No. 94
May 29, 1998 Immediate Release

Karen Gysin: (612) 375-7651



The multimedia and interdisciplinary work of three essential innovators in the performing arts will be presented for the first time in a major museum exhibition when the Walker Art Center premieres Art Performs Life: Merce Cunningham/Meredith Monk/Bill T. Jones June 28 through September 20. Recognizing the critical contribution each artist has made to the history of 20th-century performance, the exhibition weaves together music, movement, objects, and moving images to create new landscapes out of props, costumes, stage sets, film and video projections, audio recordings, and photographs. In a gallery setting, visitors can experience the aesthetic drama of each artist's unique and highly visual performance-based work. Art Performs Life is curated by Siri Engberg, Walker Assistant Curator; Kellie Jones, guest curator; and Philippe Vergne, Walker Curator.

Each artist and his or her full company will visit Minneapolis during the run of the exhibition to showcase new or recent work, to conduct workshops, or to participate in artist talks. Opening-weekend events feature a concert by Meredith Monk and Vocal Ensemble highlighting 30 years of Monk's pioneering music, followed by a conversation with the composer; a lecture by dance historian Sally Banes; and a free performance of Monk's ritualistic music-theater work A Celebration Service. In the closing weeks of the exhibition, performances by the Merce Cunningham Dance Company and the Bill T. Jones/Arnie Zane Dance Company will take place. Other related programming includes lectures, gallery talks, film screenings, family programs, and a Web site.

Merce Cunningham
Throughout the 1950s and 1960s, Merce Cunningham changed the language of contemporary dance by experimenting with chance arrangements and incorporating everyday movements into his choreography. His experiments were extended to his collaborators in music and the visual arts -- artists such as Jasper Johns, Robert Rauschenberg, John Cage, David Tudor, and Andy Warhol, among myriad others -- breaking down the hierarchy between these disciplines and freeing dance from its traditional molds. Art Performs Life will feature major notations, scores, sets, costumes, and videos chronicling critical works from the company's repertoire.

The exhibition includes two major collaborations with Rauschenberg: his set for Minutiae (1954), and an abstract, pointillist backdrop from Summerspace (1958) executed in Day-Glo paint with the help of Johns. Also featured are Rainforest (1968), with its floating aluminum pillows designed by Warhol, Johns' Marcel Duchamp-inspired set for Walkaround Time (1968), Ground Level Overlay (1995), an intricate sculptural set designed by Leonardo Drew, and an installation about recent collaborations with fashion designer Rei Kawakubo. The set elements for Walkaround Time, designed and supervised by Johns after Duchamp's well-known work The Large Glass (1916 1923), are composed of sections from Duchamp's work printed onto seven transparent plastic inflatable cubes. The performance itself, an homage to Duchamp, focused on the awareness of time, "the sense of stopping and moving at the same time."

Cunningham's work with video artists and filmmakers Nam June Paik, Charles Atlas, and Elliot Caplan will be featured as well as recent experimentation with the Life Forms computer program with which CRWDSPCR (1993) was choreographed. An interactive computer station will allow visitors to experiment with Life Forms .

Cunningham was born in Centralia, Washington, and received his first formal dance and theater training at the Cornish School (now Cornish College of the Arts) in Seattle. From 1939 to 1945, he was a soloist with the Martha Graham Dance Company. At the same time, he began to choreograph independently, presenting his first New York City solo concert with John Cage in April 1944. Since forming the Merce Cunningham Dance Company at Black Mountain College in 1953, he has created nearly 200 works for his company. In addition his works have been included in the repertoires of numerous ballet and modern dance companies around the world.

Cunningham has collaborated on two books about his work: Changes: Notes on Choreography , with Frances Starr (Something Else Press, New York, 1968) and The Dancer and the Dance , interviews with Jacqueline Lesschaeve (Marion Boyars, New York and London, 1985). The latter,

originally published in French, has also been translated in German and Italian. Merce Cunningham/Dancing in Space and Time , a collection of critical essays edited by Richard Kostelanetz, was published in 1992 by A Cappella books. A chronicle and commentary by dance historian David Vaughan -- Merce Cunningham: Fifty Years -- was published in 1997 by Aperture.

