Walker Art Center

A catalyst for the creative expression of artists and the active engagement of audiences; examining questions that shape and inspire us. walkerart.org

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#MondayMood, "Quarantine," by Julie Curtiss.

Julie Curtiss uses dreamlike imagery, surprising juxtapositions, and deadpan humor to delve into the human psyche.

[Julie Curtiss, "Quarantine" (2018)] Collection Walker Art Center #MuseumFromHome #5WomenArtists #Quarantine #COVID19 #Quarantine #QuarantineMood

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From the Walker Collection:

Robert Watts TV Dinner 1965 Black-and-white photographs laminated on wood, cast plastic 1-3/8 x 20 x 11 inches overall installed

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Meg Stuart, one of the world’s most influential and acclaimed contemporary choreographers—and recipient of the 2018 Venice Biennale Golden Lion for Dance Lifetime Achievement—returned to the Walker for the first time since 2006 for a rare US appearance. The American-born, Berlin/Brussels-based artist continually invents new presentation contexts and movement languages in collaboration with artists from diverse disciplines. This multipart engagement includes the North American premiere of Celestial Sorrow, a Walker co-commissioned  immersive installation and performance made with visual artist Jompet Kuswidananto, along with An evening of solos and duets, a stunning retrospective offering a glimpse into an oeuvre that continues to live, grow, and transform.

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From the Walker Collection:

Bruce Conner NEW YORK FILM FESTIVAL POSTER 1965 Offset lithograph on paper, ink stamp on papereach strip contains 24 frames; the poster reproduces all the footage of Conner’s TEN SECOND FILM (1965) 35 x 30 inches sheet

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Recently published on The Gradient: Uncovered 004: Perfume Genius and Kate Wallich’s The Sun Still Burns Here How can design be a performative act? What insights can be gleaned from a production by approaching it from the perspective of its graphic identity? Ben Schwartz speaks with designer Andrew J.S., dancemaker Kate Wallich, and musician Mike Hadreas (aka Perfume Genius) on their collaboration The Sun Still Burns Here, a lush dance/live music performance coming to the Walker this winter. Above: Flyer for The Sun Still Burns Here, design by Andrew J.S.

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Recently published on The Gradient: Uncovered 004: Perfume Genius and Kate Wallich’s The Sun Still Burns Here How can design be a performative act? What insights can be gleaned from a production by approaching it from the perspective of its graphic identity? Ben Schwartz speaks with designer Andrew J.S., dancemaker Kate Wallich, and musician Mike Hadreas (aka Perfume Genius) on their collaboration The Sun Still Burns Here, a lush dance/live music performance coming to the Walker this winter. Above: Flyer for The Sun Still Burns Here, design by Andrew J.S.

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From the Walker Collection:

Andy Warhol Flash--November 22, 1963 1968 Screenprint on paper 21 x 21 inches unframed

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Now open at the Walker: Theaster Gates: Assembly Hall “How do we deal with abandonment, ruin, decay? How do we start to imagine ourselves as deeper caretakers of the things that exist in the world?” —Theaster Gates Theaster Gates’s (US, b. 1973) multifaceted practice includes sculpture, installation, performance, and architectural interventions. An important aspect of his work entails reclaiming and revitalizing abandoned buildings in neighborhoods across Chicago’s South Side. These spaces, which include Dorchester Projects and the Stony Island Arts Bank, have become catalysts for creative and cultural gatherings, and now also serve as repositories for thousands of objects. Taking things that have been cast aside from libraries, archives, and collections, the artist asks us to consider what it means to invest objects with new meanings through the simple acts of conversation, conservation, creation, and care. Theaster Gates: Assembly Hall runs from Sep 5, 2019–Jan 12, 2020 Above: View of the exhibition Theaster Gates: Assembly Hall, 2019. Photo: Bobby Rogers

