Walker Art Center

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Moyra Davey: Notes from the Interior

June 1, 2015

Can illness be the site of production? To launch of the new series of Moving Image Commissions for the Walker Channel, artist Moyra Davey has made Notes on Blue, an unsentimental meditation on blindness, color, and the life and work of British filmmaker Derek Jarman (1942-1994). Bentson Scholar Isla Leaver-Yap examines Davey’s new film. More

The first in the Walker’s series of Moving Image Commissions, Moyra Davey’s Notes on Blue can be viewed on the Walker Channel June 1–30, 2015.

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Further Speculation on Arts Media’s Future(s)

By Paul Schmelzer May 27, 2015

Between technology’s continuous advance and an ever-narrowing digital divide, the future of online cultural publishing is hazier than ever. How will we be reading and writing about art 10 years from now? We posed this questions to array of critics, cultural producers, and journalists—from critic Brian Droitcour to podcast producer Tyler Green, museum technologist Koven Smith to curator Willa Köerner.  More

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Speculations on Digital Arts Media’s Future(s)

May 26, 2015

How we will be reading and writing on the arts ten years from now? We invited web-savvy journalists, critics, artists, curators, and media innovators—from national platforms like the Washington Post, Art in America, ArtSlant, and Culturebot to regional voices from Chicago Artist Writers, MinnesotaPlaylist.com, and Springboard for the Arts—to speculate on the future of cultural media online.  More

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Instagram Archi-tourism

By Alexandra Lange May 21, 2015

Archi-tourism is a web community waiting for its own digital address, writes Alexandra Lange. She longs for a dream site—“Archimaps, Designtrip, whatever”—to map her architectural explorations using smartphone photos. A sense of immediacy, essential to Instagram’s appeal, transforms old structures into new discoveries. The trick: how to keep that contagious energy as you make snaps into an archive. More

The third commission for Superscript Reader, this essay examines themes related to the May 28–30 conference, Superscript: Arts Journalism and Criticism in a Digital Age.

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Pervasive Pop

May 19, 2015

“What’s interesting about Pop as a term,” says International Pop co-curator Bartholomew Ryan, is that it’s “a linguistic virus that gloms itself onto any production by artists of the period that engages the popular.” Part two of the International Pop three-part documentary looks at the global pervasiveness of Pop tendencies in art during the 1960s.  More

International Pop is on view April 11–August 29, 2015.

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New Music, Expiring Aesthetics

By Marvin Lin May 14, 2015

In a time of digital hyperacceleration and an ever-shifting technocultural landscape, we encounter an influx of trends, microgenres, and fads. But how do we talk about music when so much of what we listen to now feels so transitory and historically inconsequential? Marvin Lin, editor-in-chief of Tiny Mix Tapes, explores our critical voice in the face of such expiring aesthetics. More

Commissioned for Superscript Reader, this essay examines themes related to the May 28–30 conference, Superscript: Arts Journalism and Criticism in a Digital Age.

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Toward a New Digital Landscape

By Kimberly Drew May 11, 2015

With dismal representation by women and people of color in tech and art fields, it’s time to imagine a new landscape of digital art, one that’s as diverse and equitable as possible, writes Black Contemporary Art founder Kimberly Drew. In hopes of sparking conversation about representation, erasure, and the future of digital art, she highlights—in their own words—18 artists shaping this new terrain. More

This commissioned feature launches Superscript Reader, an editorial supplement to the May 28–30 conference, Superscript: Arts Journalism and Criticism in a Digital Age.

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Homage to the 21st Century

By Bartholomew Ryan April 30, 2015

After a 1964 coup in Brazil, intense censorship scattered artists across the globe or forced them to adopt less public forms of art-making. One, Antônio Henrique Amaral, is best known for large paintings of bananas, a critique that the military dictatorship was turning Brazil into a banana republic. “They can’t censor bananas,” said Amaral, who passed away April 24 at age 79, in this final interview. More

Antônio Henrique Amaral’s Homenagem séc. XX/XXI (20th/21st-Century Tribute)(1967) is featured in International Pop on view April 11, 2015–August 29, 2015.

Art News from Elsewhere More

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Via negativejam.com

Superscript in GIFs (External)

After partaking in the three-day Walker/Mn Artists arts media conference, “conceptual multimedia artists” Chris Cloud and Lea Devon Sorrentino respond to the goings-on via animated GIFs, featuring Homer Simpson, Scrooge McDuck, and a baby sloth, among others.

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Via theartnewspaper.com

Flour Mill to Art Mill (External)

Qatar Museums has launched an international competition to find an architect to transform a vast flour mill across from Doha Bay into an “Art Mill”—an 80,000-square-meter space to house its members’ varied and growing collections.

