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BEGIN:VEVENT
UID:5788
DTSTART;VALUE=DATE:20110319
DTEND;VALUE=DATE:20140803
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DESCRIPTION:Dreams\, fantasies\, visions\, and meditations have given rise
  to some of the most remarkable art made over the past century. Midnight P
 arty\, named for the fanciful 1938 film by Joseph Cornell that is a corner
 stone of the exhibition\, explores a fantastic range of highly subjective 
 reflections on the world\, from the psychologically charged portraits of E
 rnst Ludwig Kirchner to the transcendent\, luminous paintings of Abstract 
 Expressionist Mark Rothko to the surreal multimedia works of contemporary 
 artist Matthew Barney.   \nDrawn mainly from the Walker’s permanent coll
 ection\, some 150 paintings\, sculptures\, drawings\, prints\, photographs
 \, and films are displayed in evocative tableaux that animate the driving 
 concerns of the artworks. For example\, mid-20th century abstractions by C
 lyfford Still\, Mark Rothko and Morris Louis are shown alongside Bruce Con
 ner’s exquisite final film Easter Morning from 2008\, probing the psychi
 c space between matter and spirit. The galleries are transformed into inti
 mate spaces through the use of color\, and furniture\, including a mock 
 “cabinet of curiosities” and a room devoted to a changing selection of
  prints and drawings. Among the more than 100 artists included in the show
  are Lee Bontecou\, Sherrie Levine\, Joan Miró\, Man Ray\, Robert Mallary
 \, Yayoi Kusama\, Louise Nevelson\, Susan Rothenberg\, Marsden Hartley\, K
 iki Smith\, Guy Maddin\, Robert Gober\, Willem de Kooning\, Grace Hartigan
 \, Nari Ward\, and Sigmar Polke.  \nGuest Curator: Joan Rothfuss
LOCATION:Galleries 4\, 5\, 6\n
SUMMARY:Midnight Party
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2011/midnight-party
END:VEVENT
BEGIN:VEVENT
UID:10580
DTSTART;VALUE=DATE:20120906
DTEND;VALUE=DATE:20130811
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DESCRIPTION:The end of the 1980s signaled a seismic shift in our geopoliti
 cal landscape. In 1989\, we witnessed the fall of the Berlin Wall and the 
 dismantling of the Cold War political order as well as the quashing of the
  democratic movement at Tiananmen Square in Beijing. These and other unpre
 cedented global events ushered in a period of change and contradiction as 
 ideologies radically realigned and systems of power\, culture\, and commer
 ce became more integrated. Concurrently\, the art world responded to this 
 fluctuating terrain by reassessing its centers of knowledge and opening it
 self to a more international perspective on cultural production.   \nAt th
 e same time\, the battles of the decade’s “culture wars” culminated 
 in the highly politicized 1989 onslaught against the National Endowment fo
 r the Arts. The reverberations of this could be seen in the work of emergi
 ng artists\, many of whom brought identity\, politics\, and activism to th
 e forefront of their practice. This exhibition takes this charged moment a
 s a point of departure\, assembling a range of pieces from the Walker Art 
 Center’s collection\, including painting\, sculpture\, large-scale insta
 llations\, photography\, drawings\, and editioned works.\nWhile offering a
  glimpse into the changing nature of art produced in this context\, the ex
 hibition also chronicles the Walker’s recent collecting practice. In 198
 9\, the establishment of an endowment specifically for contemporary art en
 abled curators to increase their focus on the work of young practitioners\
 , international developments\, and artists working between disciplines. Mo
 ving forward\, the Walker continued its practice of charting artists‘ ca
 reers and activities by acquiring works not only through traditional avenu
 es but also from exhibitions\, residencies\, and commissions.\nThe Living 
 Years is presented as an evolving installation\, periodically introducing 
 alternate works\, recent acquisitions\, and new means of interpretation. W
 hen viewed against the social and political backdrop of the past two decad
 es\, the exhibition aims to reexamine the art of our time. These “living
  years” are a work in progress\, as the histories that we have inherited
 —and the ongoing narratives that artists construct through them—remain
  to be fully played out.     \nCurators: Siri Engberg and Clara Kim       
  
LOCATION:Galleries 1\, 2\, 3\n
SUMMARY:The Living Years: Art after 1989
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2012/the-living-years-art-after-1989
END:VEVENT
BEGIN:VEVENT
UID:10600
DTSTART;VALUE=DATE:20130202
DTEND;VALUE=DATE:20131027
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DESCRIPTION:\nAt a time when artists may work without obligation to medium
 \, why choose the materials of painting? What does it mean for an artist t
