BEGIN:VCALENDAR VERSION:2.0 PRODID:-//PYVOBJECT//NONSGML Version 1//EN BEGIN:VEVENT UID:5788 DTSTART;VALUE=DATE:20110319 DTEND;VALUE=DATE:20140223 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. \n\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.\n\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:8345 DTSTART;VALUE=DATE:20110611 DTEND;VALUE=DATE:20120729 DESCRIPTION:“Who should room together in the world of contemporary art? Can a Russ Meyer photograph go to sleep in the same gallery as an Yves Kle in blue chip masterpiece?” Pop culture provocateur John Waters raises a host of questions in Absentee Landlord\, his devious and sometimes irrever ent curatorial intervention in the exhibition Event Horizon. Imagining the galleries as rental apartments\, Waters sets up relationships among nearl y 80 “roommate” artworks that may be friendly or belligerent\, unruly or reserved\, supportive or indifferent. In exploring the tensions and con nections among disparate works in the Walker’s wide-ranging collection\, Waters imbues his new role as curator with his trademark blend of subvers ion and insight.\n\nAbsentee Landlord features works from the Walker colle ction by Mike Kelley\, Carolee Schneeman\, Robert Gober\, Richard Artshwag er\, Jack Pierson\, Willem de Kooning\, Cindy Sherman\, Wolfgang Tillmans\ , Cameron Jamie\, Sturtevant\, and John Currin\, coexisting with several p ieces by Waters\, a widely exhibited visual artist himself\, and works by some of his favorite artists such as Gregory Green\, Ralph Eugene Meatyard \, and Karlheinz Weinberger. Additional interventions by Waters throughout the museum incorporate surprises into activities like parking the car\, c hecking in at the visitors’ desk\, or ordering food in the café. LOCATION:Galleries 1\, 2\, 3\n SUMMARY:Absentee Landlord TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2011/absentee-landlord END:VEVENT BEGIN:VEVENT UID:8532 DTSTART;VALUE=DATE:20111103 DTEND;VALUE=DATE:20120909 DESCRIPTION:The extraordinary partnership between two legendary artists is the foundation for this installation of backdrops\, props\, and costumes created for the Merce Cunningham Dance Company (MCDC). Merce Cunningham (1 919–2009) and Robert Rauschenberg (1925-2008)\, who repeatedly reshaped dance and visual art during their lengthy careers\, collaborated on over 2 0 dance works between 1954 and 1964\, a key period for both. Dance Works I features enormous curtains painted by Rauschenberg for one of Cunningham ’s dance pieces that frame other rarely seen works he made for the stage \, including large-scale sculptural objects that lend new perspective to h is famous “combines” of the 1950s. \n\nOver more than 60 years\, Cunni ngham not only expanded the parameters of dance but also transformed the r ole of the visual arts within them. The choreographer developed relationsh ips based on free-thinking experimentation and exchange with numerous lead ing artists\, often bringing them into the sphere of dance for the first t ime. Dance Works I showcases one of the richest examples of this collabora tive approach\, inaugurating a series of exhibitions exploring Cunningham ’s work with visual artists and drawing from the Walker’s 2011 acquisi tion of more than 150 works from the MCDC archive.\n\nCurator: Darsie Alex ander LOCATION:Walker Art Center SUMMARY:Dance Works I: Merce Cunningham / Robert Rauschenberg TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2011/dance-works-i-merce-cunningham- robert-rausche END:VEVENT BEGIN:VEVENT UID:5471 DTSTART;VALUE=DATE:20111215 DTEND;VALUE=DATE:20120708 DESCRIPTION:The Dance Works exhibitions explore the legendary collaboratio ns between choreographer Merce Cunningham and leading visual artists\, dra wing from the 2011 acquisition of more than 2\,000 objects from the Merce Cunningham Dance Company collection—the single largest acquisition of vi sual art in the Walker’s history. \nRio de Janeiro–based Ernesto Neto is a leading figure in the international contemporary art scene\, known fo r large-scale\, abstract sculptural environments that are influenced by th e human body and other living organisms. Neto created otheranimal\, a monu mental installation of suspended biomorphic forms above the dancers onstag e\, for Cunningham’s Views on Stage\, which premiered at the Edinburgh F estival Theatre in 2004. Made of translucent white fabric\, its elements w ere intended as a kind of blank canvas to be illuminated by colored lights . Visitors experience the work in the Perlman Gallery\, whose dramatically high ceilings approximate the fly space of a theater stage\, bringing vie wers into an otherworldly realm. A video excerpt of a performance of the d ance by the Merce Cunningham Dance Company accompanies the exhibition.