Meredith Monk
Since Meredith Monk's early groundbreaking work of the mid-1960s, she has forged a singular vision of performance working as a composer, singer, filmmaker, choreographer, and director. A pioneer in interdisciplinary performance and using a unique non-verbal approach to vocal music, she has created more than 100 works and received wide critical acclaim, heralded by The New York Times as "one of America's most brilliant and unclassifiable theatrical artists." Her section of Art Performs Life will focus on the extraordinary marriage of performance, music, dance, film, and art objects in her work.

Included in the exhibition will be films, sets, costumes, artifacts, and other primary and documentary material from such works as 16 Millimeter Earrings (1966), an early solo; Juice (1969), one of Monk's most important site-specific works; Quarry (1976), her Obie Award-winning opera about World War II; and Atlas (1991), a full-scale opera co-commissioned by the Walker. Through installations she conceived for the Walker's galleries, the exhibition explores a full range of Monk's performance activity, from her groundbreaking site-specific pieces to her work as a composer and filmmaker to large-scale music-theater productions. Key works originally conceived as art installations, such as Silver Lake with Dolmen Music (1981), will also be included, as will several new pieces created specifically for the exhibition. Documentary photography and video, as well as a range of Monk's musical notations, scores, storyboards, and drawings will illuminate the space for the viewer.

Born in 1942, Monk graduated from Sarah Lawrence College in 1964 with a combined performing arts degree, and in 1968 founded The House, a company dedicated to an interdisciplinary approach to performance. She formed Meredith Monk and Vocal Ensemble in 1978 to tour and perform her unique musical compositions. Her more than a dozen recordings include her full-length opera, ATLAS: an opera in three parts (1991) and Volcano Songs , released in 1997. In 1996 the American Guild of Organists commissioned Monk to create A Celebration Service, a non-sectarian worship service melding her haunting vocal music and movement with spiritual texts drawn from two millennia.

Monk's achievements have been recognized with numerous awards throughout her career, including two Guggenheim Fellowships, a Brandeis Creative Arts Award, three Obies (including an award for sustained achievement), and a Bessie for Sustained Creative Achievement. In 1995, she was awarded a prestigious MacArthur Foundation Fellowship. In 1997, the Johns Hopkins University Press published Meredith Monk , a collection of key writings on Monk's work edited by Deborah Jowitt. Art Performs Life marks the first full-scale museum presentation of Monk's work.

Bill T. Jones
Since forming the Bill T. Jones/Arnie Zane Dance Company in 1982, Bill T. Jones has created numerous works, many in collaboration with his late partner and fellow dancer Arnie Zane (d.1988). Jones' style, while clearly rooted in modern dance, has been inspired by African and popular forms as well as contact improvisation, a system of counter-balanced movement that he explored in early intricate duets with Zane. His performances often transgress the traditional boundaries between public and private through the themes explored -- sexuality, gender, race, spirituality, life, and death -- as well as by the use of non-artists as performers in his works. Art Performs Life will feature pieces that reflect the mixed-media nature of Jones' recent works, often collaborations with well-known artists of the past two decades, including video artist Gretchen Bender, composer Julius Hemphill, and visual artist Keith Haring. On view will be works that combine movement, music, and spoken word.

Throughout Jones' section of the exhibition, stage props, music, costumes, photographs, and video will document many works in the artist's repertoire, including Long Distance (1983), a collaboration with Haring in which Haring paints on the wall while Jones dances; Untitled (1989), a solo piece about loss made for television; the recent Ursonate (1996); and key early works such as Animal Trilogy (1986), Valley Cottage (1981), and Monkey Run Road (1979).

Secret Pastures (1984), one of the company's first major works, featured sets by Haring, music by Peter Gordon, and costumes by Willi Smith. On view in the exhibition will be a tent and backdrop by Haring, a selection of costumes, and a video of the original production. Another collaboration with Haring, in which he painted on Jones' body, is documented in the photographs of Tseng Kwong Chi as well as in a video by Zane of the process. Blauvelt Mountain (1980), an early duet by Zane and Jones, will be represented by a reconstruction of the cinder-block set that was integral to the performance. In addition a project with artist Jenny Holzer, inspired by her Truisms series, will be represented by a print and a selection from Michael Blackwood's film Retracing Steps: American Dance Since Postmodernism documenting Jones' use of her signature phrases.

