Acclaimed choreographer Merce Cunningham (1919-2009) was a leading figure in dance for more than half a century. His work embraced critical avant-garde principles and challenged expectations around dance. By emphasizing form over content, Cunningham sought to reduce dance to its essential element: movement. Cunningham also invited chance into his creative process, accepting uncertainty over considered choices. Produced by Twin Cities Public Television in 1981, Cunningham sits down in this segment to discuss his methodology and how a vocabulary of movement fuels his way of thinking.
Views: 48019 Walker Art Center
Canadian dancer/choreographer Crystal Pite and her company break out in the United States with her newest piece, Dark Matters. The title refers both to astrophysics and human impulses, exploring the idea of undetectable forces at work in cosmology. This stunning theatrical hybrid of puppetry and dance opens as a sinister fable in which an artist creates a puppet with fateful results, and culminates in electrifying contemporary ballet. Pite's choreographic language—edgy, gorgeously fluid—shows the influence of years dancing with William Forsythe's Ballet Frankfurt, but is seasoned with her own humor, intelligence, and intensity.
Views: 93821 Walker Art Center
A visionary and provocateur, Yves Klein took the European art scene by storm in a career that lasted just eight years, from 1954 to 1962. Organized by the Walker Art Center and the Hirshhorn Museum and Sculpture Garden, Washington, DC, in collaboration with the Yves Klein Archives in Paris, Yves Klein: With the Void, Full Powers is the first major retrospective of the artist's work in the United States in nearly 30 years.
Views: 30683 Walker Art Center
Marcel Duchamp talks with Martin Friedman, Walker Art Center director (1961-1990), about the readymade. October 18, 1965
Views: 56220 Walker Art Center
During his March 2013 visit to Minneapolis to speak as part of the Insights Design Lecture Series, Amsterdam-based artist/designer Job Wouters--better known as Letman--created a hand-painted mural in the Walker lobby. Inspired by his own history in graffiti, as well as influences from Asian calligraphy to cowboy lettering, Wouters spelled out the word "Home" in pink, brown, and green. "I think a museum can be so much more than a place where some well-lit pieces hang and you feel scared and not at ease," he said, explaining his thinking behind his choice of word. "It's very important to feel safe and comfortable at a museum, enjoying something beautiful or weird or surprising." Links http://www.walkerart.org/channel/2013/job-wouters-letman-amsterdam http://www.letman.com/ http://blogs.walkerart.org/design/2013/03/21/job_wouters_handpainted_mural/
Views: 17846 Walker Art Center
The first Internet Cat Video Festival (#catvidfest) took place at the Walker Art Center in Minneapolis, Minnesota, on August 30, 2012, as a part of its Open Field program. Drawing an audience of more than 10,000 people (and a few felines), the festival was a communal experience for fans of the online phenomenon of cat videos and included submissions from around the world. Selected from some 10,000 nominations, the program was divided into the categories of Comedy, Drama, Foreign, Animated, Musical, Documentary, Cat Stretch!, Art House, Honorable Mention, Lifetime Achievement, and People's Choice. The Golden Kitty award for best in show went to Henri 2: Paw de Deux, by Will Braden. What began as a social experiment testing the boundaries of online communities and crowd-sourcing public content resulted in attention from local, national, and international audiences and press, including the Los Angeles Times, Wired, Newsweek, Huffington Post, the New York Times, Boston Globe, the Atlantic, AP, and the BBC. www.walkerart.org/catvidfest To view the complete playlist, visit: http://www.youtube.com/playlist?list=PLC0B137D835A3C970 To view the Honorable mention playlist, visit: http://www.youtube.com/playlist?list=PL6127A53A27DEE212
Views: 130904 Walker Art Center
Choreographer Merce Cunningham took chances. Over a seven decade career, his explorations reshaped dance into a new kind of art form, deeply influencing visual art, film, and music along the way. Through experimental collaborations with John Cage, Robert Rauschenberg, Marcel Duchamp, and others, he became the 20th century's most influential choreographer. In conjunction with the exhibition Merce Cunningham: Common Time, we look at the many sides of Cunningham: dance maker, collaborator, chance-taker, innovator, film producer, and teacher.
