Construction Update: We’re open! Enter the Walker through the underground parking garage or Hennepin Avenue doors.
dOCUMENTA (13): The Uncommodifiable Quinquennial
In marked opposition to the economic forces that have dominated the contemporary landscape for more than a decade, dOCUMENTA (13) curator Carolyn Christov-Bakargiev offers a vision that is fiercely skeptical of the “persisting belief in economic growth,” organizing one of the most earnest, authentic, and refreshing surveys of contemporary art in my recent memory.
How Warhol Did Not Murder Painting but Masterminded the Killing of Content
“Warhol’s bulimic capacity to swallow the moment and spit it out as another image helped [his Race Riot works] transform themselves into pagan icons, devoid of moral weight.”
Identity and Institutionalization: Dorit Cypis on Minneapolis in the ’80s
Dorit Cypis & Yesomi Umolu
For Israel-born, California-based artist Dorit Cypis, the Twin Cities was home for much of the 1980s and 1990s, decades when she says the arts became institutionalized, identity politics became entrenched, and her own art more deeply embraced both politics and performance. For our ongoing series Then and Now: The Twin Cities in the 1980s, she shares her memories of a turbulent decade.
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.
Marcel Duchamp at 125
In celebration of the 125th anniversary of Marcel Duchamp’s birth—he was born in Normandy on July 28, 1887—we look back at curator Joan Rothfuss’ essay on the Dadaist provocateur from our collections catalogue, Bits & Pieces.
The Place We Call Attention: ROLU on the Open Field
Matt Olson & Paul Schmelzer
From the earthy to the ethereal, the work of Minneapolis experimental design studio ROLU spans from landscape design to conceptual art, fashion to esoteric online explorations. Given this range, the Walker’s grassy hillside seems a fitting site for ROLU’s residency: where better to host activities by this genre-hopping trio—a group engaged in an open field of endeavors—than Open Field?
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.