Pritzker Prize–winning architect Robert Venturi has passed away at age 93. The author of Complexity and Contradiction in Architecture, he espoused an architecture "guided not by habit but by a conscious sense of the past."
Having removed the word "dance" from his eponymous company's name, Bill T. Jones is exploring expanded forms in his new Analogy Trilogy, which melds movement, dance, storytelling, and oral history.
"These are exactly the types of three-dimensional stories that a misogynist and xenophobe would be scared of." Organizers of Minneapolis's Arab Film Festival decried Trump's travel ban after three of its guest were denied visas.
Christian Marclay on the eureka moment that sparked The Clock, his 24-hour montage film: "What if, in the history of film, I could find every minute of 24 hours? But it would take for ever—it’s an impossible task!"
Calling the Met Breuer show an "extraordinary journey in three dimensions through art, culture, time and personal experience," Roberta Smith looks at an unexpected trove of sculpture by the late Jack Whitten, a celebrated painter.
"There’s no point looking at a movie on your laptop on your own at home,” says 12 Years a Slave director Steve McQueen, who returns to the big screen with Widows. “It’s a communal experience. That’s what cinema is."
Minneapolis's Wing Young Huie, subject of the 1999 Walker exhibition Dialogues: Paul Beatty/Wing Young Huie, has been named 2018's McKnight Distinguished Artist, the first time the honor has gone to a photographer.
Musician Dessa recounts an unusual tour she took of London with synasthete LJ Rich: called "glitching," Rich used hi-tech audio tools to simulate for neurotypical people the ways those with synesthesia experience the world.
Martin Puryear—whose Gog & Magog (Ampersand) marks the entrance to the Minneapolis Sculpture Garden—has been confirmed as the artist who'll represent the United States at the 2019 Venice Biennale, which opens in May.
To commemorate the opening of Spike Lee's BlacKkKlansman, Carrie Mae Weems was tapped to shoot imagery, including the cover, for TIME's Aug 20 issue. But it's not the first time the two artists have crossed paths.
Set in a high-tech Shanghai warehouse, Cao Fei's Asia One is a "mournfully beautiful hybrid of economic forecast and tragic love story," writes critic Jason Farago, who watches the video with China reporter David Barboza.
ACT UP is claiming a “major victory” at the Whitney Museum, which has changed a wall label in its David Wojnarowicz retrospective to forefront the artist's activism and underscore that ongoing nature of the AIDS crisis.
"We think of composition as the diving board, and the improvisation is the swim. And then we climb back out and we dive again." Jason Moran discusses improv jazz, visual art, and his Walker exhibition.
"Works were damaged due to the unannounced attack on the studio. There was no caution taken." Ai Weiwei's Beijing studio was demolished Aug. 4 as part of redevelopment the dissident artist says has also wiped out migrant housing.
"Why not go out with something that’s very upbeat and positive?” Confirming news he shared with Walker Reader in 2016, Robert Redford says that after his new movie, The Old Man & The Gun, he's retiring from acting.
"Sometimes I wonder: if women had the position they deserved, would things be the same? Would we be as greedy, as corrupt, as non-caring, as warring?" Theaster Gates on strong women, a theme in his new Kustmuseum Basel show.
Inclusive design, like The Beam at the de Young Museum, arises from a view of "disability not in terms of health, but as a mismatch between ability and the (designed) environment," writes Monica Westin.
Young Jean Lee’s plays are "about wrongness: about being the wrong kind of man, woman, Asian; about saying the wrong thing; about getting other people wrong." Her first Broadway production's focus: Straight White Men.
The Trump Baby protest blimp, set to hover in London's skies during the US president's visit, is part of a rich tradition of inflatable protest art by the likes of Ai Weiwei, Lee Bul, Mark Leckey, Jeremy Deller, and others.