Last Supper at Uncle Tom's Cabin/The Promised Land (1990), a major work co-commissioned by the Walker and inspired by Harriet Beecher Stowe's famous 19th-century anti-slavery novel, through an examination of divisive forces (fear of the other, hatred, and religious beliefs), attempts to make a leap of faith and express an acceptable vision of communality. The exhibition will feature props from the production -- African-inspired masks and furniture -- designed by Huck Snyder, the original musical score by Julius Hemphill, and a video of the performance. Still/Here (1995), the choreographer's most renowned and widely discussed work about life, death, and perseverance, will be represented by drawings done by members of the Survival Workshops Jones conducted while creating the piece, as well as by the video environment created by Bender for the stage production.

Born in 1952, Jones began his dance training at the State University of New York at Binghamton (SUNY) and continued at the State University College at Brockport. In 1974, he became co-founder of the American Dance Asylum. Before forming Bill T. Jones/Arnie Zane Dance Company (then called Bill T. Jones/Arnie Zane & Company), Jones choreographed and performed nationally and internationally as a soloist and with Zane. Recently Jones served as choreographer-in-residence at the Lyon Opera Ballet (1995 1997) and has directed projects for theater, including Derek Walcott's Dream on Monkey Mountain at The Guthrie Theater in 1994.

In addition to a prestigious MacArthur Fellowship in 1994, Jones has received a number of awards throughout his career, including Choreographic Fellowships from the National Endowment for the Arts, New York Dance and Performance (Bessie) Awards, an "Izzy" Award, and the Dorothy B. Chandler Performing Arts Award. Last Night on Earth , part memoir, part meditation, and part performance, was published by Pantheon Books in 1995. An in-depth look at the work of Jones and Zane can be found in Body Against Body: The Dance and Other Collaborations of Bill T. Jones and Arnie Zane , published by Station Hill Press. With Gretchen Bender, Jones co-directed a television adaptation of Still/Here produced with KTCA-TV in St. Paul and Amaya in Paris. It won two awards: the FIPA Palme d'Or Biarritz (1996) and the Grand Prix, Scenes d'Ecrain, Bruxelles (1997).

Exhibition Publication
A 176-page fully illustrated catalogue published in conjunction with the exhibition will include an introductory essay by Sally Banes, Marian Hannah Winter Professor of Theatre and Dance Studies at the University of Wisconsin Madison; interviews with the artists conducted by Ann Daly, Associate Professor of Dance History/Criticism at the University of Texas, Austin; Thelma Golden, Curator and Director of Branches at the Whitney Museum of American Art, New York; novelist-

poet-critic Jamake Highwater; dance critic-teacher Deborah Jowitt; and Laura Kuhn, Executive Director, John Cage Trust, New York; and artist chronologies. The softcover book is available at the Walker Art Center Shops for $29.95 ($22.45 Walker members).

Visit the Walker Web site for more information about the artists and their projects using dance and computers. View images from Merce Cunningham's notebooks and gain access to Life Forms the human-figure animation software that the artist has been composing dance sequences with for several years. Meredith Monk's wax installation in the Walker lobby will be chronicled on the Web site and Riverbed Productions' re-creation of the Keith Haring and Bill T. Jones collaboration is also featured with Haring's paintings and three-dimensional moving images of Jones dancing. See it all at /programs/apl/.

Art Performs Life: Merce Cunningham/Meredith Monk/Bill T. Jones is made possible by generous support from AT&T.

Additional support for this exhibition is provided by the National Endowment for the Arts, Dayton's Frango Fund, Goldman, Sachs & Co., and Voyageur Companies.

Related performances and residency activities are supported by the National Endowment for the Arts, Sage and John Cowles, Arts Midwest Performing Arts Touring Fund, Heartland Arts Fund, Martha and Bruce Atwater, Roger L. Hale and Eleanor L. Hall, Harriet and Ed Spencer, Penny and Mike Winton, Gertrude Lippincott Fund, Martha Ann Davies, Constance Mayeron and Charles Fuller Cowles, Joanne and Philip Von Blon, Margaret and Angus Wurtele, Suzanne and Ted Zorn, Judith and Jerome Ingber, and Priscilla Goldstein.

This exhibition and related residencies are part of the Walker Art Center's "New Definitions/New Audiences" initiative. This museum-wide project to engage visitors in a reexamination of 20th-century art is made possible by the Lila Wallace-Reader's Digest Fund.

Major support for Walker Art Center programs is provided by the Minnesota State Arts Board through an appropriation by the Minnesota State Legislature, the Lila Wallace-Reader's Digest Fund, The Bush Foundation, the National Endowment for the Arts, Target Stores, Dayton's, and Mervyn's by the Dayton Hudson Foundation, The McKnight Foundation, the General Mills

Foundation, Coldwell Banker Burnet, the Institute of Museum and Library Services, the American Express Minnesota Philanthropic Program, the Honeywell Foundation, The Cargill Foundation, The Regis Foundation, The St. Paul Companies, Inc., U.S. Bank, the 3M Foundation, and the members of the Walker Art Center.