 o assume the role of painter today? And just what is at stake for a new ge
 neration committed to painting? \n\nPainter Painter presents new work by 1
 5 artists from the US and Europe in a focused survey of emergent developme
 nts in abstract painting and studio practice. With an expanded series of p
 ublic programs\, it also considers the ever-shifting role of the painter i
 n contemporary art and culture\, which remains as fluid as the medium itse
 lf. \nThe exhibition posits abstract painting today as a means\, not an en
 d. For these artists\, painting is a generative process—one that is root
 ed in the studio yet open and receptive to the world. Here new languages o
 f abstraction and eccentric methods of making are freely pursued\, crossin
 g paths with sculpture\, poetry\, film\, music\, performance\, design\, pu
 blishing\, craft\, and fashion. Thus painting becomes a conduit—a way to
  make contact beyond the closed frame of their formal invention. \nThe Wal
 ker’s first group painting show in more than a decade\, the exhibition f
 eatures Matt Connors\, Sarah Crowner\, Fergus Feehily\, Jay Heikes\, Rosy 
 Keyser\, Charles Mayton\, Dianna Molzan\, Joseph Montgomery\, Katy Moran\,
  Alex Olson\, Scott Olson\, Zak Prekop\, Dominik Sittig\, Lesley Vance\, a
 nd Molly Zuckerman-Hartung.\nAs a complement to the exhibition\, a series 
 of studio visits with the artists offers an open-ended look at their inter
 ests and working methods. The online Studio Sessions—a collection of dia
 logues\, texts\, and visual essays—are as varied in approach as the work
  of the artists themselves.\nExhibition co-curators: Eric Crosby and Barth
 olomew Ryan
LOCATION:Burnet Gallery\n
SUMMARY:Painter Painter
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2013/painter-painter
END:VEVENT
BEGIN:VEVENT
UID:10752
DTSTART;VALUE=DATE:20130323
DTEND;VALUE=DATE:20130922
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DESCRIPTION:Abraham Cruzvillegas (b. 1968) is one of the most important co
 nceptual artists of his generation to come out of the vibrant art scene in
  Mexico. Over the past 10 years\, Cruzvillegas has developed a riveting bo
 dy of work that investigates what he calls autoconstrucción\, or "self-co
 nstruction.”\nInformed by the sociopolitical contexts of Latin America\,
  Cruzvillegas has garnered much attention for his dynamic assemblage sculp
 tures made of found objects. Interested in improvised building materials a
 nd techniques\, he roots his sculptural practice within the urban landscap
 e of his childhood home in Ajusco\, a district in the south of Mexico City
 . To this day\, Ajusco’s landscape of volcanic rock remains a work in pr
 ocess\, with structures in a constant state of transformation as additions
  are made when materials become available and necessity dictates. This way
  of constructing has become the basis of Cruzvillegas' own thinking and me
 thodology\, while operating as a rich metaphor for the articulation of ind
 ividual identity and place.\nFeaturing 30 to 35 individual sculptures and 
 installations\, along with his recent experiments in video\, film\, and pe
 rformance\, Abraham Cruzvillegas: The Autoconstrucción Suites is the firs
 t major presentation to shed light on the artist's unique vision and multi
 faceted practice.     \nA major catalogue accompanies the exhibition.  \nW
 alker curator: Clara Kim \nTour Schedule\n\nWalker Art Center\, Minneapoli
 s\, MN (March 23–September 22\, 2013) \nHaus der Kunst\, Munich (January
  24–May 4\, 2014)   \nFundación/Colección Jumex\, Mexico City (October
  9\, 2014–February 2\, 2015)    \nMuseo Amparo\, Puebla\, Mexico (Octobe
 r 11\, 2014–February 2\, 2015)  \n
LOCATION:Target and Friedman Galleries\n
SUMMARY:Abraham Cruzvillegas: The Autoconstrucción Suites
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2013/abraham-cruzvillegas-autoconstr
 uccion-suites
END:VEVENT
BEGIN:VEVENT
UID:10604
DTSTART;VALUE=DATE:20130418
DTEND;VALUE=DATE:20130714
DESCRIPTION:The Museum of Non-Participation is an ongoing research project
  and fictional museum by London-based artists Karen Mirza and Brad Butler 
 that investigates the concept of nonparticipation. For the duo\, the term 
 becomes a useful device for questioning and challenging current conditions
  of political involvement and resistance. Provocatively using the prefix o
 f “non” to open up the threshold between complicity and indifference\,
  they ask: how does one participate in or withdraw from political realitie
 s individually and collectively? What social spaces support or deter such 
 actions? And how can art represent\, facilitate\, or intervene this proces
 s? \nMade up of an itinerant and diverse collection of film\, sound\, text
 \, and performance by the artists and their collaborators\, the Walker-org
