"No matter what metric is used to determine Indigenous status, [he] doesn't fulfill any of them." Postcommodity's Kade Twist and other Cherokee scholars refute Jimmie Durham's claim to being Cherokee
The Walker's "resolutely epic" Adiós Utopia (opening in November) and the Bronx Museum's Wild Noise show Cuban art that "situates itself beyond utopia, but also beyond apocalypse."
A new TSA proposal—which would oblige travelers to remove books and papers from carry-on luggage at airport security checks—is reason for concern, according to the ACLU and academics.
Critic Ben Davis on documenta 14 in Kassel: "It would be a pity if the post-colonial subject gets to speak in art only at the moment when speaking ceases to be empowering, and starts to be a burden."
"I always hope my work would be in support of Native American struggle and justice. To hear that it was harming them, I felt terrible." Sam Durant discusses Scaffold with Carolina Miranda.
If capitalism is on its way out, its “ideology, history, and legacy” must be documented. Created by the artist duo FICTILIS, the Museum of Capitalism opens its inaugural show in Oakland this month.
“We have been acculturated to watching black bodies in pain”: Okwui Okpokwasili on Bronx Gothic, the new film on her performance work, directed by Andrew Rossi (Page One).
“It’s about ruralness and wilderness being pitted against modern urbanism.” Aaron Spangler, an artist based in northern Minnesota, discusses Bog Walker, his Walker commission.
Siobhan Burke underlines the brilliance of the performers “who catapult [Merce] Cunningham’s spirit into the present,” reflecting on the recent Events at the Walker.
At MoMA, a view of Robert Rauschenberg as "an essential connector not only among artists but also between the art world as a whole and the neighboring worlds of avant-garde dance and performance."
What does it mean to write about music in the era of Donald Trump? Legendary critic Robert Christgau takes a rambling look at how politics is surfacing (or not) in music journalism today.
To Mark Bradford, art is “not just what happens in the hermetically sealed studio, and it’s not what happens in the communities—it’s something in between.” His Venice installation is case in point.
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.
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.
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.
A memoir series by the late Walker director Martin Friedman, recounting his encounters with artists including Joseph Cornell, Marcel Duchamp, and John Cage.
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.