Views: 28512 Walker Art Center
Eight bands, two stages, and perfect weather in which to enjoy the beautifully renovated Minneapolis Sculpture Garden made for a truly memorable Rock the Garden 2017. Copresented by the Walker and 89.3 The Current, the concert featured sets by Bon Iver, The Revolution, Benjamin Booker, Car Seat Headrest, Margaret Glaspy, Dead Man Winter, Bruise Violet, and Dwynell Roland. Relive the day in a video set to headliner Bon Iver’s live performance of “____45____.”
Views: 17348 Walker Art Center
"As an abstract painter, I work with things that I cannot see," says Jack Whitten. "Google has mapped the whole earth. We have maps of Mars. We don't have a map of the soul, and that intrigues me." Here the painter discusses Soul Map, a large-scale acrylic collage on view in the exhibition Jack Whitten: 50 Years of Paintings.
Views: 7710 Walker Art Center
As part of the Walker's 75th anniversary we are releasing a variety of clips from the Walker's archives. “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 wanting to look like this tough guy with a cigarette sticking out of the corner of my mouth and a big, aggressive image of myself and saying to the viewer, ‘Hey, notice my painting, notice me.’ … I think I was trying to find out who I was an artist.”
Views: 24380 Walker Art Center
This is the original teaser for Baby Marx, an ongoing project by the Mexican artist Pedro Reyes that explores the intersections of mass entertainment, ideology and contemporary art. The teaser was produced for the Yokohama Triennial in Japan in 2008, and was followed by a television pilot shot in Mexico City in 2009. Baby Marx at the Walker uses the tools and procedures of documentary filmmaking to develop and expand on the questions raised by the project to date. Baby Marx will be on display at the Walker Art Center from August 11 to November 27, 2011.
Views: 14540 Walker Art Center
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 a now-iconic result of that experimentation. Over two weeks, she built armatures of chickenwire and plastic, which were suspended from the gallery walls, then poured liquid polyurethane over them to create cascading sculptures that hover above the ground. “I wanted to build up a form so that the viewer could walk around and experience the flow of the material,” Benglis said, “a bodily extension, as you would experience a stream or a river flow with an oil slick on it.”
Views: 4342 Walker Art Center
Experience 24 hours of Rock the Garden 2013 in 5 minutes, set to the music of Metric. Copresented by the Walker Art Center and 89.3 The Current, the concert features Dan Deacon, Low, Bob Mould Band, Silversun Pickups, and Metric. Performance footage courtesy of Minnesota Original, tpt's arts and cultural series.
Views: 16725 Walker Art Center
Walker Art Center curator Peter Eleey discusses Hannah Wilke's The Intra-Venus Tapes, part of the Walker's exhibition The Talent Show.
Views: 7629 Walker Art Center
On April 30, 1999, filmmaker Werner Herzog visited the Walker Art Center to conclude a monthlong retrospective of his films with a public dialogue with critic Roger Ebert. But before the conversation began, Herzog walked to center stage, alone, and addressed the crowd: “Ladies and gentlemen, before we start this dialogue, I would like to make a statement. It is something that I have reflected upon for many years in the frustration of seeing so many documentary films. […] There’s something ultimately and deeply wrong about the concept of what constitutes fact and what constitutes truth in documentaries in particular.” He then read a list of 12 principles—one he’d expand upon 18 years later in a six-point addendum—dubbed the Minnesota Declaration. Reprinted, quoted, and debated again and again by film scholars and enthusiasts alike in the years since, the manifesto has proven historic: as Ebert later wrote, “For the first time, it fully explained his theory of ‘ecstatic truth.’”
Views: 3732 Walker Art Center
Occupying a space between live performance and visual art, artist/choreographer Maria Hassabi’s work explores stillness and sustained motion. Her sculptural movement installations examine the tension between the human form and the artistic object.
Views: 5371 Walker Art Center
This is the largest exhibition to date to focus on the early work of one of Pop's most widely admired artists. Bringing together nearly 300 pieces from collections around the world, Claes Oldenburg: The Sixties showcases a broad range of the artist's sculptures—including prized works from the Walker Art Center's collection such as Upside Down City (1962) and Shoestring Potatoes Spilling from a Bag (1966).