 anized exhibition serves as the conceptual platform from which to address 
 these questions. This presentation marks the U.S. debut of the artists' on
 going project. \nCurator: Yesomi Umolu 
LOCATION:Medtronic Gallery\n
SUMMARY:The Museum of Non-Participation: A Project by Mirza/Butler
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2013/the-museum-of-non-participation
 -a-project-by
END:VEVENT
BEGIN:VEVENT
UID:10753
DTSTART;VALUE=DATE:20130418
DTEND;VALUE=DATE:20130714
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DESCRIPTION:The Museum of Non Participation is a fictional museum by Londo
 n-based artists Karen Mirza and Brad Butler. For the duo\, the term  “no
 n participation” is a useful device for questioning and challenging curr
 ent conditions of political involvement and resistance. How does one parti
 cipate in or withdraw from political realities\, individually and collecti
 vely? What social spaces support or deter such actions? And how can art re
 present\, facilitate\, or intervene in this process? Made up of film\, sou
 nd\, text\, and performed actions\, The Museum of Non Participation serves
  as the conceptual platform from which to address these questions. \nFor t
 he US debut of this ongoing project\, Mirza and Butler transform the Walke
 r’s Medtronic Gallery into a multilayered installation and evolving soci
 al space that interrogates the shifting allegiances\, contracts\, and “n
 ew deals” between nation states and their citizens. A selection of video
  works highlights the precarious nature of this relationship as witnessed 
 through significant geopolitical events\, from the Lawyers Movement protes
 ts in Pakistan to the Arab Spring and widespread austerity rallies in Euro
 pe. \nIncorporated as a central feature of the exhibition\, a live product
 ion set serves as the backdrop for the artists and members of the Twin Cit
 es community to workshop\, rehearse\, and stage one of Bertolt Brecht’s 
 short “learning plays”—The Exception and the Rule\, a tale of corrup
 tion\, exploitation\, and injustice.   \nA program of informal public conv
 ersations and commissioned texts for the Walker’s website further animat
 e the exhibition.     \nCurators: Yesomi Umolu\, with Susy Bielak   
LOCATION:Medtronic Gallery\n
SUMMARY:The Museum of Non Participation: The New Deal
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2013/museum-non-participation-new-de
 al
END:VEVENT
BEGIN:VEVENT
UID:10772
DTSTART;VALUE=DATE:20130511
DTEND;VALUE=DATE:20131124
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DESCRIPTION:\nHow do we make ourselves at home in the city? What does it m
 ean to grow and harvest our own food and resourcefully and artfully make o
 urselves at home? \n\nThese are some of the questions explored by Fritz Ha
 eg\, artist-in-residence at the Walker in association with the Minneapolis
  Sculpture Garden’s 25th anniversary. Haeg’s practice spans a range of
  disciplines—architecture\, performance\, design\, education\, gardening
 \, and ecology—and includes projects as varied as public dances\, urban 
 parades\, temporary encampments\, edible gardens\, videos\, and publicatio
 ns. He often creates environments that respond to particular places\, work
 ing in collaboration with local residents and groups. Through a new series
  of projects\, the artist will work with the Twin Cities community on gard
 ens\, events\, and installations that collectively reimagine our everyday 
 relationships to the land\, the home\, the city\, and each other.    \nThe
  residency launches in May 2013 with Edible Estate #15\, the last edition 
 of Haeg’s ongoing initiative to replace the suburban front lawn with hig
 hly visible productive gardens. Through an open call for participants to b
 e held in late January 2013\, one local household will be selected to work
  with the artist\, neighbors\, friends\, and volunteers to transform their
  yard into an organic edible garden.\nIn the Minneapolis Sculpture Garden\
 , he will establish Foraging Circle (May–October 2013)\, a newly planted
  area of wild plants native to Minnesota. Situated at the center of this g
 arden\, one of Haeg’s geodesic dome structures will serve as a headquart
 ers for public workshops\, conversations\, meals\, and events related to l
 ocal gardening\, food production\, and urban farming.  \nThe project culmi
 nates with Domestic Integrities A05 (August 8–November 24\, 2013)\, an e
 xhibition in the Medtronic Gallery of new work that explores local pattern
 s and rituals of domestic interior landscapes. This ongoing series examine
 s ways in which gardens and landscapes are harvested and brought into the 
 home. The centerpiece of the installation is a large crocheted rug nearly 
 30 feet in diameter\, made by participants on-site. The space will host we