Northwest Airlines, Inc. is the official airline of the Walker Art Center.





Preview Party
Saturday, June 27, 9 pm midnight, $20 ($10)
Enjoy music by House of Babes, with DJ Lori B, view excerpts from the Choreography for the Camera film series, and create your own electronic music in the Art Lab. Hors d'oeuvres and cash bar.

Modernisms @ the Millennium
Sally Banes
Quick, Before It Dries! Dancing in the Museum
Saturday, June 27, 1 pm, $6 ($3)
Auditorium, followed by a book-signing in the lobby
Dance historian-critic-author Sally Banes will talk about the history of dance and performing arts over the past 40 years. Her lecture also touches upon Walker-commissioned choreographers and performers, including the institution's long association with Cunningham, Monk, and Jones. Formerly the dance critic for The Village Voice , Banes is currently the Marian Hannah Winter Professor of Theater and Dance at the University of Wisconsin-Madison. Her numerous publications include Dancing Women: Female Bodies on Stage , Greenwich Village : Avant-Garde Performance and the Effervescent Body , and Democracy's Body: Judson Dance Theater 1962 1964 .

Meredith Monk and Vocal Ensemble

Performance Workshop (Prior to Opening Weekend)
Tuesday, June 23, 6:30 pm, $10 ($5)
Join Meredith Monk and members of her Vocal Ensemble for an interdisciplinary performance workshop that combines voice, composition, improvisation, and movement. Issues considered include character, archetypes, landscape, gesture, ritual, and personal myth. All levels of performance experience are welcome. Limited to 20 participants. Advance registration is recommended.

In Concert and Conversation
Friday, June 26, 8 pm, $16 ($8)
A pioneer in interdisciplinary performance, Meredith Monk has forged a singular vision working as a composer, singer, filmmaker, choreographer, and director since the 1960s. Monk and her Vocal Ensemble present a concert featuring a rare 30-year career retrospective of her vocal work -- a fully produced theatrical experience that includes selections from such Walker co-

commissions as ATLAS , The Politics of Quiet, and Volcano Songs. The 12-member Ensemble, comprised of artists from such diverse backgrounds as Chinese and Western opera, dance, new music, and interdisciplinary theater, utilizes Monk's unique vocal technique to uncover sounds rich with emotional resonance. Followed by an informal conversation between Monk and Walker Performing Arts Curator Philip Bither.

A Celebration Service
Sunday, June 28, 2 pm, Free
The First Unitarian Society
900 Mount Curve Avenue, Minneapolis
Performed by Meredith Monk and Ensemble with various local artists, this nonsectarian melding of music, text, and movement celebrates the universal quest for spirituality. In addition to Monk's musical compositions, the elaborate and haunting texts include a 17th-century Japanese Zen poem, a Sufi poem from 13th-century Afghanistan, a traditional Ethiopian rain song, an 8th-century Chinese poem, a 12th-century Christian prayer by Hildegard von Bingen, and other sacred texts. A Celebration Service concludes with an outdoor processional from the First Unitarian Society (located behind the Walker) for a concluding performance component. Copresented with the First Unitarian Society. Local dancers and singers interested in participating in the performance may call 375-7625 for more information.


Modernisms @ the Millennium
Sally Banes
Quick, Before It Dries! Dancing in the Museum
See Opening Weekend listing above.

Modernisms @ the Millennium
Dick and Hannah Higgins
Intermedia: A Dialogue
Tuesday, June 30, 7 pm, $6 ($3)
Lecture Room
Coinciding with the exhibitions Art Performs Life and Performance in the 1970s: Experiencing the Everyday , this dialogue focuses on the idea of "intermedia"-- the exchange between two or more artistic disciplines. First coined by poet-visual artist-composer Dick Higgins in 1968, this phrase is illustrated in his work Intermedia Chart (1995). Higgins engages in a lively dialogue with his daughter, art historian Hannah Higgins, as they examine the overlapping media in Conceptual and performance art, Fluxus, Happenings, concrete poetry, mail art, and dance theater. Dick Higgins, a founder of Fluxus and Something Else Press, is the author of many books, including his recent publication Modernism Since Postmodernism: Essays on Intermedia (1997). Hannah Higgins is Assistant Professor of Art History, University of Illinois, Chicago, and is currently working on a book about Fluxus.

