ArchiveVisual Arts Articles
WARM in the ’80s
As executive director of the Women’s Art Registry of Minnesota (WARM), the renowned feminist art collective, and a health educator during the early years of the AIDS epidemic, Catherine Jordan had clear views of two of the 1980s most pivotal concerns. Continuing our series of reflections on the Twin Cities during a turbulent decade, Jordan shares her recollections with the Walker’s Yesomi Umolu.
In My Tribe
A Twin Cities music legend in his own right, Jim Walsh has chronicled the scene in the pages of the Pioneer Press, Rolling Stone, and his own book, The Replacements: All Over But The Shouting, among others. Launching our new series tied to the exhibition This Will Have Been: Art, Love & Politics in the 1980s, he shares his thoughts on Minneapolis-St. Paul during a critical decade.
The Last Movement
Helen Molesworth & Bartholomew Ryan
Many of the artists featured in This Will Have Been: Art, Love & Politics in the 1980s came of age in an era that saw the assimilation of two powerful and converging forces—mass-media saturation and movements for social justice. Exhibition curator Helen Molesworth talks with Walker assistant curator Bartholomew Ryan about the impetus for the show and what she hopes will resonate with viewers.
Journeys of the 25th Hour
Minouk Lim engages with the arteries of city life—the streets—to create poignant artworks that speak to individual alienation amid Seoul’s rapid development. Merging performance, video, and documentary, Lim says works in her Walker exhibition are “pilgrimages to places left out of our memory, journeys of the 25th hour.”
The Walker Joins Minnesota’s Arts Community in Opposing Marriage Amendment
The Walker proudly joins with 120 cultural organizations in endorsing the Minnesotans United for All Families Campaign, which is working to defeat the marriage amendment on the ballot November 6.
Among Ash-Heaps and Millionaires
Ruben Nusz’s contributions to the exhibition Lifelike are easy to overlook: 20 sculpted ashtrays—created using acrylic, oil, tea, and walnut ink on wax and resin, with incense and ashes—discreetly placed throughout the Walker’s public spaces and its administrative offices. Here he shares his notes on the project, which he considers “fictitious realism.”
Recollecting Bremen Towne: Keith Edmier Creates his 1971 Kitchen
An Amana 25 refrigerator, an oven/range with Perma-View glass window, a rotary phone in harvest gold: These items are part of Bremen Towne, Keith Edmier’s reconstruction of the kitchen in the suburban home of his youth. Exactingly reproduced for Lifelike, the piece is paradoxical: it’s the product of the artist’s memories, yet the act of re-creating it supplanted some of those same memories.
Graffiti on the Concourse: Keith Haring’s 1984 Walker Mural
The year was 1984, the site was the Walker concourse, the hall between the museum and the Guthrie Theater, and the artist—then the toast of New York’s graffiti and gallery scene—was Keith Haring.
Kaz Oshiro’s “Painting Problem”
Artist Kaz Oshiro creates pieces that occupy a kind of middle ground—between Pop Art and Abstract Expressionism, representation and conceptualism, painting and sculpture. In a new conversation, he discusses his work in the Walker’s Lifelike exhibition and how he creates art to help address his “painting problem”—a desire to progress from exacting realism to hesitation-free abstraction.