 ekly rotations of what the artist refers to as “Domestic Integrities”
 —activities and items based on or made with materials gathered from thei
 r environment\, from pickled vegetables and baked bread to herbal arrangem
 ents and homemade remedies.      \nCurators: Sarah Schultz and Eric Crosby
     
LOCATION:Minneapolis Sculpture Garden/Medtronic Gallery
SUMMARY:Fritz Haeg: At Home in the City 
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2013/fritz-haeg-home-city
END:VEVENT
BEGIN:VEVENT
UID:10996
DTSTART;VALUE=DATE:20130808
DTEND;VALUE=DATE:20131124
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DESCRIPTION:Walker artist-in-residence Fritz Haeg presents Domestic Integr
 ities A05\, the next iteration of an ongoing series that examines ways in 
 which gardens and landscapes are harvested and brought into the home. The 
 centerpiece of the installation is a large crocheted rug nearly 30 feet in
  diameter\, made by participants on-site. The space will host weekly rotat
 ions of what the artist refers to as “Domestic Integrities”—activiti
 es and items based on or made with materials gathered from their environme
 nt\, from pickled vegetables and baked bread to herbal arrangements and ho
 memade remedies. Some remain on display for weeks while others change dail
 y\, but there is always something fresh from the land to drink\, taste\, s
 mell\, and touch. \nCurators: Sarah Schultz and Eric Crosby    \nBe Part o
 f the Exhibition\nIf you live in the Twin Cities metro area and have an ed
 ible garden in your front yard\, take a picture and e-mail it to ecp.inter
 n@walkerart.org along with your name (optional)\, your location\, and a br
 ief description of what you’re growing. Your photo and information will 
 be included in the exhibition.   
LOCATION:Medtronic Gallery\n
SUMMARY:Fritz Haeg: At Home in the City
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2013/fritz-haeg-at-home-in-the-city
END:VEVENT
BEGIN:VEVENT
UID:10754
DTSTART;VALUE=DATE:20130922
DTEND;VALUE=DATE:20140112
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DESCRIPTION:This is the largest exhibition to date to focus on the early w
 ork of one of Pop’s most widely admired artists. Bringing together nearl
 y 300 pieces from collections around the world\, Claes Oldenburg: The Sixt
 ies showcases a broad range of the artist’s sculptures—including prize
 d works from the Walker Art Center’s collection such as Upside Down City
  (1962) and Shoestring Potatoes Spilling from a Bag (1966). The show also 
 highlights Oldenburg's key role in Happenings and other interdisciplinary 
 performance art of the early 1960s. \nThe exhibition presents several majo
 r bodies of work from Oldenburg’s formative years. A section he designat
 ed The Street features a graffiti-inspired installation focused on the und
 erbelly of urban life\; works from The Store include his celebrated sculpt
 ures of food and everyday goods. Film footage from various Happenings\, wh
 ich combined performance with many of these sculptural objects\, costumes\
 , and props\, brings audiences into the action of the moment. An area enti
 tled The Home is devoted to sculptures of large-scale domestic objects cre
 ated in “soft\,” “hard\,” and other versions. The Monument shows t
 he development of huge public sculptures in drawings and collages from the
  mid-’60s. \nThe show culminates with a rare presentation of Mouse Museu
 m and Ray Gun Wing\, walk-in structures housing found objects collected by
  the artist\, demonstrating the incredible variety—and mystery—of cons
 umer culture. \nOther highlights specific to the Walker's presentation inc
 lude a section centered on Claes Oldenburg and Coosje van Bruggen’s monu
 mental Spoonbridge and Cherry (1985–1988)\, the now-iconic fountain scul
 pture commissioned for the Minneapolis Sculpture Garden. \nThroughout the 
 galleries\, sketches\, snapshots\, home movies\, and slide projections giv
 e insight into the mind\, heart\, and creative process of an artist known 
 for his humorous and profound depictions of the everyday.\nA major catalog
 ue accompanies the exhibition.\nOrganizing curator: Achim Hochdörfer\, MU
 MOK (Museum Moderner Kunst Stiftung Ludwig)\, Vienna\nWalker coordinating 
 curator: Siri Engberg   
LOCATION:Galleries 1\, 2\, 3\, and the Perlman Gallery
SUMMARY:Claes Oldenburg: The Sixties
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2013/claes-oldenburg-sixties
END:VEVENT
BEGIN:VEVENT
UID:10755
DTSTART;VALUE=DATE:20131024
DTEND;VALUE=DATE:20140216
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DESCRIPTION:9 Artists takes place in a contemporary moment that lacks the 
 apparent clarity of the past. Nevertheless\, the exhibition attempts to ga
 lvanize a temporary canon—to pretend the artists included constitute a m
 ovement\, while recognizing the improbability of their actually doing so. 