\n\n Curator: Siri Engberg LOCATION:Perlman Gallery\n SUMMARY:Dance Works II: Merce Cunningham / Ernesto Neto TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2011/dance-works-ii-merce-cunningham -ernesto-neto-2 END:VEVENT BEGIN:VEVENT UID:10268 DTSTART;VALUE=DATE:20120225 DTEND;VALUE=DATE:20120527 DESCRIPTION:Is it real? Lifelike invites a close examination of artworks b ased on commonplace objects and situations\, which are startlingly realist ic\, often playful\, and sometimes surreal. This international group exhib ition features artists variously using scale\, unusual materials\, and sly contextual devices to reveal the manner in which their subjects’ “aut henticity” is manufactured. Avoiding the brand-name flashiness embraced by 1960s Pop and the slick urban scenes introduced at that time by the Pho torealists\, the artists in Lifelike investigate the quieter side of the q uotidian\, choosing potentially overlooked items or moments as subject mat ter: a paper bag\, an eraser\, an apple core\, a waiting room\, an afterno on nap. They also favor a handmade\, labor-intensive practice rather than technological enhancements. The resulting works—including painting\, scu lpture\, photography\, drawing\, and video—transform the ordinary into s omething beguiling\, loaded with narrative and metaphor\, and imbued with an arresting sense of humanity. \n\nLifelike showcases works from the late 1960s to the present by 55 artists\, including Vija Celmins\, Keith Edmie r\, Fischli and Weiss\, Robert Gober\, Alex Hay\, Kaz Oshiro\, Charles Ray \, Sam Taylor-Wood\, and Ai Weiwei. \nA Walker-produced catalogue accompan ies the exhibition. Featuring painting\, sculpture\, photography\, drawing \, video\, and installations by more than 50 artists\, Lifelike is the fir st publication to address the recent history of artists using these strate gies across media. With texts by Siri Engberg\, Josiah McElheny\, Michael Lobel\, and Rochelle Steiner. Softcover\, $40 ($36 Walker members).\nCurat or: Siri Engberg\n\nTour Schedule\n\nNew Orleans Museum of Art\nNovember 1 0\, 2012–January 27\, 2013\nMuseum of Contemporary Art\, San Diego\nFebr uary 24–May 26\, 2013\nBlanton Museum of Art\, University of Texas at Au stin\nJune 23–September 29\, 2013\n LOCATION:Target and Friedman Galleries SUMMARY:Lifelike TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2012/lifelike END:VEVENT BEGIN:VEVENT UID:10367 DTSTART;VALUE=DATE:20120531 DTEND;VALUE=DATE:20120902 DESCRIPTION:Minouk Lim engages with the arteries of city life—the street s—to create poignant artworks that speak to individual alienation amid S eoul’s rapid development. Merging performance\, video\, and documentary\ , the work of this Korean artist has been shown in increasingly wider circ les since she was awarded the Hermes Korea Art Prize in 2007 and the 1st M edia Art Korea Award in 2010. \n\nFor her first in-depth US solo museum e xhibition\, the Walker presents a trio of Lim’s large-scale video instal lations\, which grew out of her interest in capturing lost memories and th e collective unconscious. In New Town Ghost (2005)\, a slam poet with a me gaphone raps from the back of a truck as it drives through a “new town ” project in Seoul\, deriding its indifferent citizens. S.O.S—Adoptive Dissensus (2009) follows nighttime passengers on a Han River cruise boat who encounter performances staged along the riverbanks. An infrared camera records the warmth emanating from “pilgrims” traveling to restricted construction sites in The Weight of Hands (2010). \n\nAlong with these i mmersive multidisciplinary works\, which speak to the human cost of modern ization\, the exhibition includes a series of Lim’s wearable sculptures commissioned by the Walker. Using thermofoam\, a plastic sculpted by heat\ , and a variety of other synthetic and natural materials\, she conceived t hese works as protective\, totemic shields for use in an imagined apocalyp tic landscape. On the exhibition’s opening night\, Lim and Minneapolis-b ased dancer/choreographer Emily Johnson will incorporate the works in a pe rformance based around themes of nature\, myth\, and civilization.\nCurato r: Clara Kim LOCATION:Burnet Gallery SUMMARY:Minouk Lim: Heat of Shadows TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2012/minouk-lim END:VEVENT BEGIN:VEVENT UID:10403 DTSTART;VALUE=DATE:20120630 DTEND;VALUE=DATE:20120930 DESCRIPTION:Throughout the 1980s\, a series of ruptures permanently change d the character of the art world. Art veered between radical and conservat ive\, capricious and political\, socially engaged and art-historically awa re. Even as Reaganomics dramatically expanded art as a luxury commodity\, postmodernism further challenged the very status of representation and shi fted artists’ sense of their role in society. This Will Have Been: Art\, Love &\; Politics in the 1980s surveys these and other developments wi th more than 100 works\, including paintings\, sculpture\, photography\, v ideo\, audio\, works on paper\, and documentary material by some 80 artist s.