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Finding the Door: The Quay Brothers’ Street of Crocodiles
“I would call it more of an ordeal than a viewing,” recalls Tom Schroeder of his first exposure, in 1987, to the Quay Brothers. That first experience with Street of Crocodiles, as he recounts here, involved crying, shortness of breath, and, ultimately, the discovery of a secret doorway to a new career as an animator with a clear vision.
Enter the Matrix: An Interview with Ken Isaacs
In the work of Ken Isaacs, creator of Superchair (1967) and the Knowledge Box (1962), simplicity is “absolutely monumental.” The architect/designer/writer discusses the ideas behind his pivotal designs, the concept of a “total environment,” his Microhouse project in Groveland, Illinois, and the way he developed and practiced “a lifelong commitment to a populist form of architecture.”
Todd Haynes: Modern Cinema’s Great Plastician
Todd Haynes is a grown man who plays with dolls, and American movies are immeasurably the richer because of it. For Haynes—whose films include Far From Heaven (1995), Velvet Goldmine (1998), Safe (2002), and Carol (2015)—is the great plastician of the modern cinema, modeling an elaborate simulacrum of the American experience out of the seeming ephemera of pop music and suburban domesticity.
johnbrown: Notions of Visual Evidence
Our cultural approach to evidence has shifted over the years, writes curator Rachel Cook, from witnessing, first-hand testimony, and archival evidence to photographic images and, more recently, forensic DNA samples. We can think about Dean Moss’s multimedia dance work johnbrown—about the noted white abolitionist—as a form of questioning evidence.
Feline Darlings and the Anti-Cute
“YouTube speaks a tale of catness thoroughly at odds with feline history,” writes curator Sasha Archibald. For her contribution to the book, Cat Is Art Spelled Wrong, she looks to art, literature, and pop culture to show how the cat’s status as “cute icon extraordinaire” is recent, supplanting its early role as a symbol of “magical metamorphosis, potent danger, sexual provocation, and impervious autonomy.”
William Pope.L: The Will to Exhaust
As Gilles Deleuze put it, to exhaust is not to be tired; it is the will to begin again. In Pope.L’s performances—which have found the artist crawling the streets of Manhattan in a black suit or consuming pages of the Wall Street Journal—the willingness to reformulate our experiences of subjectivity and collectivity is about exhausting limitations in order to know what indeed is possible.
He Gave Me Blues, I Gave Him Back Soul
In collaboration with Triple Canopy
A year to the day after Scaffold Room concluded its world premiere at the Walker, its creator, Ralph Lemon, returns for a “memory refraction” related to the work. A performance installation in the galleries, Scaffold Room fueled this conversation on curating performance between Lemon, Walker curator Philip Bither, and Sarah Michelson, whose work tournamento premiered Sept. 24 on the Walker stage.
This Just In: A Year of Collecting
Visual Arts Staff
More than 200 works have entered the Walker’s collection during its 75th-anniversary year, through generous gifts, purchases out of Walker shows, and acquisitions made for the renovated Minneapolis Sculpture Garden. Standout examples include a work by Harlem Renaissance painter Beauford Delaney, installations by Danh Vo and Akram Zaatari, a Liz Larner sculpture, and a recent self-portrait by Chuck Close.
Sarah Michelson: “The Question Takes me Forward”
“The question in all my old pieces is what’s a dance, what could it be? Is making art a self-congratulatory, redundant practice, or if there’s a real pursuit of the nature of the beast to ground level, knowing there is no ground?” Back at the Walker 10 years after performing Daylight (For Minneapolis), Sarah Michelson discusses her return to the theater after years of creating works for museums.