Views: 9138 Walker Art Center
Experience 48 hours of Rock the Garden 2011 in four minutes, set to the music of Tapes 'n Tapes. Rock the Garden is a co-presentation of The Walker Art Center and 89.3 The Current, featuring Tapes 'n Tapes, Booker T. Jones, Neko Case, and My Morning Jacket.
Views: 5299 Walker Art Center
Take a quick look back at Lucinda Childs' landmark work Dance from 1979. This collaboration with composer Philip Glass and visual artist Sol LeWitt, restaged at the Walker Art Center in April of 2011, has become recognized as a modern masterpiece. Excerpts from the performance feature a brief discussion with Lucinda Childs, Philip Glass, and Senior Performing Arts Curator Philip Bither.
Views: 86790 Walker Art Center
For 75 years the Walker has been asking questions: questions posed by our artists, questions asked of ourselves, questions important to our communities—in short—the questions that shape and inspire us. Dive in to our history as a multidisciplinary art center and find out what it means to be a safe place for unsafe ideas. And make sure to check out all 75 questions as well as our upcoming anniversary events and exhibitions at www.walkerart.org/75
Views: 3811 Walker Art Center
For 50 years, Jack Whitten has explored the possibilities of paint, the role of the artist, and the allure of material essence in his innovative studio process. With compositions that are abstract and elegiac, Whitten foregrounds the material properties of paint—pigmentation, viscosity, and mark—to capture the momentary and suggest the enduring.
Views: 3878 Walker Art Center
Artist Marina Abramović discusses Cindy Sherman's Untitled #90 (1981). Part of the exhibition Cindy Sherman, on view at the Walker Art Center November 10, 2012 to February 17, 2013. Filmed by David Shuff, Calvin Robertson, and Ben Coccio ©2012 The Museum of Modern Art, New York
Views: 4546 Walker Art Center
Artist Robert Longo discusses Cindy Sherman's Untitled Film Still #25 (1978). Part of the exhibition Cindy Sherman, on view at the Walker Art Center November 10, 2012 to February 17, 2013. Filmed by David Shuff, Calvin Robertson, and Ben Coccio ©2012 The Museum of Modern Art, New York
Views: 4596 Walker Art Center
Christophe Szpajdel discusses his Walker Art Center black metal logo (2011), part of the Walker Art Center's exhibition Graphic Design: Now in Production.
Views: 7797 Walker Art Center
Experience 24 hours of Rock the Garden 2012 in five minutes, set to the music of Trampled by Turtles. Copresented by the Walker Art Center and 89.3 The Current, the event features Howler, Tune-Yards, Doomtree, Trampled by Turtles, and The Hold Steady. Lead sponsors: Fredrikson & Byron, P.A. and Minnesota Twins Supporting sponsors: Best Buy, Häagen-Dazs Shops, Barrio Tequila Bar, and Prairie Organic Vodka VIP Skybox sponsor: Thomson Reuters Media partner: Vita.mn Official beer: Summit Brewing Company
Views: 12069 Walker Art Center
Take a quick look back at the Bill Frisell/Rahim AlHaj/Eyvind Kang "Baghdad/Seattle Suite" Walker Commission from February 2010 featuring a brief interview with Frisell and Senior Performing Arts Curator Philip Bither.
Views: 12760 Walker Art Center
In the spring of 1981, during a residency at the Walker Art Center in Minneapolis, Minnesota, choreographer Merce Cunningham and composer John Cage sat down to discuss their work and artistic process. As frequent collaborators, Cage and Cunningham pioneered a new framework of performance. Their novel approach allowed for mediums to exist independently, or rather cohabitate, within a performance, thus abandoning the co-dependent model of dance and music. Cage and Cunningham go on to discuss the methodology and motivations behind chance operations, a term used to describe artistic decisions based on unpredictability. Wanting to free himself of his likes and dislikes, Cage describes how Zen Buddhism influenced his work, leading him to use tools of chance. These new methods, adopted by both Cunningham and Cage, overturned a whole foundation of thought around music, movement, and the process of creating art.
Views: 159070 Walker Art Center
This is Walker Expanded, a graphic identity that functions as a typeface but instead of bold and italic fonts is grouped into related words, or vocabularies, and repeating patterns; it sets lines of words and textures that, like a roll of tape, can be applied to virtually anything—from printed matter and Web sites to merchandise or even architecture.