Missing since 1978, a 1967 painting by Robert Motherwell has been returned to the late artist's foundation. It was found in a garage in upstate NY by the son of a man who once worked for a moving company employed by Motherwell.
A mural Keith Haring made in Amsterdam in 1986 has been uncovered after 29 years beneath metal siding. The 40-foot fish/dog hybrid was painted on the side of a Stedelijk Museum art storage building.
"The List is not an artwork in itself—the art lies in its dissemination." On World Refugee Day, download the list used by artist Banu Cennetoğlu of the 34,361 migrants and refugees who've died trying to get into the EU.
A 700-pound sculpture of a spoon, bent the way addicts do to cook heroin before injecting it, has been left outside the HQ of Purdue Pharma. Now removed, the work aimed to shame the OxyContin maker's role in the opioid epidemic.
A new survey on the attitudes and realities of financial stability for visual artists finds that the median income of the 1000+ respondents was $20–30K per year, with nearly 60% reporting income of less than $30K per year.
"With this image, I would like to suggest that the values represented by Ellis Island are vanishing before our eyes." Alfredo Jaar, one of 13 artists weighing in on the topic of immigration, imagines a transformed NYC waterfront.
"In the moment I couldn't event say what was happening." Jazz pianist Jason Moran, the Upright Citizens Brigade's Andy Bustillos and Alex Song, and others weigh in on the science and practice of improvisation.
For the New York Times Magazine's special "Love City" issue—featuring photography shot between midnight and 11:59 pm on Saturday, May 19—Alec Soth gained access to New Yorkers' most intimate spaces: their bedrooms.
Decolonization isn't "something to be done by, about and for people of colour," clarifies Sarah Jilani. "Decolonization is different from diversification: it demands fundamental change rather than mere representation."
Justin Vernon and The National's Aaron and Bryce Dessner have launched PEOPLE, a listening platform for "all the raw, the unpackaged, the experiments and the evolved ideas"—including tracks by Poliça, the Dessners, and Bon Iver.
"In the same sense as gender is fluid, the future and the past are both exploratory, invented spaces where there is no grand narrative and their is not 'other.'" Ryan Trecartin on gender fluidity in his new sci-fi–adjacent short.
Most radical about Patrick's Cabaret, says Patrick Scully of the queer-friendly performance venue he founded, is that it "was a rainbow umbrella that said anybody who wants to stand underneath this umbrella is welcome to be here."
Robert Indiana, whose art has been dubbed “Pop poetry of the highway,” has died at age 89. His sculptural renderings of the word "love" have become one of the most recognizable artworks of the 20th century.
"I have no desire to be Julian Schnabel or Jeff Koons. I prefer the periphery in that sense." In a wide-ranging interview, Allen Ruppersberg discusses his art career, attention to location, and approach to his source materials.
"In Bohemia, in the natural world of the artist, there exists an economy of creative abundance, because this is a world of gift giving." Burning Man founder Larry Harvey, who spoke at the Walker in 2000, has died at age 70.
Just released, the 2018 Turner Prize shortlist features nominees who are "tackling the most pressing political and humanitarian issues of today”: Forensic Architecture, Naeem Mohaiemen, Charlotte Prodger, and Luke Willis Thompson
Best known for photos of her own nude body in nature and patrons of an east LA lesbian bar, Laura Aguilar has died at 58. Her art was "decades ahead of its time," both conceptually and in its address of race and the male gaze.
“The history of jazz and the history of sound is the history of man." Jason Moran discusses his cross-disciplinary Walker exhibition, which features his artwork along sidework by Glenn Ligon, Joan Jonas, Kara Walker, and others.
Two years after Prince's passing, photographer Alec Soth—who lived next door to the music icon when he was 15—and writer Rebecca Bengal search the Twin Cities for the "impressions" he left behind.
Jazz saxophonist Kamasi Washington: "Someone like Donald Trump can't control the way I show love to my brother. He can't control the way I feel about my neighbors. I'm trying to make the music bigger than the politics."