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Now open at the Walker: Theaster Gates: Assembly Hall “How do we deal with abandonment, ruin, decay? How do we start to imagine ourselves as deeper caretakers of the things that exist in the world?” —Theaster Gates Theaster Gates’s (US, b. 1973) multifaceted practice includes sculpture, installation, performance, and architectural interventions. An important aspect of his work entails reclaiming and revitalizing abandoned buildings in neighborhoods across Chicago’s South Side. These spaces, which include Dorchester Projects and the Stony Island Arts Bank, have become catalysts for creative and cultural gatherings, and now also serve as repositories for thousands of objects. Taking things that have been cast aside from libraries, archives, and collections, the artist asks us to consider what it means to invest objects with new meanings through the simple acts of conversation, conservation, creation, and care. Theaster Gates: Assembly Hall runs from Sep 5, 2019–Jan 12, 2020 Above: View of the exhibition Theaster Gates: Assembly Hall, 2019. Photo: Bobby Rogers

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Recently published on Sightlines: “Long Live the New Flesh”: Pavel Pyś on Art, Technology, and The Body Electric “What defines our relationship to the space of the screen? How do we negotiate ourselves and others via technology? How do artists respond to a shifting technological landscape in relation to identity and embodiment?” As The Body Electric opens at Yerba Buena Center for the Arts, curator Pavel Pyś shares the thinking behind the Walker-organized exhibition. Above: Martine Syms, Notes on Gesture, 2015.   Photo: Bobby Rogers

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From the Walker Collection:

Vito Acconci Trademarks 1970 Lithograph on paper 20-1/8 x 20-3/16 inches

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From the Walker Collection:

Sigmar Polke Unerwünschte Geschenke (Unwanted Gifts) 2003 Screenprint on paper 27-1/2 x 19-3/4 inches sheet

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Recently published on Primer: Niizho-Manidoog: A Two-Spirit Fashion Lookbook by Alya Ansari “I believe that fashion makes people happy; it allows people to let others know about themselves by the way they look and dress. Hairstyles, makeup, fragrance, tattoos: it’s more than just clothing,” says designer Delina White of IAmAnishinaabe. This lookbook—showcasing fashions and models featured in our June Indigenous Spirit: Gender Fluid Fashion show—celebrates designs that honor Native tradition, diversity, and nonconformity as imagined through the Anishinaabe term Niizho-Manidoog: the sacred embodiment of two genders. Photography by: Bobby Rogers

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From the Walker Collection:

Genpei Akasegawa One-Thousand-Yen Note Trial Poster 1967 Two-sided offset lithograph on paper 23-3/16 x 17 inches sheet

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Recently published on The Gradient: Interventionist Typography: Erik Brandt on Five Years of Ficciones Typografika From 2013 to 2018, a humble alley in Minneapolis’s Powderhorn Park neighborhood was transformed into an unlikely showcase of global design innovation. On a 72 x 36-inch garage-side panel, Erik Brandt hosted typographic experiments by the likes of Eike König, Sarah Boris, Bráulio Amado, and Walker designers Jasio Stefanski and Aryn Beitz—1,641 in total. In a Walker Reader exclusive, we share a conversation with Brandt from Ficciones Typografika: 1642, a new monograph chronicling the project. Above: Erik Brandt, detail from Ficciones Typografika Intermezzo El Ultimo, 2018

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Recently published on The Gradient: Interventionist Typography: Erik Brandt on Five Years of Ficciones Typografika From 2013 to 2018, a humble alley in Minneapolis’s Powderhorn Park neighborhood was transformed into an unlikely showcase of global design innovation. On a 72 x 36-inch garage-side panel, Erik Brandt hosted typographic experiments by the likes of Eike König, Sarah Boris, Bráulio Amado, and Walker designers Jasio Stefanski and Aryn Beitz—1,641 in total. In a Walker Reader exclusive, we share a conversation with Brandt from Ficciones Typografika: 1642, a new monograph chronicling the project.

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Recently published on The Gradient: Interventionist Typography: Erik Brandt on Five Years of Ficciones Typografika From 2013 to 2018, a humble alley in Minneapolis’s Powderhorn Park neighborhood was transformed into an unlikely showcase of global design innovation. On a 72 x 36-inch garage-side panel, Erik Brandt hosted typographic experiments by the likes of Eike König, Sarah Boris, Bráulio Amado, and Walker designers Jasio Stefanski and Aryn Beitz—1,641 in total. In a Walker Reader exclusive, we share a conversation with Brandt from Ficciones Typografika: 1642, a new monograph chronicling the project. Above: Spread from Ficciones Typografika: 1642, featuring contributions from Daniel Kent, Åbäke, Huiqian Wu, and Lauren Thorson (2013)