- Today
- 11 am – 6 pm
- Mon
- Closed
- Tue, Wed, Sun
- 11 am – 5 pm
- Thu
- 11 am – 9 pm
- Fri,
Sat - 11 am – 6 pm

The title of Renée Green’s new Moving Image Commission is an abbreviation of “Extraterritorial Durations/Harun Farocki,” a reference to both the late German filmmaker and the work’s themes of migration and displacement. Bentson Scholar Mason Leaver-Yap writes that the work could be viewed as double portrait of Green and Farocki, who have both worked as artist, filmmaker, teacher, and writer. More
Part of the second season of Moving Image Commissions, Renée Green’s ED/HF (2017) will screen online June 15–September 10, 2017.

“Close your eyes and send an action.” Like other contributors to the Moving Image Commissions series, Pauline Boudry / Renate Lorenz’s new work responds to the influence of German filmmaker Harun Farocki. But Telepathic Improvisation (2017) also pays deep homage to another artist: the late composer and Deep Listening theorist Pauline Oliveros. More
Part of the second season of Moving Image Commissions, Pauline Boudry / Renate Lorenz’s Telepathic Improvisation (2017) will screen online June 15–September 10, 2017.

Pushing the capabilities of interactive technologies to create compelling digital artworks, Graffiti Nature–Still Mountains and Movable Lakes, the first solo museum exhibition by the Tokyo-based collective teamLab, invites you to immerse yourself in the art. The more animals and flowers you color in, the more the natural world expands around you. Here, an introduction to this engrossing project. More
The interactive exhibition Graffiti Nature–Still Mountains and Movable Lakes is on view May 20–September 10, 2017.

Following a mediation process involving Dakota Spiritual and Traditional Elders, representatives from the four federally recognized Dakota tribes, the Walker Art Center, the Minneapolis Park and Recreation Board, and artist Sam Durant, an agreement has been reached on Durant’s Scaffold sculpture: the work will be dismantled and its wood transported to Fort Snelling, where it will be ceremonially burned. More

“What would Prince think of what I’m doing/thinking/feeling right now?” For TV on the Radio’s Tunde Adebimpe, the question is a good barometer for a life well lived. In Minneapolis to premiere his music/animation examination of grief, mortality, and the afterlife, A Warm Weather Ghost, he discusses his music and art practices, as well as his efforts to evade the “cosmic side-eye” from the late, great Prince. More
Tunde Adebimpe’s A Warm Weather Ghost makes its world premieres May 18–20, 2017.

Choreographer Beth Gill’s work doesn’t elicit the kind of response other radical new ideas tend to: there’s no booing from the crowd or scathing reviews. It’s a subtler form of risk-taking: her “abstract storytelling,” evidenced in a new Walker-commissioned dance work, Brand New Sidewalk, questions the dichotomy of meaning versus abstraction by reclaiming the pursuit of meaning within abstraction. More
Beth Gill’s Brand New Sidewalk premiers in the McGuire Theater May 5–6, 2017.

“For 100 days in Aristotle’s Lyceum, ghosts are speaking to ghosts. Restless contemporary spirits are interrogating the dead.” Novelist Louise Erdrich (LaRose, The Round House) considers a sound installation by the indigenous art collective Postcommodity at documenta that transforms military-grade audio weaponry—recently used against water protectors at Standing Rock—to serve more spiritual ends. More
Read “2043: No Es Un Sueño,” Postcommodity’s recent contribution to the ongoing Artist Op-Ed series.

“The reason for bigness isn’t largeness. It’s to be engulfed by peripheral vision; it questions the self and questions self-consciousness,” said Pop artist James Rosenquist, who passed away March 31 at age 83. Misa Jeffereis looks at his background and legacy, from his midwestern roots to the development of his iconic painting style, which rendered movie stars, automobiles, and food in vivid detail. More

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 with works by Dread Scott, Futurefarmers, Fran Ilich, and others.

Using $100 million of the proceeds from selling Roy Lichtenstein’s Masterpiece (1962), art collector and patron Agnes Gund is launching the Art for Justice Fund, a criminal justice organization that aims to end mass incarceration.