To commemorate the centennial of choreographer Merce Cunningham's birth, the trust created in his name will offer a multi-part, multimedia celebration, concluding April 19, 2019—the artist's birthday—with a "Night of 100 Solos."
"She gave us hope and a recipe for how to evolve as anthropogenic agents of our own precarious future." Helen Mayer Harrison, who partnered with husband Newton on ecological artworks including Portable Orchard, has died.
"As misconduct and abuses of power are brought to light, how are cultural institutions to respond? ICA Boston hosts an "open forum" for staff—named and anonymous—to weigh in on allegations against artist Nicholas Nixon.
Cameraman Yasser Murtaja was shot dead by Israeli troops April 6 while covering demonstrations in Gaza. The founder of the Ain Media collective, he worked on Ai Weiwei's Human Flow and Basma Alsharif’s Ouroboros.
Remembering MLK's assassination 50 years ago, The Atlantic shares LaToya Ruby Frazier's aerial photos of sites in Memphis, Chicago, and Baltimore where key Civil Rights protests of the past half century took place.
"Cecil is of jazz, and also beyond it." Free jazz icon Cecil Taylor has died at age 89. "He played the piano with a furious attack, using the entire range of the instrument to create a unique musical language," writes Tom Vitale.
Already printed on posters, a billboard, and newspapers, Rirkrit Tiravanija's statement "FEAR EATS THE SOUL" is now flying on flags at 21 institutions across 16 states as part of Creative Time's Pledges of Allegiance project.
“Marge, the mouth has had its say. Now it’s time to find out what the nose knows.” Joining Frank Gehry and Jasper Johns before him, John Baldessari (discussing nose paintings) is the latest artist to cameo on The Simpsons.
“Adrian Piper taught me the words ‘artist’ and ‘citizen’ are synonymous.” Glenn Ligon on the influence of the celebrated artist, whose 50-year retrospective opens at the Museum of Modern Art March 31.
A new Bon Iver/TU Dance project gets its official premiere in St. Paul Apr. 19, but MASS MoCA audiences got a taste March 24 and 25 during a performance that featured Bon Iver's "boldest, most passionate, yet accessible music."
"At a time when the status quo in the US is government-sanctioned racism and xenophobia, it is all the more urgent that museums acknowledge their political histories and adopt stances on contemporary issues."
"The man who has been called 'one of the most dangerous Indians alive' has walked on." James Luna, a performance artist of Puyukitchum, Ipai, and Mexican American descent, passed away March 4 at 68.
Laura Raicovich: "If we truly want to create spaces that are more equitable and, indeed, spaces for the ‘free and open exchange of ideas’ that so many arts institutions proclaim, how can we refuse to be art space sanctuaries?"
Nancy Holt’s Sun Tunnels (1973–1976), four hollow concrete cylinders situated in Utah’s Great Basin desert, has been acquired by the Dia Art Foundation—its first such work by a woman.
“I think it gets lost that a lot of what I actually do is look and listen, rather than scream and shout.” Ted Loos profiles "citizen-poet" Adam Pendleton and his Black Dada framework for artmaking.
"Among the most topical and controversial developments in the dance world today are works which question the types of bodies that perform on stage," writes Astrid Kaminski.
"I’ve always appreciated things that are undervalued or overlooked—the kinds of things that disappear. So there’s always going to be a melancholy aspect." Allen Ruppersberg on his impulse to collect.
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.
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 2017.
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.
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.
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.
Offering perspectives from those closest to the art, this recurring video series gives voice-of-the-artist perspectives on work on view.
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.
The Walker Dialogue and Retrospective Series brings together some of the most innovative and influential filmmakers of our time with leading critics, writers, and historians.
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.
On September 28 and 29, 2015 the Walker Art Center hosted an invitational curatorial research convening focused on pressing areas of inquiry facing the field of curating contemporary performance.
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.
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.