Views: 3785 Walker Art Center
In the hands of Nathalie Djurberg, the conventionally innocent technique of "claymation" becomes a medium for nightmarish yet wry allegories of human behavior and social taboo. Since 2001, the Swedish-born artist has honed a distinctive style of video animation, using the pliability of clay to investigate the dark recesses of the human mind. Set to music and sound effects by her partner and collaborator Hans Berg, Djurberg's handcrafted cinematic tales explore the vicissitudes of revenge, lust, submission, gluttony, and other primal emotions with an unblinking eye. This Walker-organized exhibition, the largest American museum presentation of the artist's work to date, includes a significant body of new work drawing on the psychology and natural history of birds. Blurring the cinematic and the sculptural, she integrates moving images with related set pieces, using actual bird species as points of departure for her sometimes monstrous hybrid figures. Projected amid her objects is a sequence of short films, in which characters, situations, and settings migrate from one narrative to the next. The result is an immersive installation revealing Djurberg's continued interest in pageantry and abjection, evolution and decay. The Parade: Nathalie Djurberg with music by Hans Berg is organized by the Walker Art Center. Curators: Eric Crosby and Dean Otto
Views: 34438 Walker Art Center
Solo In Solo, Deborah Hay attributed equal time and visual prominence to all the elements of the performance, from the dancers and props to the lighting and soundtrack. To accomplish this, she created a score by combining simple choreographic sequences that featured walking as a basic motif. Each performer assumed passive and active poses in turn, strolling around or rolling on carts steered by means of remote-control devices. The carts could also be presented as independent objects endowed with freedom of movement. A series of instructions given to the dancers and cart drivers made it possible to determine the circumstances in which specific sequences would occur as well as the shape they would take. Hay opted for a proportional distribution of the entire troupe of 16 dancers and 8 cart drivers. With additional lights brought in to supplement the Armory standard, the lighting was extremely bright. Six Mylar sheets provided a transparent wall between the stage and the audience space. Choreography: Deborah Hay Technological design: Larry Heilos Performers: Lucinda Childs, William Davis, Suzanne de Maria, Lette Eisenhauer, Walter Gelb, Alex Hay, Deborah Hay, Margaret Hecht, Ed Iverson, Julie Judd, Olga Klüver, Vernon Lobb, Steve Paxton, Joe Schlichter, and Carol Summers Operation of the remote-controlled devices used to drive the carts: James Tenney (conductor) Franny Breer, Jim Hardy, Michael Kirby, Larry Leitch, Fujiko Nakaya, Robert Rauschenberg, Robert Schuler, and Marjorie Strider Central control: Larry Helios, and Witt Wittnebert Lighting design: Jennifer Tipton, and Beverly Emmons First moment: The cart drivers emerged from the wings and sat down on folding seats that had been installed on the left side of the stage. The lights were at the maximum setting. The go-ahead signal was given by James Tenney, who functioned as an orchestra conductor. Each cart bore a conspicuous number that enabled the driver to keep track of it. At one point, the stage was plunged into darkness and three dancers made their entrance, one travelling on a cart. The dancers adopted the pace of the carts' movements. After moving around the entire stage, the three stood still for a few seconds. Second moment: After about four minutes, David Tudor played music by Toshi Ichianagi over the Armory speakers. The three dancers could then either remain where they were, or separate. The stage was plunged into darkness. Two dancers came on and performed a series of unsynchronized arm and leg exercises. Three other dancers appeared onstage and the lights come back on. Some of the dancers remained still while others continued to execute their choreographic sequences. Third moment: Eight dancers came out of the wings to take up their positions on the stage. The score provided for a random switching of distinct choreographic motifs. The dancers walked about singly or in groups moving in the same direction. They remained still—standing, lying on the floor, or propped on the carts. The choreographic structure did follow certain set rules, only a cart could approach individual performers in order to form a trio. A dancer could, depending on the circumstances, lead the trio in the direction suggested by an approaching cart, or he or she could also spin around in another direction. When a dancer felt like repeating the sequence of exercise moves, he or she took up a position in front of one of the Mylar curtains and waited for a partner to join in. The performance wound down as the lights dimmed. The dancers moved slowly toward the Mylar sheets and greeted the audience. 9 evenings trailer and more info: http://www.9evenings.org/
Views: 14628 Walker Art Center
Lee creates poetic object-based installations fashioned from everyday materials and household items such as soap, towels, cardboard boxes, and plastic containers, which he transforms through subtle gestures of painting, drawing, and placement. Originally from Hong Kong and based in Taiwan, Lee frequently imparts political commentary in his work through an embedded use of foreign products and English words that reference the omnipresence of market capitalism surrounding Hong Kong’s history as a global city living under the principle of one country, two systems. The artist received shortlist nomination for the 2013 Hugo Boss Asia Art Award and represented Hong Kong in the 2013 Venice Biennale.
