedia exhibition showcases work by 23 international, multigenerational artists who explore the political and social… More
We had a lot to celebrate this year! Avant Garden marked the grand opening of the Walker’s new main entrance and the exhibition Question the Wall Itself. The event also revealed site-specific commissions by artists Frank Big Bear and Philippe Parreno. Top that… More
“Dear Otto,” wrote former Walker director Martin Friedman to Otto Piene 40 years ago this week. “It’s just possible that having your spectacular work shot down may have hastened its immortalization… More
A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists Ron Athey, Ana Tijoux, Dread Scott, and others.
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.
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.
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.
about 7 hours ago
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
Named a MacArthur Foundation Fellow on September 22, 2016, sculptor Vincent Fecteau discussed his studio practice with the Walker’s Brooke Kellaway in 2012. More