Modernisms @ the Millennium
Susan Manning
Race, Representation, Sexuality: Cunningham/Monk/Jones
Sunday, August 2, 3 pm, $6 ($3)
Lecture Room
Dancers choreograph not only the body in time and space, but also the body in a particular moment in culture and history. This lecture explores ways that Cunningham, Monk, and Jones represent race and sexuality in their dances and performance works, and in so doing comment

on society, even when they insist they're not. Manning is the author of Ecstacy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman. She teaches the history of dance and drama at Northwestern University in Illinois.

Talking Dance with Merce Cunningham
Thursday, September 10, 8 pm, $8 ($4)
Legendary choreographer Merce Cunningham joins Walker curators Philippe Vergne and Philip Bither in an informal conversation about his career.

Talking Dance with Bill T. Jones
Sunday, September 20, 3 pm, $8 ($4)
Seminal choreographer Bill T. Jones joins dance educator-author Ann Daly for an informal and inspiring discussion of the power of dance and its relation to humanity and society as well as a look back at his 18-year relationship with the Walker..


Curator's Choice
Sunday, August 9, 2 pm, Free with gallery admission
Performing Arts Curator Philip Bither will lead a personalized tour of Art Performs Life. Over the course of the past two decades, Bither has worked with each of these artists. Learn more about the artists, their creative processes, and stories behind the creation of some of the works documented in the exhibition. Meet in the Lobby.


Ruben Cinematheque
Choreography for the Camera
July 1-31
Presented in conjunction with the exhibition Art Performs Life, this series surveys the creative collaborations between moving-image artists, choreographers, dancers, and performers ranging from the early movie musicals to postmodern performance work captured on films and tapes by the artists themselves. Highlights include major works by

and about the three artists featured in the exhibition as well as new work by Sharon Lockhart, an anthology of recent performance work for European television, and a presentation by the animator and dancer Betsy Baytos on the art of eccentric dance.

Admission to each evening screening is $6 ($3).

Support for this series has been provided by the Disney Channel and Media One.

Wednesday, July 1, 7 pm
Book of Days
Directed by Meredith Monk
One of the most ambitious works to emerge on screen from the arena of performance, Meredith Monk's Book of Days is a film about time that draws vivid parallels between the Middle Ages with its wars, plagues, and Apocalyptic fears, and our modern times of racial and religious conflict, AIDS, and the fear of nuclear annihilation. 1988, US, 75 minutes. Preceded by Maya Deren's classic experimental short, A Study in Choreography for the Camera featuring the dancer Talley Beatty. 1945, US, 4 minutes.

Wednesday, July 8, 7 pm
Directed by Sharon Lockhart
Lecture Room
The first feature film by the photographer and artist Sharon Lockhart presents a mesmerizing portrait of the workout routines of a girl's basketball team from a suburban Tokyo junior high that is transformed by her camera strategies from simple ethnography into a subtle exploration of found choreography. 1997, US, 63 minutes. Preceded by "An Emotional Accretion in 48 Steps," a sequence from Yvonne Rainer's A Film about a Woman Who. . . 1974, US, 8 minutes.

Wednesday, July 15, 7 pm
Cage Cunningham
Directed by Elliot Caplan
Focusing on the nearly half-century collaboration between two revolutionary American artists -- the late composer John Cage and the choreographer Merce Cunningham -- Elliot Caplan's award-winning film explores the wide range of artistic and philosophical associations that Cage and Cunningham have had with many of the leading figures in the worlds of art, literature, dance, and music. 1991, US, 95 minutes. Preceded by "The Shadow Waltz," a sequence from Busby Berkeley's Gold Diggers of 1933 . 1933, US, 6 minutes.

Wednesday, July 22, 7 pm
Flanders : Dance + Camera
Lecture Room
This program surveys work from the past decade by prominent choreographers like Anne Teresa De Keersmaeker, Wim Vandekeybus, and the American Steve Paxton brought to the screen with surprising verve by a group of European video artists. Highlights include a magical slow-motion video of dancer Fumiyo Ikeda in a De Keersmaeker solo and a portrait of Paxton's creative process as he finds his way into the Goldberg Variations. 1987 1993, Belgium, The Netherlands, and France, 80 minutes. These videos are curated by argos, the Flemish platform for media art and cultural ambassador of Flanders.

