Construction Update: We’re open! Enter the Walker through the underground parking garage or Hennepin Avenue doors.
25 Years on the Edge: Mark Russell on Out There’s Anniversary
The best performance work, says PS122’s founding director Mark Russell, comes from crossing and combining genres or disciplines: “Those were the cracks where the light gets in.” In conversation with the Walker’s Philip Bither, Russell reflects on punk, performance, and the legacy of the Walker’s Out There festival at the quarter-century mark.
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.
Performing Through Crisis: Patrick Scully on Art and AIDS in the 1980s
Patrick Scully as told to Paul Schmelzer
Turning 27 in 1980, Patrick Scully left the dance collective he called home to work independently and “explore what being gay meant to me as an artist.” A decade that began with optimism yielded surprises as political conservatism, the destruction of his downtown block, and AIDS rocked his world. For our continuing series reflecting on the Twin Cities in the 1980s, Scully shares his memories.
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.
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.
The Lisps: In Defense of the Musical
Bucking band-culture expectations, the Lisps have added a nontraditional project to their recording and touring schedule: making a musical. The band prioritizes spectacle over, say, shoegazing, but their work FUTURITY is still “a musical made by people who don’t make musicals.” The group’s Sammy Tunis and César Alvarez weigh in on why they chose this form and how it kept their band together.
Human and Natural Ecologies
“If we compartmentalize the environmental question, the whole earth burns, so we might as well get everybody in any way that we can,” says Marc Bamuthi Joseph, whose new Walker-commissioned performance examines issues of environmental justice. red, black & GREEN: a blues uses hip-hop, spoken word, and audience participation to expand the discussion about how to define that “environmental question.”
My Hand or My Voice
Theaster Gates doesn’t use the word activism. “I grew up thinking that my politics would be more in my hand and in my body and in labor,” he said. This month the Walker presents an exhilarating work by Marc Bamuthi Joseph that features Gates’ sets and addresses environmental justice. He and Bamuthi recently discussed the project and the question, “Is my hand needed more in this situation, or my voice?”