Synaesthetic Fantasia: David Breskin and Nels Cline on DIRTY BABY
Doug Benidt & Paul Schmelzer
“A synaesthetic fantasia, DIRTY BABY marries music to pictures, pictures to poems, and poems to music,” writes David Breskin of the new work he’s orchestrated that combines Ed Ruscha’s paintings, music by Wilco’s Nels Cline, and his own poems, written in the ghazal form. In an e-mail exchange, Breskin and Cline tease out the threads of this transglobal, interdisciplinary, multimedia experience.
Homesteading: Nick Zammuto on Composing, Decomposing, and Life after The Books
After pop polymath Nick Zammuto ends his current tour at the Walker on November 10, his thoughts will turn from the stage to the definitiveness of winter as he readies his homestead for a season that “gets a little hairy where we are in Vermont.” In a new interview he discusses life after the vaunted experimental duo the Books and how he balances making art and living off the land (and grid).
Laurie Anderson: Stories from the Never-Ending War
Amid the clamor of Super PAC–powered politicians duking it out on a whole new level this election season, Laurie Anderson’s Dirtday! offers a timely, quietly powerful rejoinder. An artist who normally steers clear of directly addressing politics in her work, she recently discussed her motivations in applying the “sharp tools” of her art to the topics of peace, politics, and never-ending war.
Walker Flashback: Art in the 1980s
Archivist Jill Vuchetich offers a sampling of Walker events, from the premier of David Byrne’s The Knee Plays to a 1988 exhibition by Tim Rollins and K.O.S.
Ode to a Somnambulist
Minnesota may be the land of 10,000 bands, but it seems none could be better suited than Brute Heart to create a score for the classic horror film, Dr. Caligari. Known for conjuring haunting soundscapes from bass, drums, and viola—along with vocals that earned a “best female vocalist” nod this year, the band’s influences range from art rock to orchestral music to Middle Eastern traditions.
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.
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 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.
Holding Steady: Craig Finn on Music, Minneapolis, and Headlining Rock the Garden
Hailed as “a born storyteller who’s chosen rock as his medium” (Pitchfork), Craig Finn is many things: Springsteen acolyte, avowed Twins fan, Breck High grad, stand-up guy, and frontman for the Hold Steady. As Finn returns to his roots and readies the band to headline Rock the Garden 2012, I took a moment to catch up with him on music, the Twin Cities, and the shape of things to come.