He Gave Me Blues, I Gave Him Back Soul
In collaboration with Triple Canopy
A year to the day after Scaffold Room concluded its world premiere at the Walker, its creator, Ralph Lemon, returns for a “memory refraction” related to the work. A performance installation in the galleries, Scaffold Room fueled this conversation on curating performance between Lemon, Walker curator Philip Bither, and Sarah Michelson, whose work tournamento premiered Sept. 24 on the Walker stage.
A Culture Wars Chronicle
As identity politics made their way into galleries and museums in the ’80s and ’90s, social conservatives took note, lashing out at artists like Robert Mapplethorpe, Karen Finley, and Ron Athey for work that addressed sexuality, multiculturalism, and LGBT rights. Featuring many of these artists, the Walker found itself at the center of the conversation—and the controversies—that marked the Culture Wars.
Opening the Road Box
In the two years since the Walker acquired the Merce Cunningham Dance Company’s complete archive of sets, costumes, and performance objects, Cunningham Research Fellow Abigail Sebaly has been busy. She’s catalogued 3,443 costume pieces, helped with three research exhibitions, conducted some 40 interviews with Cunningham collaborators, and visited archives across the globe. Here she shares some of her finds.
Reverse Momentum: Reflecting on 10 Celebrations of New Dance
Since 2001, the Walker and the Southern Theater have been teaming up for Momentum: New Dance Works, a series of commissioned, half-evening-length works by Twin Cities–based emerging choreographers. To commemorate Momentum’s historic 10th edition this summer, we reached out to all 48 choreographers commissioned since the program’s inception to hear their reflections and see what they’re up to now.
A Performance Chronology
In the 1980s and 1990s, the Walker welcomed performing artists like Bill T. Jones, Karen Finley, and Ron Athey, whose work reflected concerns of the day. In conjunction with the exhibition This Will Have Been: Art, Love & Politics in the 1980s, John Killacky, performing arts curator from 1988 to 1996, shares his memories of Walker performances—and politics—of the era.