    \nThe show includes some of the most engaged and provocative artists wo
 rking today. Rarely considered together\, they each use their own backgrou
 nds or identities as material\, frequently in antagonistic or subversive w
 ays. The artists follow individual and subjective tenets\, and are less th
 an amenable to being captured within a catch-all frame. They use a variety
  of strategies—from deep satire\, nihilism\, and a determined opacity to
  provocation\, humor\, and aesthetics of mediation—to avoid ideological 
 positioning. Their loyalty is to the individual\, but not the individual w
 ho exists in splendid isolation—rather one who acts within a community\,
  even if this community has yet to be invented. \nArtists include: Yael Ba
 rtana (b. Israel\, lives and works in Berlin)\, Liam Gillick (b. England\,
  lives and works in New York)\, Natascha Sadr Haghighian (see bioswop.net)
 \, Renzo Martens (b. the Netherlands\, lives and works in Brussels and Kin
 shasa)\, Bjarne Melgaard (b. Australia\, lives and works in New York)\, N
 ástio Mosquito (b. Angola\, lives and works in Luanda)\, Hito Steyerl (b.
  Germany\, lives and works in Berlin)\, and Danh Vo (b. South Vietnam\, li
 ves and works in Basel).\nA catalogue accompanies the exhibition.   \nWalk
 er curator: Bartholomew Ryan   
LOCATION:Target and Friedman Galleries\n
SUMMARY:9 Artists
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2013/9-artists
END:VEVENT
BEGIN:VEVENT
UID:10939
DTSTART;VALUE=DATE:20131121
DTEND;VALUE=DATE:20140518
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DESCRIPTION:Yto Barrada (b. 1971\; lives and works in New York and Tangier
 ) combines the strategies of documentary with a metaphoric approach to ima
 gery in her photographic\, film\, and sculptural work. Her artistic practi
 ce also involves engaging her local community with its own cultural histor
 y\, most visibly by the renovation of a 1930s movie palace in the heart of
  Tangier. In 2006\, Barrada reenergized the abandoned structure in the cit
 y’s famed Casbah district as a way to engage with the collective memory 
 and material history of Tangier. Cinéma Rif\, as the theater is named\, w
 as brought to life as both a cultural center and a place to discover the f
 ilms and remarkable history of filmmaking in Morocco.  \nAn Album: Cinéma
 thèque Tangier\, a project by Yto Barrada includes films\, artworks\, and
  artifacts that speak to the artist’s connection with the social and pol
 itical realities that shape her hometown. In the gallery\, screenings of s
 hort works from the cinémathèque’s archive show Tangier as it has been
  imagined only through movies. Sculptures by Barrada—Palm Sign and a set
  of dioramas that depict cinemas during the heyday of grand theaters—are
  presented with her film Hand-Me-Downs (2011)\, a montage of Super-8 home 
 movies from the 1960s. Artist-commissioned and official film posters showi
 ng the romantic Tangier of film legend are also on view. Together\, these 
 elements create a kind of album that portrays Morocco’s rich and complex
  visual and cinematic culture.\nCurators: Sheryl Mousley with Clara Kim
LOCATION:Burnet Gallery\n
SUMMARY:An Album: Cinémathèque Tangier\, a project by Yto Barrada
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2013/cinematheque-tangiers
END:VEVENT
BEGIN:VEVENT
UID:10817
DTSTART;VALUE=DATE:20140215
DTEND;VALUE=DATE:20140511
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DESCRIPTION:American artist Jim Hodges is known for his singular ability t
 o infuse emotion and narrative into the objects of our daily lives\, creat
 ing poignant studies on ideas such as temporality\, life\, and love. This 
