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collecting, researching, photographing, and writing, plus a huge printing budget, all to create a tome that is likely out of date the moment it hits the shelf.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.
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.
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.