Construction Update: We’re open! By car, access the parking garage from Vineland Place.
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.
The Dark Arts: What to See at Northern Spark 2012
By anyone’s measure, the inaugural Northern Spark festival last June was a wild success. From dusk to dawn, people discovered the Twin Cities in a new light while making the rounds to some 100 projects by more than 200 artists. This year’s all-nighter, on June 9, features more projects, concentrated in downtown Minneapolis for easier navigation. Here are a few happenings that piqued our interest.
Journeys of the 25th Hour
Minouk Lim engages with the arteries of city life—the streets—to create poignant artworks that speak to individual alienation amid Seoul’s rapid development. Merging performance, video, and documentary, Lim says works in her Walker exhibition are “pilgrimages to places left out of our memory, journeys of the 25th hour.”
Skin and Stone: A Deeper Look at Jim Hodges’ Shining Boulders
With Jim Hodges’ sculptural boulders—four mammoth, 400-million-year old stones clad in shiny steel—there’s more than meets the eye. In this slideshow, Hodges shares his inspiration for the work and his thinking about scale, materiality, light, and keeping such iconic works—now a permanent part of the Walker hillside—untitled.
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.
Among Ash-Heaps and Millionaires
Ruben Nusz’s contributions to the exhibition Lifelike are easy to overlook: 20 sculpted ashtrays—created using acrylic, oil, tea, and walnut ink on wax and resin, with incense and ashes—discreetly placed throughout the Walker’s public spaces and its administrative offices. Here he shares his notes on the project, which he considers “fictitious realism.”
Recollecting Bremen Towne: Keith Edmier Creates his 1971 Kitchen
An Amana 25 refrigerator, an oven/range with Perma-View glass window, a rotary phone in harvest gold: These items are part of Bremen Towne, Keith Edmier’s reconstruction of the kitchen in the suburban home of his youth. Exactingly reproduced for Lifelike, the piece is paradoxical: it’s the product of the artist’s memories, yet the act of re-creating it supplanted some of those same memories.