 is the first comprehensive survey to be organized in the United States on 
 the work of the New York–based artist. Featuring some 75 pieces produced
  from 1987 through the present\, the show brings together photography\, dr
 awing\, works on paper\, and objects rendered in mirror\, light bulbs\, si
 lk flowers\, and glass alongside several major room-size installations. \n
 Since the late 1980s\, Hodges’ poetic reconsiderations of the material w
 orld have inspired a wide-ranging body of work. From the delicate nature o
 f early wall sculptures—including Diary of Flowers (1994)\, composed wit
 h hundreds of doodled paper napkins\, and Changing Things (1997)\, made fr
 om disassembled silk flowers pinned to the wall—to the large cut-paper p
 hotographs of flowering trees\, gold-leafed newspaper pages\, and light-fi
 lled mirror mosaics of the past decade\, Hodges’ art typically begins as
  humble\, even overlooked materials that are transformed through his touch
 . These acts of subtle transmutation\, which have a relationship to sculpt
 ure as well as drawing\, elevate his pieces to other levels of interpretat
 ion and meaning.\nA major and highly visible new work on the Walker campus
 \, Hodges’ Untitled (2011) was commissioned in conjunction with the Minn
 eapolis Sculpture Garden's 25th anniversary in 2012. A shimmering presence
  on the grassy hillside\, the sculpture is comprised of four 400-million-y
 ear-old boulders clad in vibrant colored steel that generates an entrancin
 g play of light and color\, weight and buoyancy. \nA major catalogue accom
 panies the exhibition.\nCurators: Olga Viso\, Executive Director\, Walker 
 Art Center\; Jeffrey Grove\, Hoffman Family Senior Curator of Contemporary
  Art\, Dallas Museum of Art        \nTour Schedule\n\nDallas Museum of Art
 \, Dallas\, TX (October 6\, 2013–January 12\, 2014)    \nWalker Art Cent
 er\, Minneapolis\, MN (February 15–May 11\, 2014)    \nInstitute of Cont
 emporary Art\, Boston\, MA (June 3–September 1\, 2014)    \nUCLA Hammer 
 Museum\, Los Angeles\, CA (October 5\, 2014–January 2015)    \n
LOCATION:Galleries 1\, 2\, 3\, and the Perlman Gallery
SUMMARY:Jim Hodges
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2014/jim-hodges
END:VEVENT
BEGIN:VEVENT
UID:10913
DTSTART;VALUE=DATE:20140315
DTEND;VALUE=DATE:20140622
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DESCRIPTION:Hopper Drawing is the first major museum exhibition to focus o
 n the drawings and creative process of Edward Hopper (1882–1967). More t
 han anything else\, Hopper’s drawings reveal the continually evolving re
 lationship between observation and invention in the artist’s work\, and 
 his abiding interest in the spaces and motifs—the street\, the movie the
 ater\, the office\, the bedroom\, the road—that he would return to throu
 ghout his career as an artist.   \nThis exhibition\, organized by the Whit
 ney Museum of American Art\, showcases drawings bequeathed to the museum b
 y the artist's widow Josephine Hopper\, many of which have never before be
 en exhibited or researched. The show  surveys Hopper’s significant and u
 nderappreciated achievements as a draftsman\, and will pair many of his gr
 eatest oil paintings—including Office at Night (1940)\, an important pie
 ce from the Walker Art Center's collection--with their preparatory drawing
 s and related works. The exhibition also features groundbreaking archival 
 research into the buildings\, spaces\, and urban environments that inspire
 d his work.
LOCATION:Target and Friedman Galleries\n
SUMMARY:Hopper Drawing
TRANSP:TRANSPARENT
URL:http://www.walkerart.org/calendar/2014/hopper-drawing
END:VEVENT
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