Wednesday, July 29, 7 pm
Directed by Bill T. Jones and Gretchen Bender
Lecture Room
A remarkable adaptation of Bill T. Jones' critically acclaimed dance-theater piece, Still/Here captures both the lyricism of his distinctive choreography and the powerful stories of participants from the "survival workshops" that the artist conducted with people coping with terminal illness. 1995, US, 56 minutes. Preceded by Lament , James Byrne's haunting portrait of a performance by Japanese dancers Eiko and Koma. 1986, US, 9 minutes; and Ellis Island , Meredith Monk and Bob Rosen's powerful exploration of the titled site (the "Island of Tears" for millions of immigrants) through, as Monk says, a "mosaic of sounds and images woven together into a formal musical design." 1979, US, 28 minutes.

Friday, July 31, 7 pm
Betsy Baytos on Eccentric Dance
Animator-performer Betsy Baytos screens and discusses her work-in-progress documentary on the once-popular but now nearly forgotten theatrical form known as "eccentric dance." With its roots in pantomime and vaudeville performance, eccentric dance inspired a generation of slapstick comics and film animators. Baytos' knowledge of and passion for this lost genre of performance is matched by the extraordinary material that she has collected and the engaging interviews she has filmed. 90 minutes.


Meredith Monk and Vocal Ensemble
See Opening Weekend listing above.

Merce Cunningham Dance Company

Event for the Garden
Saturday, September 12-2 pm, Free
Minneapolis Sculpture Garden
Celebrating both the 10th anniversary of the Minneapolis Sculpture Garden and a 35-year relationship with Cunningham, the Walker presents Event for the Garden . Cunningham's signature Events are performances that combine sections from existing repertoire, re-arranged with newly composed music and decor. Event for the Garden is in special tribute to the Minneapolis Sculpture Garden and incorporates the Jasper Johns' set pieces for Walkaround Time , made in homage to Marcel Duchamp's The Large Glass . Acclaimed Chicago-based electronic music composer-performer Jim O'Rourke accompanies the performance.

Talking Dance with Merce Cunningham
See Lectures/Talks/Dialogues listing above.

Bill T. Jones/Arnie Zane Dance Company

We Set Out Early . . . Visibility Was Poor
Saturday, September 26, 8 pm (Ticket prices to be determined)
Northrop Auditorium
For tickets, call the Northrop box office at 624-2345
Jones and his company Bill T. Jones/Arnie Zane Dance Company return to Minneapolis for a one-week residency that includes the presentation of the Midwest premiere of the company's newest evening-length work We Set Out Early . . . Visibility Was Poor, a visually stunning journey of pure dance, beauty, and contrast, and the possibilities and meaning of movement in the modern world. This riveting work includes set design by Bjorn Amelan, lighting by Robert Wierzel, music by Stravinsky, John Cage, and contemporary Latvian composer Peteris Vasks. Co-presented by Northrop Auditorium and the Walker Art Center as part of the 1998--1999 Discover Series.

Talking Dance with Bill T. Jones
See Lectures/Talks/Dialogues listing above.


Visit the Walker Web site for more information about the artists and their projects using dance and computers. View images from Merce Cunningham's notebooks and gain access to Life Forms the human-figure animation software that the artist has been composing dance sequences with for several years. Meredith Monk's wax installation in the Walker lobby will be chronicled on the Web site and Riverbed Productions' re-creation of the Keith Haring and Bill T. Jones collaboration is also featured with Haring's paintings and three-dimensional moving images of Jones dancing. See it all at /programs/apl/.

($) = ticket price for Walker members

Event tickets are available at the Walker box office or by calling (612) 375-7622 (voice); (612) 375-7585 (Telecommunications Device for the Deaf). Patrons with special needs are asked to call two weeks in advance.

The Walker Art Center is located one block off Highway I 94 at the corner of Lyndale Avenue South and Vineland Place in Minneapolis. For public information, call (612) 375-7622; TDD: 375-7585. Gallery hours: Tuesday, Wednesday, Friday, Saturday, 10 am 5 pm; Thursday, 10 am 8 pm; Sunday, 11 am 5 pm; closed Monday.

Gallery admission is $4 adults; $3 young adults 12 18, students with I.D., seniors, groups of 10 or more. Free to Walker members and children under 12, Free to all every Thursday and the first Saturday of each month. (Free First Saturdays are made possible by Coldwell Banker Burnet.)