Prolific St. Paul artist Seitu Jones—whose work has ranged from public sculpture to a community meal for 2,000, served on the streets of Frogtown—has been named 2017 McKnight Distinguished Artist.

The entire President's Council on Arts & Humanities, including Chuck Close, has resigned—and called for Trump's resignation over his response to neo-Nazi violence in Charlottesville.

In a new artist statement, Kara Walker writes that she's tired of "‘having a voice,’ or worse, ‘being a role model.’ Tired, true, of being a featured member of my racial group and/or my gender niche.”

Creative Time’s “Pledge of Allegiance” series continues with a flag by Nari Ward that adds a Congolese Cosmogram to the flag of Marcus Garvey's Universal Negro Improvement Association.

Curated by Glenn Ligon, the Pulitzer Art Foundation's Blue Black offers a 54-work meditation on culture and chromatics through art by David Hammons, Simone Leigh, Carrie Mae Weems, and others.

With bathroom bills in the news again, Risa Puleo talks with Emmett Ramstad, a Minneapolis-based trans artist, about his works examining the political and social codes around public restrooms.

In her newest work—two 27x32' canvases for SFMOMA's atrium—Julie Mehretu is exploring how “gestural abstraction” can try to "help make sense of where we are in our country right now.”

Pope.L is fundraising to hold a show in Detroit next month where he'll be selling bottled, branded Flint water as editioned art objects to raise awareness—and cash—to aid with the ongoing crisis.

Ed Ruscha and Kara Walker are among 80 National Academy artists hailing ICA for "refusing to bow to forces in favor of censorship" over calls to close a show by Open Casket artist Dana Schutz.

At LACMA, Liz Larner discusses the pleasure of looking at minimalist art. "There doesn't have to be an equivalency between volume, mass, and density. And that's really exciting to try to work with."

A Warhol screenprint has been found after 40 years in one of Alice Cooper's storage lockers. Little Electric Chair was kept alongside a mock electric chair used in Cooper's '70s shows.

Binary arguments of "real" versus "fake," writes Hammer curator Anne Ellegood, fail to capture "the complexity of history, rendering a figure like [Jimmie] Durham nearly unfathomable."

In Minneapolis's Cedar Riverside—aka Little Mogadishu—Magnum photographer Olivia Arthur meets Somali women making a mark, including Rep. Ilhan Omar, designer Fatimah Hussein, and artist Ifrah Mansour.

"Society is really afraid of the body. I'm part of that." With novelist Heidi Julavits, Kiki Smith discusses feminism, age, and menopause, a time when "you get to own yourself in a different way."

A series of commissioned opinion pieces featuring provocative reactions to the headlines by Ron Athey, Gordon Hall, Natascha Sadr Haghighian, Postcommodity, Ana Tijoux, Jack Whitten, and others.

Ben Davis, Sabaah Folayan, RaMell Ross, and Eric Schlosser consider "truth" in light of Werner Herzog's Trump-era update to the 1999 Minnesota Declaration on truth and fact in documentary cinema.

A program of commissioned moving image works by artists—including James Marwa Arsanios, Yto Barrada, Renée Green, and Pauline Boudry/Renate Lorenz—who respond to work in the Ruben/Bentson Collection.

An editorial supplement to the conference Superscript: Arts Journalism and Criticism in a Digital Age, featuring commissioned essays by Kimberly Drew, Alexandra Lange, An Xiao Mina, and others.

An ongoing series of essays, translations, interviews, and excerpts examining the past, present, and future of art education, presented by the Walker Education and Public Programs staff.

Offering perspectives from those closest to the art, this recurring video series gives voice-of-the-artist perspectives on work on view.

A memoir series by the late Walker director Martin Friedman, recounting his encounters with artists including Joseph Cornell, Marcel Duchamp, and John Cage.

In serial form, a 10-part curatorial essay from the 2014 exhibition 9 Artists, which featured Yael Bartana, Liam Gillick, Hito Steyerl, Danh Vo, and others.

Avant Museology is a two-day symposium exploring the practices and sociopolitical implications of contemporary museology.

Experimental Jetset, Lucky Dragons, Tomás Saraceno, and others share how 1960s artists featured in the exhibition Hippie Modernism have influenced their work and thinking today.

To commemorate the year that was, we invited an array of artists, writers, designers, and filmmakers to share a list of the most noteworthy ideas, events, and objects they encountered in 2016.

In interviews with Laurie Anderson, Paul Chan, Trevor Paglen, JoAnn Verburg, and others, this series examines artists' approaches to small-p politics—issues of power, inequality, and participation.