Come in from the cold and see some art: Free gallery admission January 10–February 7.
Il Treno di John Cage
A 1978 trip to Bologna to witness “a prepared train”—a happening on wheels, featuring John Cage and a host of Italian collaborators.
Germinal’s Brave New World
What does human communication mean in an age when so many of our interactions are mediated through technology? And how do the ways we connect dictate how we live together? In Halory Goerger and Antoine Defoort’s Germinal, four people work to create a new society from the rubble, writing—as theater scholar Kate Bredeson puts it—“a love letter to the ephemeral beauty of theater and human life.”
First Look: Announcing 16 New Artworks for the Expanded Minneapolis Sculpture Garden
Katharina Fritsch’s giant blue rooster. Commissions by Nairy Baghramian, Theaster Gates, Mark Manders, Philippe Parreno, and others. Sculptures by Sam Durant, Kcho, and Liz Larner. When the renovated Minneapolis Sculpture Garden opens in 2017, visitors will see the return of old favorites plus the arrival of 16 new works. Here’s a first look at the art and artists that’ll animate the new 19-acre campus.
Reconstructing Fragments: Rabih Mroué on Riding on a Cloud
In Rabih Mroue’s Riding on a Cloud, what at first seems to be a biography of his brother, Yasser—who in 1987 survived a sniper’s bullet in Beirut—expands to first tell a family story then a more universal tale. Discussing the work with Belgian curator Cis Bierinckx, the Berlin-based artist and director discusses the piece’s relationship to fact, fiction, absence, biography, and language.
Taste as a Political Matter: Coco Fusco on the Guerrilla Girls
Exploring NYC’s “nocturnal underworld” at age 24, Coco Fusco stumbled upon her “first encounter with a full-on feminist art intervention”: a show at the Palladium curated by the Guerrilla Girls. “This was an activist approach that I could connect with, as it spoke truth to power playfully, with wit and style,” she writes in honor of the Girls’ 30th anniversary—and one that influenced how she makes art today.
Daniel Fish’s Cold-Fusion
Daniel Fish’s aesthetic depends primarily upon “the ‘cold-fusion’ of elements (formal, stylistic/tonal, historical, thematic) that would generally be considered incompatible.” Here, in an interview with playwright Jerry Lieblich, Fish discusses how his work brings together recordings of David Foster Wallace, references to tennis star Tracy Austin, and his own background in Shakespearean theater.
Elvis, Roosevelt, and Living Life Through Someone Else
“In Vegas we saw this impersonator named ‘Big Elvis’ who was extraordinary: a 500–600-pound guy with a beautiful voice, he just sat in a chair and sang Elvis songs,” says the TEAM’s Rachel Chavkin on the genesis of RoosevElvis. But the multilayered “dramedy” transcends Elvis gags: featuring women as the King and Teddy Roosevelt, it offers a madcap exploration of gender, masculinity, class, and hero worship.
Allegories: The Memorial Paintings of Jack Whitten
“Through memory we reconstruct our past,” says Jack Whitten. “We honor the dead through memory.” Motivated by this idea, Whitten created a series of paintings honoring key people and events in his life and in American culture, from Lena Horne to MLK, the 9/11 attacks to the massacre at Sandy Hook Elementary School that occurred three years ago today. Here, a look at 13 of Whitten’s memorial paintings.
From the Black Panthers to Black Lives Matter
Black Lives Matter is the most significant broad-based human rights coalition for black Americans since the Civil Rights and Black Power movements. But the struggle today could not be fought in its current iterations without the contributions of Black Panthers artist Emory Douglas and others who illuminated hidden ugly racial truths in compelling and beautifully executed images.