Walker Corporate Membership: A Creative Investment
For more than 50 years, Minnesota companies of all sizes have generously supported the Walker as corporate members. With their kind and critical backing, the Walker has remained one of the leading arts centers in the nation while serving as the most-visited arts destination in the state. In appreciation, the Walker provides these community-minded companies broad recognition and many benefits to…
Herman Milligan and Connie Osterbaan-Milligan Have Been Walker Members Since 1975
How did you become involved with the Walker? We began attending exhibitions in the 1970s. In the ’90s, Herman became more deeply involved when he, as Minneapolis Commission on Civil Rights chair, helped the Walker improve Minneapolis Sculpture Garden accessibility. That led to him joining the Walker’s Community Advisory Committee, which worked to create programs to increase diversity and foster…
What does it mean to present the art of our time? Why do we need a safe place for unsafe ideas? How can art show us who we are—and aren’t? The Walker’s founding as a public art center in 1940 was sparked by a question, and during the 75 years since it’s been animated by relentless inquisitiveness. Launching our 75th anniversary celebration, Olga Viso reflects on the power of the well-formed question.
“Oh, Ask This!”
A conversation with Piotr Szyhalski and Richard Shelton, the creators of Dolphin Oracle II, Sarah Schultz, director of education and community programs, and Andrew Blauvelt, design director and curator, winter 2005. Sarah Schultz: Perhaps we should start with Dolphin Oracle I, the original project you created in 2004. Richard Shelton: We thought it would be interesting to take this new-age symbol of the…
A Seat at the Table
Nicole J. Caruth
The metaphor of the table evokes images of folks coming together to break bread or discuss personal and political issues. For Seitu Jones and Theaster Gates, the table is more than a metaphor; it’s a medium. In the Twin Cities, their tables are provoking dialogue about systemic reform, in local foodways and cultural institutions. Can these conversations effect change? Or is the change the conversation itself?
La Cultura de la Basura
“Where are the videos showing a woman in her role as sister—or protector, or economic head of family, or devoted daughter, or grandmother dignified in her old age?” In her Artist Op-Ed, Chilean hip-hop MC and activist Ana Tijoux looks at la violencia del cuerpo en la musica: the objectification of female pop stars, which she likens to “visual punches: it’s about snatching away the very beauty of women.”
“A female shaman for the McLuhan age,” Juilliard-trained cellist Charlotte Moorman is best known as Nam June Paik’s formidable collaborator, often performing nude as she activated his avant-garde works. In this exclusive excerpt from Topless Cellist, art historian Joan Rothfuss explores the creation of Paik’s TV Bra for Living Sculpture, a send-up of the nation’s addiction to “electronic breastfeeding.”
Beyoncé the Readymade
“A machine, a high-powered Porsche, hip-hop technology. She consumes everything around her.” In Ralph Lemon’s Scaffold Room, this is how Beyoncé is discussed—as an overwhelming force of capital that takes over our senses. With Lemon’s work as a jumping-off point, performer Okwui Okpokwasili recently met with scholar Saidiya Hartman to discuss the iconography and cultural consumption of black women’s bodies.
Design for Explication not Veneration: Remembering Mickey Friedman
For Mildred “Mickey” Friedman, curating design was less about acquiring objects than letting such artifacts tell stories within the galleries, “not for veneration but explication,” writes curator Andrew Blauvelt of Friedman, who passed away Sept. 3. As Design Quarterly editor and design curator for nearly 23 years, she consistently “drew upon the power of design itself to create a compelling experience.”