\nFour sections bring together competing factions of this transformative decade. "The End Is Near" explores the end of painting\, the end of the c ounterculture\, and the end of history. "Democracy" focuses on artists’ work in the street and their burgeoning awareness and exploitation of mass media\, as well as a broader commitment to the political and the increase d prominence of Central American artists and artists of color. "Gender Tro uble" shows work evolving out of 1970s feminism\, expanding gender roles a nd addressing new ideas about sexuality and the human figure in art. "Desi re and Longing" presents the art of appropriation in relation to the growi ng visibility of queer culture sparked by the AIDS crisis.\nIn deliberatel y crossing these themes\, this contentious exhibition counters the cynicis m and irony with which art of this period is sometimes viewed. It presents a vivid portrait of artists struggling with their wants\, needs\, and des ires in an era of political and aesthetic urgency—and situates our conte mporary moment within the history of art of the recent past.\nA comprehens ive catalogue\, featuring essays by exhibition curator Helen Molesworth an d art historians Kobena Mercer\, Frazer Ward\, and Johanna Burton\, accomp anies the exhibition.\nCurator: Helen Molesworth\, chief curator\, Institu te of Contemporary Art\, Boston\nWalker coordinating curator: Bartholomew Ryan\nTour Schedule\n\n\nMuseum of Contemporary Art\, Chicago\nFebruary 11 –June 3\, 2012\n\n\nWalker Art Center\, Minneapolis \nJune 30–Septembe r 30\, 2012\n\n\nInstitute of Contemporary Art\, Boston \nOctober 26\, 201 2–January 27\, 2013\n\n LOCATION:Target and Friedman Galleries\n SUMMARY:This Will Have Been: Art\, Love &\; Politics in the 1980s TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2012/this-will-have-been-art-love-po litics-in-the END:VEVENT BEGIN:VEVENT UID:10580 DTSTART;VALUE=DATE:20120906 DTEND;VALUE=DATE:20150104 DESCRIPTION:The year 1989 signaled a seismic shift in the international ge opolitical landscape. This exhibition showcases a range of works from the Walker’s collection from the 1990s to the present\, including sculpture\ , paintings\, photography\, drawings\, multiples\, and installations. \n\ nCurators: Siri Engberg and Clara Kim LOCATION:Galleries 1\, 2\, 3\, and Perlman 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:10489 DTSTART;VALUE=DATE:20120920 DTEND;VALUE=DATE:20130106 DESCRIPTION:This dynamic show illuminates the gallery with groundbreaking works by artists who defined American avant-garde film from the 1950s to 1 980s. A number of these are part of a special gift made in 2004 by Sally D ixon\, one of the first film curators in the United States. During the 196 0s\, Dixon exhibited pioneering experimental works by the likes of Stan Br akhage\, Robert Breer\, and Kenneth Anger at Pittsburgh’s Carnegie Museu m of Art\, and also helped many moving-image artists in producing new film s. In turn\, many of them gave her celluloid prints as gifts\, which are n ow part of the Walker’s Ruben/Bentson Film and Video Study Collection. I n presenting more than 30 of these films—both as large projections and w ithin two interactive\, contained screening areas—the exhibition Unwrapp ing History allows viewers to make connections among artists from a pivota l era in cinema. \n\nCurator: Sheryl Mousley LOCATION:Burnet Gallery\n SUMMARY:Unwrapping History: Films from the Collection TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2012/unwrapping-history-films-from-t he-collection END:VEVENT BEGIN:VEVENT UID:10581 DTSTART;VALUE=DATE:20120920 DTEND;VALUE=DATE:20130106 DESCRIPTION:American cinema changed dramatically over the course of the 19 60s\, during which time the scope\, shape\, and content of film was rigoro usly challenged. Eager to break away from the domination of narrative feat ures of this period\, film artists used fresh\, renegade styles to explore both the structure of edited composition and the lyrical nature of cellul oid images. \n\nThis dynamic exhibition features Bruce Conner’s THREE S CREEN RAY (2006)\, comprised of imagery from his films COSMIC RAY (1961) a nd EVE-RAY-FOREVER (1965)\, along with other significant works such as Bru ce Baillie's Castro Street (1966)\, Hollis Frampton’s