Crowd favorites at documenta 14 include Marta Minujín’s colossal The Parthenon of Books (constructed using an array of government-banned books) and a performance by Maria Hassabi that “transpires at a snail’s pace, and it’s making visitors stand still.”
“We have been acculturated to watching black bodies in pain”: Okwui Okpokwasili in the trailer for Bronx Gothic, the new documentary on her performance work. Opening at Film Forum July 12, it’s directed by Andrew Rossi (Page One: Inside the New York Times).
An interactive look at the reconstructed Minneapolis Sculpture Garden, from Mark Manders’s “ginormous Sphinx-like sculpture” to Aaron Spangler’s “mystical, towering” Bog Walker to Katharina Fritsch’s ultramarine blue giant rooster.
For a new book, artist Andrea Fraser is mapping the relationship between the White House and patrons and trustees at major museums. The US is governed by the wealthy, she says, and “museums, in their origins, are a product of plutocracy.”

Despite key similarities between Warhol’s art and that of Wendy Red Star, there are clear differences: where Warhol created his images from a place of privilege, Red Star celebrates the lived material reality of some of the least-celebrated communities in the US. More

With two Warhol print as a jumping-off point, the Rochester Art Center’s current show features Minnesota artists—including Frank Gaard, Rory Wakemup, and Ziyang Wu—putting a fresh, distinctively regional spin on 20th-century Pop ideas. More

Tom Burr’s sculpture Zog (a series of setbacks), on view in the exhibition Question the Wall Itself, takes its name and inspiration from a feature of Minneapolis’s… More

Visiting a casino in the early 1980s, Ericka Beckman was struck by the “use of human value” on display: white gamblers in elevated seats placing bets on a jai-alai game played by Mexicans in a pit below. In a new interview Beckman… More

“I think that when you feel connected and you are not distracted, there is a greater possibility that you will feel joy.” As we present Thank You For Coming: Play, the second part of choreographer/director Faye Driscoll’s trilogy of… More

In their new film Telepathic Improvisation, Boudry/Lorenz invite the viewer to telepathically communicate with elements depicted onscreen: humans and non-humans, movements, speeches, gestures, music… More

Following the path of not-knowing, Renée Green’s new film is a cinematic meditation on lived experience, writing, film and mourning. Conceived as a “film as a conversation,” Green’s ED/HF is a palimpsestic work that touches on the many thresholds opened while… More

The Minneapolis Sculpture Garden is one of the crown jewels of the city’s park system, uniting two of Minnesota’s most cherished resources—its greenspace and its cultural life. Celebrate the reopening of the Garden, a project of the Walker Art Center and the… More

A series of commissioned opinion pieces featuring provocative reactions to the headlines by artists Ron Athey, Ana Tijoux, Dread Scott, and others.

Five artists have been commissioned to create a new work that will premiere online. These works respond to the inspirations, inquiry, and influence of key artists in the Walker’s Ruben/Bentson Moving Image Collection: Derek Jarman, Bruce Conner, and Marcel Broodthaers.

In celebration of the Walker’s 75th anniversary, Martin Friedman—Walker director from 1961 to 1990—shares his reflections on encountering artists from Duchamp to Cage.

An editorial supplement to Superscript: Arts Journalism and Criticism in a Digital Age, an international conference held at the Walker Art Center May 28–30, 2015.
@walkerartcenter
about an hour ago

In commemoration of Trisha Brown’s passing on March 18, 2017, we look to art historian Susan Rosenberg’s 2014 reflection of the unique appeal of Brown’s thinking and dance to visual artists. More

In conjunction with the exhibition Merce Cunningham: Common Time (Feb. 8–Jul. 30, 2017), we revisit this 1981 Walker interview between Cunningham and frequent collaborator, John Cage, on their approaches to chance operations. More

In celebration of Jack Whitten being honored with a National Medal of Arts on September 22, 2016, we revisit the painter’s 2015 Artist Op-Ed, a powerful personal essay on the potential for art in times of violence and injustice. More