Come in from the cold and see some art: Free gallery admission now through February 7.
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collecting, researching, photographing, and writing, plus a huge printing budget, all to create a tome that is likely out of date the moment it hits the shelf.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.
Projecting the City
What can a city be? This year’s Northern Spark festival activates downtown Minneapolis, the riverfront, and the greenway around the theme “Projecting the City.” Dozens of artists will fill the night with performances, interactive art, and playful interventions that imagine new futures for the city or celebrate the best of what we’ve got. Here are some of the projects we’re most excited to see.
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.
Laugh at Death: Kris Martin on Time, Absence, and Humor
As spring reminds us of the life/death/life cycle, a new work in the Minneapolis Sculpture Garden stands as a marker of such transitions. The clapperless bell in Kris Martin’s For Whom… offers a silent meditation on time’s passage. Here the Belgian artist discusses the work; his use of humor, absence, and shock (or the lack thereof); and a favorite film, fittingly, Monty Python’s The Meaning of Life.
This Just In: New to the Walker Collection
Bartholomew Ryan & Catelyn Holm
Spanning geographies, generations, and media, new additions to the Walker collection help present this institution’s thinking about the changing nature of art as well as its responsibility to support artists. Together these 25 newly acquired works—by Adrian Piper, Shusaku Arakawa, Steve McQueen, Allan Sekula, and others—present a complex portrait of not only our holdings but of contemporary art today.
Edward Hopper Painting Hosts Writers’ Residency
When asked to take up “residency” in Edward Hopper’s 1940 painting Office at Night, Kate Bernheimer agreed, then asked the Walker if period costumes would be provided. It turns out the resulting novella she and Laird Hunt wrote didn’t need such accoutrements: “We didn’t find ourselves assigning roles by gender. We traveled as desire took us from body to body, object to object, in the painting instead.”
Edward Hopper, Village Person
Edward Hopper (1882–1967) was “a poet of the abyss, a chronicler of discontinuity and disruption, who seemed to need a static environment from which he could take inventory of what was emotionally solid and measure the distance to the nearest patch of null,” writes Julie Lasky. She visits that environment, the minimally furnished Greenwich Village apartment he lived and worked in for a half century.
Choreographing Experiences in Space: Olga Viso Interviews Jim Hodges
“I love spatial relationships and dimensionality,” says Jim Hodges. “I’m interested in theatrical moments and choreographing experiences in space. I think as a drawer and make as a sculptor.” In conversations spanning three years, the artist and the Walker’s Olga Viso delved into Hodges’ art practice, life, and influences, touching on themes from love and loss to politics, spirituality, and mortality.