Views: 2022 Walker Art Center
Raised by independent-thinking bohemian parents, Taylor was unschooled until age 13. Join the filmmaker as she shares her personal experiences of growing up home-schooled without a curriculum or schedule, and how it has shaped her educational philosophy and development as an artist.
Views: 153112 Walker Art Center
Tom Burr's sculpture Zog (a series of setbacks), on view in the exhibition Question the Wall Itself, takes its name and inspiration from a feature of Minneapolis's Philip Johnson–designed IDS Center, the building's zigzagging glass profile. Burr's aim: to examine dualities of inside and outside, playing the modernist architect's hard-edged corporate facades against his softer domestic architecture and personal story—"a mid-century homosexual who lived in a glass house.”
Views: 887 Walker Art Center
Fritz Haeg's practice spans a range of disciplines—architecture, performance, design, education, gardening, and ecology—and includes projects as varied as public dances, urban parades, temporary encampments, edible gardens, videos, and publications. He often creates environments that respond to particular places, working in collaboration with local residents and groups. Through a new series of projects, the artist will work with the Twin Cities community on gardens, events, and installations that collectively reimagine our everyday relationships to the land, the home, the city, and each other.
Views: 2484 Walker Art Center
This is the second scene from the latest stage of Baby Marx, the ongoing project by Mexican artist Pedro Reyes which opens at the Walker Art Center August 11, 2011. The founders of communism and capitalism, Karl Marx and Adam Smith who have been brought to the future by way of a glitch-prone Smart-O-Wave magic microwave oven, have lunch at the Garden Café while the exhibition in which they feature is being installed. Expect more scenes in coming weeks. Baby Marx runs at the Walker until November 27 2011.
Views: 5469 Walker Art Center
Join us for an evening with renowned poet, essayist and translator Anne Carson. From her scholarship on the ancient Greeks to acclaimed books of verse such as Autobiography of Red and Men in the Off Hours, Carson's range is unparalleled in contemporary poetry. Her work often incorporates the visual: her latest "book" is Nox (New Directions, 2010), a boxed accordion-style notebook that is at once an elegy for her brother and a translation/meditation on Catullus. Carson has won numerous honors for her work, including a MacArthur Fellowship. This reading is presented in conjunction with Big Dance Theater's Supernatural Wife, an adaptation of Euripides' Alkestis using Anne Carson's translation. Join us for a pre-performance reading that is surely not to be missed! Copresented by Rain Taxi Review of Books.
Views: 21821 Walker Art Center
The work of Bureau Borsche seems to float effortlessly between contradictory worlds: the broad appeal of corporate clients such as Nike and BMW; the avant-garde experimentalism of the art world; and the luxurious conceptualism of fashion brands such as Balenciaga. In all of these spheres, Borsche’s typography and art direction shines through, always fresh and always relevant. Other clients include Zeit Magazin and Kaleidoscope magazine, as well as the German daily newspaper Die Zeit, which Borsche himself creative directs. https://bureauborsche.com/ Copresented by the Walker Art Center and AIGA Minnesota.
