Come in from the cold and see some art: Free gallery admission now through February 7.
Finding the Door: The Quay Brothers’ Street of Crocodiles
“I would call it more of an ordeal than a viewing,” recalls Tom Schroeder of his first exposure, in 1987, to the Quay Brothers. That first experience with Street of Crocodiles, as he recounts here, involved crying, shortness of breath, and, ultimately, the discovery of a secret doorway to a new career as an animator with a clear vision.
Todd Haynes: Modern Cinema’s Great Plastician
Todd Haynes is a grown man who plays with dolls, and American movies are immeasurably the richer because of it. For Haynes—whose films include Far From Heaven (1995), Velvet Goldmine (1998), Safe (2002), and Carol (2015)—is the great plastician of the modern cinema, modeling an elaborate simulacrum of the American experience out of the seeming ephemera of pop music and suburban domesticity.
“Pop Cinema at Its Best Pop”: George Kuchar’s Hold Me While I’m Naked
“Here is the most macabre sense of humor at work,” wrote Jonas Mekas in 1964, introducing young filmmakers George and Mike Kuchar to Village Voice readers. “Here is the Pop Cinema at its best pop… Here are banality and corniness transposed into their grotesque opposites.” Critic and International Pop Cinema curator Ed Halter looks at the Pop sensibilities in George Kuchar’s Hold Me While I’m Naked (1966).
Light and Freedom: William Klein’s Pop Politics
Of his first film, a study of illuminated advertising signs in New York City, William Klein remarked, “I think it’s the first Pop film.” Critic and curator Ed Halter examines the Pop resonances in Klein’s work, from the beauty and the “brain-washing” quality of Times Square signage in Broadway by Light (1958) to the politically charged Vietnam-era satire Mr. Freedom.
Christopher Nolan: A Practical Magician of Modern Movies
A master of misdirection, director Christopher Nolan seems to methodically tell us what he’s doing, only to blindside us with his astonishing narrative reveals and reversals. Watch films like Memento, Batman Begins, and Inception with a concentrated gaze, and somehow he still manages to pull the rug out from under you—or, he leaves the rug in place but pulls out the room instead.
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.
Joan Rothfuss and Olga Viso
With an eye toward the future, and across disciplines and geography, the Walker’s collecting practices have long sought to support artists early in their careers. Looking at works in Art at the Center: 75 Years of Walker Collections, the exhibition’s curators tell the stories behind well-timed purchases of favorite works by artists including Chuck Close, Maya Deren, Cindy Sherman, and Za Wou-Ki.
Rethinking Collections Publishing for the Digital Age
For many in the museum world, the term scholarly collections catalogue can conjure daunting impressions: a book about a museum’s holdings, it involves years of collecting, researching, photographing, and writing, plus a huge printing budget, all to create a tome that is likely out of date the moment it hits the shelf. Enter The Living Collections Catalogue, the Walker’s new serial online publication.
Shifting Terrains: Fionn Meade on the Cross-Disciplinary
As the hard edges between disciplines continue to dissolve, the Walker is intensifying its investigations into what artistic boundary-crossing means and how curators must adapt to the needs of artists and audiences in this new reality. Fionn Meade discusses his role as senior curator of cross-disciplinary platforms and how art’s terrain is shifting in the gallery, theater, cinema, and online.