Model Citizen: Wells Fargo
For nearly 20 years, the Walker has provided cultural institutions around the globe with a successful model for engaging young adults through its teen programs. Led by the 10-member Walker Art Center Teen Arts Council (WACTAC), these programs have been infused with the fresh perspectives the students provide. As a result, the Walker has become a safe venue in which teens can ask complex questions…
From Morocco to Minneapolis: Delta Helps the Walker Go Far
As a Premier Partner, Delta Air Lines greatly assists the Walker in sustaining a global perspective on contemporary art. In 2012, film/video senior curator Sheryl Mousley traveled to Morocco to meet with Yto Barrada, an artist who painstakingly renovated a 1930s movie palace and made it a new hub for community engagement with regional film history. Mousley was able to bring a sense of this vibrant…
Premier Partners 2013: 10 Years of Support
The creative landscape of the Twin Cities has long been supported by generous companies that understand the important role the arts play in shaping our vibrant community. Now entering its 10th year, the Walker’s Premier Partners program recognizes those corporations that provide significant underwriting of our operations, leadership on our board of trustees, and the time and talents of employee…
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.
Muscle Memory/Blood Memory
In LaTasha N. Nevada Diggs’ poetry, “obvious” and everyday American popular culture expressions are made strange, and the rarest language is universal. It is a space in which “the Other” can finally see herself in the eye of “the Normal,” and “the Normal” recognizes a horrific difference at its core. Here, Diggs discusses her new book TwERK, the relationship between sound and text, and “ghost translations.”
Accumulated Vision: Trisha Brown and the Visual Arts
Trisha Brown’s choreography, especially early in her career, held special appeal for one audience in particular: visual artists. Writer and art historian Susan Rosenberg examines ways that the legendary choreographer’s curatorial sensibility, penchant for systems, and development of annotated scores echo the practices of artists such as Robert Rauschenberg, Sol LeWitt, and Donald Judd.
Housing—as an aesthetic, conceptual, political, and environmental concern—has captured the imaginations and passions of artists and architects in recent years. In a flourishing yet undefined field, Rick Lowe, Rirkrit Tiravanija, N55, the Rural Studio, and others are prototyping creative solutions that range from portable architecture to squatting to long-term community-based design projects.
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.