Views: 3608 Walker Art Center
Although he makes his home in Portland, Oregon, Aaron Draplin is more a product of being born, raised, and educated in the Midwest. A native of Detroit, he studied graphic design at the Minneapolis College of Art and Design before heading out west to work as art director of Snowboarder magazine. He founded Draplin Design Company (DDC) in 2004, producing a wide range of award-winning projects and developing products for businesses such as Coal Headwear; board designs for Ride, Forum, and Gnu; conceiving Field Notes journals with Coudal Partners in Chicago; and the array of merchandise for the DDC brand enterprise. Draplin's iconic forms and bold designs are steeped in a no-nonsense Midwestern vernacular and work ethic. They project an authenticity and attitude that seems inseparable from his self-deprecating personality and his clients' passions, reflected in the DDC motto, "Work hard and do good work for good people." Part of Insights 2012 Design Lecture Series http://www.walkerart.org/calendar/2012/insights-2012-design-lecture-series
Views: 76062 Walker Art Center
Abraham Cruzvillegas (b. 1968) is one of the most important conceptual artists of his generation to come out of the vibrant art scene in Mexico. Over the past 10 years, Cruzvillegas has developed a riveting body of work that investigates what he calls autoconstrucción, or "self-construction." Informed by the sociopolitical contexts of Latin America, Cruzvillegas has garnered much attention for his dynamic assemblage sculptures made of found objects. Interested in improvised building materials and techniques, he roots his sculptural practice within the urban landscape of his childhood home in Ajusco, a district in the south of Mexico City. To this day, Ajusco's landscape of volcanic rock remains a work in process, with structures in a constant state of transformation as additions are made when materials become available and necessity dictates. This way of constructing has become the basis of Cruzvillegas' own thinking and methodology, while operating as a rich metaphor for the articulation of individual identity and place. Featuring 30 to 35 individual sculptures and installations, along with his recent experiments in video, film, and performance, Abraham Cruzvillegas: The Autoconstrucción Suites is the first major presentation to shed light on the artist's unique vision and multifaceted practice. A major catalogue accompanies the exhibition. Walker curator: Clara Kim
Views: 5105 Walker Art Center
Acclaimed Dutch artist Mark Manders is known for his enigmatic and evocative sculptural objects and tableaux. During his visit to the Walker Art Center for the touring exhibition Mark Manders: Parallel Occurrences/Documented Assignments, Manders talks with curator Betsy Carpenter about his work in the Walker collection, Life-size Scene with Revealed Figure (2009).
Views: 3372 Walker Art Center
Nearly 50 cinematic luminaries, visionaries, and dignitaries have come to the Walker via its Regis Dialogue and Film Retrospective. Miloš Forman, the subject of the Regis spotlight in April, is typically associated with the celebrated and award-winning films he has made in the United States over the past 30 years. A lesser-known fact is that he kick-started the Czech New Wave with his affecting and humorous satires of daily life. These films illustrate a thread that appears throughout Formans work—that of rigid political and social systems begging for rebellion. [When I lived] in totalitarian regimes, I saw more clearly than you do here how we create institutions to help us—to serve us, Forman has said. Why do we always end up being dictated to by these institutions? Like they own us . . . are paying us to serve them. And thats always the case of rebellions, when people who see this dare to do something about it, from McMurphy to Mozart. Nearly every major Forman work is part of this retrospective, including Amadeus, Hair, The People vs. Larry Flynt, and One Flew Over the Cuckoos Nest, and Tuesdays have been earmarked for screenings of his early Czech work. Forman and Scott Foundas of the LA Weekly will discuss his work on April 12 at the Regis Dialogue. Theres an incredible vibrancy in the Czech Republic today, especially as they are now looking back to their darker days and relishing the work of artists like Miloš Forman, says Sheryl Mousley, the Walkers film/video curator. His resistance parallels the history of his country under oppression. He struggled to make work against formidable odds, emigrating just before the spring 1968 invasion of his country by the Soviets. And you see that carrying through into his American films—the heroic, almost operatic characters, the rebelliousness and joy and search for this freedom. Thats the beauty of this retrospective.
Views: 22707 Walker Art Center
In a single day—March 15, 1984, Keith Haring painted a giant mural as part of his artist residency at Minneapolis' Walker Art Center. Now existing only through photographic and video documentation, the orange and green wall piece was created to commemorate the completion of the Walker's then-new underground education center, and remained on view through December 1985. More info on Haring's Minneapolis mural: http://www.walkerart.org/magazine/2012/keith-haring-1984-mural-walker-art-center
Views: 20681 Walker Art Center
Iranian director Abbas Kiarostami discusses the process of working with non-professional actors in his films.
Views: 1106 Walker Art Center