A Krzysztof Wodiczko light projection on the Hirsshorn's façade has been canceled after 17 people were killed Feb. 14 in a Florida school shooting. Its imagery: hands holding a gun and a candle.
Setting a striking precedent for the protection of aerosol art, a federal judge ruled that a developer must pay $6.7M to 21 graffiti artists after their work at 5Pointz was destroyed without notice.
“We should never lose sight of the gravity of the wrongs this movement seeks to right.” Arguing against their detractors, Rebecca Solnit writes that #MeToo and #TimesUp have yet to go far enough.
Stylistic innovation and diverse subjects are giving figurative art a new life, writes Dushko Petrovich, who holds up Pres. Barack Obama’s official portrait by Kehinde Wiley as evidence.
"[I]ntersectional feminist ethics is dependent on processes of accountability." The We Are Not Surprised group calls for a boycott of Artforum over harassment charges against its co-owner.
"It’s an outrageous, racist caricature.” Paul Chaat Smith, curator at the National Museum of the American Indian, weighs in on news that Cleveland's MLB team will be retiring its logo by 2019.
The rise of "contagious media" and the homepage being atomized by social media has been hard on art criticism, which now must compete for attention in streams crowded with clickbait, argues Ben Davis.
From borrowing work by a Danish master for use in a contemporary art show to creating a deconstructed replica of the Statue of Liberty, Danh Vo’s work challenges ideas of authorship in art.
“In this dialectic, between who you are and how you are seen, lies prejudice.” In an interview with Lateral, Moustafa Bayoumi compares life as a minority in America to living in a fishbowl.
In a 1995 letter, Arthur Miller snapped back at Newt Gingrich’s claim that he'd written some of America's most influential plays without federal aid—but reaffirmed that the arts would always persist.
“Artistic practice is also a political and social practice.” Puerto Rican artists are playing an important role in catalyzing revitalization in communities devastated by Hurricane Maria.
Since 2011, artist Robin Rhode has created more than 20 works on a unique wall in Newclare, South Africa, but as the area grows more violent, he's being forced to abandon his long-time inspiration.
“'No hope without rage.' People should be pissed off and acting on that. 'No rage without teeth.' It should have some bite to it." Dread Scott on Badlands Unlimited's The New No's.
From Adam Pendleton's Black Dada Reader to Uneasy Dancer, the catalogue for Betye Saar's Fondazione Prada exhibition, Culture Type picks the year's best black art books.
Prototypes for Trump's proposed border wall "seemed at once the most and least architectural objects I’d ever seen. They were banal and they were startling, full and empty of meaning."
"My favorite thing is when artists have a ridiculous idea and they need someone to say, ‘Yeah, let’s do it.’” Mark Allen on closing Machine Project, his experimental LA art space, after 15 years.
“These things aren’t rocket science and they don’t have fairy dust. It’s just about executing on them.” At look at how Atlanta's High Museum trripled its nonwhite audience in just two years.
Naming Jerusalem Israel's capitol—write 100+ artists including Tunde Adebimpe, Brian Eno, and Mona Hatoum—"erases Palestinians, as a political and cultural presence, from the life of their own city."
Noting immersive art experiences like Kusama's mirror room at the Hirshhorn, Santa Fe's Meow Wolf, and the Museum of Ice Cream, Ben Davis looks at a spectacular trend of 2017: Big Art Fun.
Trumpism, writes critic Ben Davis, "finds its roots in the museum as well as the megachurch and draws as much power from cynical sophisticates as it does from the sans culottes."
Babes in Toyland drummer Lori Barbero and artist Chris Larson are fundraising to equip a St. Paul studio where girls can learn to write, play, and record music of their own—all with Barbero's help.
Fearing state media wouldn't cover mass evictions of migrant workers, painter Hua Yong has fled China—after police tried to arrest him for posting videos of demolished migrant housing online.
"If the petition were successful, we’d be asking museum-goers not to look directly at the painting, but to see it through the lens of our fears." Lauren Elkin on that Balthus painting at the Met.
The Walker's Gwyneth Shanks revisits a 2014 performance by Rafa Esparza and Rebeca Hernandez along the LA River and its relationship to the nearby waterway and California’s historic draught.
Exploring privilege and family, Young Jean Lee's Straight White Men marks a major first: coming next summer, it's the first play written by an Asian American woman to be produced on Broadway.
Derived from the African talking drum, Kerry James Marshall's A Monumental Journey will pay homage to the National Bar Association, a black lawyers association founded in Des Moines in 1924.
Praised for art addressing colonialism, racism, and institutional invisibility, Lubaina Himid has won the Turner Prize. She's the first woman of color and oldest recipient of the 33-year-old prize.
"Curatolatry (as in the worship of curation and curators) is really booming," writes Thomas Frank, who explores the term's considerable baggage—including its class and political connotations.
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.