A Seat at the Table
Nicole J. Caruth
The metaphor of the table evokes images of folks coming together to break bread or discuss personal and political issues. For Seitu Jones and Theaster Gates, the table is more than a metaphor; it’s a medium. In the Twin Cities, their tables are provoking dialogue about systemic reform, in local foodways and cultural institutions. Can these conversations effect change? Or is the change the conversation itself?
“A female shaman for the McLuhan age,” Juilliard-trained cellist Charlotte Moorman is best known as Nam June Paik’s formidable collaborator, often performing nude as she activated his avant-garde works. In this exclusive excerpt from Topless Cellist, art historian Joan Rothfuss explores the creation of Paik’s TV Bra for Living Sculpture, a send-up of the nation’s addiction to “electronic breastfeeding.”
Beyoncé the Readymade
“A machine, a high-powered Porsche, hip-hop technology. She consumes everything around her.” In Ralph Lemon’s Scaffold Room, this is how Beyoncé is discussed—as an overwhelming force of capital that takes over our senses. With Lemon’s work as a jumping-off point, performer Okwui Okpokwasili recently met with scholar Saidiya Hartman to discuss the iconography and cultural consumption of black women’s bodies.
“If you’re the head of an empire and see that an unarmed youth is gunned down by the police and your advice is for people to be calm,” writes Dread Scott in his essay on Michael Brown’s death, “your rule is illegitimate.” Taking his name from the slave who unsuccessfully sued the government in a St. Louis court, Scott salutes protesters in Ferguson while decrying those who aim to control them through force.
The Art of Response-ability
“We’re interested in this idea of taking something that is permanent, that seems incontestable, and rendering it fragile, ephemeral, open to questioning,” said Jennifer Allora, half of the art-making team Allora & Calzadilla. Ten years after the duo’s Walker residency, we republish a 2004 conversation on their early projects, including Chalk (1998), a now-iconic work just acquired for the Walker collection.
On Roots and Reckoning
“How we tell our histories matters just as much as what we say,” writes art historian Catherine Damman in her reflection on Radical Presence: Black Performance in Contemporary Art. Noting that the exhibition’s artists—representing three generations—are in constant dialogue, she observes that the contributors all “share a fiercely devoted and yet deeply interrogative relation to history.”
The Siege on Citizenship
“The cloud renders geography irrelevant,” writes James Bridle, “until you realize that everything that matters, everything that means you don’t die, is based not only on which passport you possess, but on a complex web of definitions of what constitutes that passport.” The case of Mohamed Sakr, a man deprived of his UK citizenship and later killed by a US drone, shows how such definitions are under attack.
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.