Lemon (1969)\, and Ernie Gehr’s Serene Velocity (1970). \n\nCurator: Sheryl Mousley LOCATION:Burnet Gallery\n SUMMARY:The Renegades: American Avant-Garde Film\, 1960–1973 TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2012/the-renegades-american-avant-ga rde-film-1960 END:VEVENT BEGIN:VEVENT UID:10443 DTSTART;VALUE=DATE:20121004 DTEND;VALUE=DATE:20130324 DESCRIPTION:Focusing on the extraordinary costumes that Comme des Garçons founder Rei Kawakubo created for Merce Cunningham’s 1997 dance Scenario \, this exhibition explores the collaboration between the Japanese fashion designer and the legendary choreographer. The show is the third in a seri es showcasing the Walker’s Merce Cunningham Dance Company Collection—t he single largest acquisition of visual art in the Walker’s history. \n\ nCurator: Betsy Carpenter LOCATION:Medtronic Gallery\n SUMMARY:Dance Works III: Merce Cunningham / Rei Kawakubo TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2012/dance-works-iii-merce-cunningha m-rei-kawakubo END:VEVENT BEGIN:VEVENT UID:10444 DTSTART;VALUE=DATE:20121110 DTEND;VALUE=DATE:20130217 DESCRIPTION:Cindy Sherman has assumed countless roles over the course of h er 35-year career\, becoming recognized in the process as one of the most important and influential figures in contemporary art. Mining a limitless supply of images from movies\, TV\, magazines\, the Internet\, and art his tory\, she captures herself in an astounding range of guises and personas —from screen siren to clown to aging socialite—in work that is by turn s amusing and disturbing\, distasteful and affecting. Besides model and ph otographer\, she also acts as makeup artist\, hairdresser\, stylist\, and wardrobe mistress\, working with an arsenal of wigs\, costumes\, prostheti cs\, and props in creating her work. The resulting images offer a sustaine d\, eloquent\, and provocative exploration of the construction of contempo rary identity and the nature of representation.\nFeaturing more than 170 p hotographs\, the exhibition Cindy Sherman traces the artist’s career fro m the mid-1970s to the present and covers dominant themes such as artifice and fiction\; cinema and performance\; gender and class\; horror and the grotesque\; and myth\, carnival\, and fairy tale. As her first retrospecti ve in a US museum in 15 years\, the show features in-depth selections from her key series\, including the groundbreaking Untitled Film Stills (1977 –1980)\; the ornate history portraits (1989–1990)\; the larger-than-li fe society portraits (2008)\; and her newest work\, a series of photograph ic murals (2010).\nA major catalogue accompanies the exhibition. \n\nCurat or: Eva Respini\, associate curator\, with Lucy Gallun\, curatorial assist ant\, Museum of Modern Art\, New York \n\nWalker coordinating curator: Sir i Engberg LOCATION:Target and Friedman Galleries\n SUMMARY:Cindy Sherman TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2012/cindy-sherman END:VEVENT BEGIN:VEVENT UID:10600 DTSTART;VALUE=DATE:20130202 DTEND;VALUE=DATE:20130630 DESCRIPTION:In a world where artists may work as free agents without oblig ation to medium\, why choose the materials of painting? What does it mean for an artist to assume the role of painter today? And what’s at stake f or a new generation? This Walker-organized touring exhibition\, which feat ures new works by some 15 artists from the United States and Europe\, surv eys recent developments in painting and considers new directions in studio practice\, reflecting on the ever-shifting role of the painter in contemp orary art and culture. \n\nCurators: Eric Crosby and Bartholomew Ryan LOCATION:Burnet Gallery\n SUMMARY:Painter Painter TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2013/painter-painter END:VEVENT BEGIN:VEVENT UID:10603 DTSTART;VALUE=DATE:20130323 DTEND;VALUE=DATE:20130818 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 City. Over the past 20 years\, he has developed a riveting body of work that investigates what he calls autoconstrucción (or self-construct ion). While his work has been actively presented throughout Mexico and Eur ope\, the artist’s exposure in the United States still remains limited. \n\nThis is the first contextual presentation and catalogue to shed ligh t on Cruzvillegas’ unique vision and multifaceted practice. The exhibiti on will feature 30 to 35 individual sculptures and installations\, along w ith the artist's recent experiments in video\, film\, and performance. \ n\nCurator: Clara Kim LOCATION:Target and Friedman Galleries\n SUMMARY:Abraham Cruzvillegas TRANSP:TRANSPARENT URL:http://www.walkerart.org/calendar/2013/abraham-cruzvillegas 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 END:VCALENDAR