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Via thenewinquiry.com

Pushing Pixels (External)

“The keenest insight of Seeing Like A Rover is its suggestion that the ambiguity of digital images, their latent potential to mean more than one thing, may be the key to their social efficacy.” Marcel LaFlamme reviews a new book about the Mars Rover.


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Via artnet.com

Weiner Wins Haftmann (External)

Conceptual artist Lawrence Weiner has won Europe’s most valuable award for contemporary art, the $157,000 Roswitha Haftmann Prize, an honor previously bestowed upon artists like Carl Andre, Sigmar Polke, and Robert Ryman, among others.

Via latimes.com

Roski Responds (External)

A week after the USC Roski MFA graduation boycott, Dean Erica Muhl responds that she’s “saddened” by the students’ decision to abandon the program, noting that USC will record their withdrawal as a 2-year leave that would allow them to re-enroll.

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Via newyorker.com

The Idea of Cinema (External)

“Criticism is, in its own way, a unique variety of artistry that is no more confined to a format, a platform, or an outlet—and no less personal—than the art of filmmaking is.” Richard Brody discusses the new movie-review policy at the New York Times.


Minnesota Art News

Via mnartists.org

Like Beyoncé Said, Fuck You, Pay Me

Superscript’s “Sustainability, Growth, and Ethics” panel left me questioning who unpaid writing benefits and who it silences. More

Via mnartists.org

Graham Revisited

Camille LeFevre on the raw violence and emotional candor of Martha Graham’s dance, on view in the repertory and new works presented by the Martha Graham Dance Company recently in Minneapolis.  More

Artspeaks
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Commentary

Lynda Benglis Discusses Adhesive Products

After beginning her career as a painter, Lynda Benglis began seeking a “more sensuous kind of surface.” Her nine-piece work Adhesive Products (1971)—commissioned for the Walker Art Center’s Edward Larabee Barnes–designed building—is… More

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Commentary

Chuck Close Discusses Big Self-Portrait (1967–1968)

“There’s no question, I had some attitude about the way I wanted to be perceived,” said Chuck Close in discussing his Big Self-Portrait (1967–1968) at the Walker in 1980. “Now it seems very funny… More

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Commentary

Valerie Cassel Oliver Discusses Radical Presence

Exhibition curator Valerie Cassel Oliver of the Contemporary Arts Museum Houston discusses the development of Radical Presence: Black Performance in Contemporary ArtMore

Walker Channel
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Films by Artists

James Richards Radio at Night

Responding to Derek Jarman’s visual strategies and montage techniques Richards’s 8-minute video carves out a sensual and sonic space of representation. Radio at Night is an assemblage of distorting and looping audiovisual… More

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Commentary

International Pop: Pervasive Pop

“What’s interesting about Pop as a term,” says International Pop co-curator Bartholomew Ryan, is that it’s “a linguistic virus that gloms itself onto any production by artists of the period that engages the popular real.” Part two of… More

VA

Commentary

International Pop: Becoming Pop

In the early 1960s, as artists around the world responded to an onslaught of advertising and pop-culture imagery, they earned labels from critics and the public alike, from the “new vulgarians” to “commonists,” and their work was… More

Quoted

Ongoing Series

Superscript Reader

Six artists have each been commissioned to create a new work that will premiere online. These works respond to the inspirations, inquiry, and influence of three key artists in the Walker’s Ruben/Bentson Moving Image Collection: Derek Jarman, Bruce Conner, and Marcel Broodthaers.

Superscript Reader

An editorial supplement to Superscript: Arts Journalism and Criticism in a Digital Age, an international conference held at the Walker Art Center May 28–30, 2015.

Artist Op-Eds

A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists Ron Athey, Ana Tijoux, Dread Scott, and others.

Art (re)Collecting

In celebration of the Walker’s 75th anniversary, Martin Friedman—Walker director from 1961 to 1990—shares his reflections on encountering artists from Duchamp to Cage.

Lowercase P

An election-year series on personal politics and the way artists contribute to the conversation on making a better society.

From the Archives

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Andrew Blauvelt

A Timeline of Design History

For nearly fifty years, the Walker’s Design Quarterly chronicled the changing terrains of architecture, landscape architecture, urban planning, and product and graphic design. Featuring provocative thinkers—including Muriel Cooper… More

Centerpoints

Ghost Building: Walker Galleries 1927

A ghostly image of T.B. Walker on the grand staircase of the 1927 Walker Galleries reminds us that before the brick-and-aluminum facility we know today there was another home for the Walker. More

Centerpoints

Shall We Take It? The Walker’s Founding Question

The Walker was founded on a question. “Shall we take it?” In 1939 Minneapolis citizens were offered the chance to start a federally funded art center. The answer? Yes. But how did this offer come about, and what did it mean? More