Search results for ""Walker Art Centre,U.S.""

Exploring the paradox of design in our daily lives In the past decade, designers have become increasingly engaged with the quotidian. This shift away from more strictly formal and functional concerns has allowed them to freely explore design's contexts and effects. A light that responds to silence, a table that knows where it is, a pig farm the size of a skyscraper, a coat that becomes a tent, a house that fits in your pocket--these projects by innovators in the field of design question the habitual, transform the commonplace, alter our notions of dwelling and blur the boundaries between form and function. Strangely Familiar: Design and Everyday Life explores the paradox of design in our daily lives. Anonymous and conspicuous, familiar and strange, design surrounds us while fading from view, becoming second nature to us and yet remaining still somehow elusive. This exhibition catalogue includes more than 40 innovative projects drawn internationally from the fields of architecture, product, furniture, fashion and graphic design. Among the designers and architects featured are Shigeru Ban, MVRDV, LOT-EK, Atelier Bow-Wow, Dunne & Raby, Marcel Wanders, Michael Anastassiades, Constantin and Laurene Leon Boym, and Allan Wexler. This richly illustrated volume includes essays on the tactics of formlessness and its impact on everyday consumption, the potential of an endlessly transformable environment to extend product lifecycles, and ruminations on the strange and familiar worlds of design.

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Addressing contemporary international art beyond glib expressions of globalism, Brave New Worlds assesses the current state of political consciousness and its multivalent artistic manifestations in an era characterized by the unraveling of a unified world order. Guided by the questions "How do we know?," "How do we experience?" and "How do we dream about the world?," 24 artists from Southeastern Europe to South America, from the Middle East to East Asia and from North Africa to North America propose their own answers in paintings, drawings, sculptures, installations and videos. The catalogue includes several brief "correspondent" essays, inspired by newspaper reports and penned by an international cast of young art historians, critics and curators, including Max Andrews and Mariana Canepa Luna (Spain), Cecilia Brunson (Chile), Hu Fang (China), Tone Hansen (Norway), Mihnea Mircan (Romania) and José Roca (Colombia). Recent texts by philosopher Kwame Anthony Appiah, celebrated author and activist Arundhati Roy and award-winning foreign correspondent Janine di Giovanni provide additional perspectives on global affairs of the past decade. In addition, Brave New Worlds features an artist insert by Lia Perjovschi of Romania, entitled "Subjective Art History from Modernism to Today," and entries on each individual artist.

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Armajani unites art and architecture, Persian calligraphy and abstract expressionism, American vernacular architecture and Russian constructivism In Tehran, children walking home from school would scrape their pencils against the walls, tracing their paths through the city and chanting "follow this line." Siah Armajani (born 1939) recounts that this simple gesture speaks to the desire to mark one's presence in space. Siah Armajani: Follow This Line asks visitors to follow the artist across a shifting terrain, first within the context of pre-revolution Iran, and later, postwar and present-day America. Though Armajani is best known today for his works of public art—bridges, gazebos, reading rooms—located across the United States and Europe, this groundbreaking exhibition argues for a thoughtful reexamination of his studio as the site of a rich and generative practice. His works engage a range of references: from Persian calligraphy to the manifesto, letter and talisman; from poetry to mathematical equations and computer programming; from the abstract expressionist canvas to American vernacular architecture, Bauhaus design and Russian constructivism. Published to accompany Armajani's first major US retrospective, this catalog is his most comprehensive publication to date. Developed in close collaboration with the artist, it offers new scholarship on his six-decade-long career and also includes previously unpublished texts. Contributions by Nazgol Ansarinia, Sam Durant, Barbad Golshiri and Slavs and Tatars speak to Armajani's influence on a younger generation of artists based in the United States, Europe and the Middle East.

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The artist as collector and champion of the American vernacular Allen Ruppersberg: Intellectual Property 1968–2018 accompanies a major retrospective exhibition on one of conceptual art’s most inventive and acclaimed practitioners. Emerging in late-1960s Los Angeles, Ruppersberg was among that city’s first generation of conceptual artists to espouse a working method that privileges ideas and process over conventional aesthetic objects. Deploying posters, books, postcards and even a café and hotel, his projects have consistently had at their center a focus on the American vernacular—its music, popular imagery and ephemera—mining the nuances of culture through its unsung conventions. From his earliest works, the artist has also welcomed the involvement of the viewer as participant, inviting an immersive experience of his work through language, visual density, accumulated elements and ideas. This fully illustrated catalog is the most comprehensive publication to date on Ruppersberg’s work, featuring a wealth of scholarly content and critical writing connecting Ruppersberg’s work to the larger contemporary art field. Produced by the Walker’s award-winning design studio and in close collaboration with the artist, the book presents a holistic view of Ruppersberg’s wide-ranging, 50-year practice. Born in Cleveland, Ohio in 1944, Allen Ruppersberg has been the subject of more than 60 solo shows. His only other US retrospective, The Secret of Life and Death, was presented by the Museum of Contemporary Art, Los Angeles, in 1985. His work is in the collection of public institutions such as the Los Angeles County Museum of Art; the Hammer Museum, Los Angeles; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; and Le Fonds Ronal d’Art, among many others. Ruppersberg lives and works in Los Angeles, Cleveland and New York.

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Since the late 1980s, Jim Hodges’ poetic reconsiderations of the material world have inspired a body of multimedia work in which the manmade and artificial are invested with emotion and authenticity. Co-published by the Dallas Museum of Art and the Walker Art Center, this volume accompanies the first comprehensive, scholarly exhibition to be organized in the United States of this critically acclaimed American artist. Examining over 25 years of his artistic career, this uniquely designed catalogue weaves together the voices of many to situate the artist’s work within issues of identity, social activism, illness, beauty, generosity and death. Contributions include an in-depth overview of Hodges’ career by Jeffrey Grove, Hoffman Family Senior Curator of Contemporary Art at the Dallas Museum of Art; an essay and interview with the artist by Olga Viso, Executive Director of the Walker Art Center; a reflection on Hodges’ early artistic development by Bill Arning, Director of the Contemporary Arts Museum, Houston; an essay on sentimentality and the artist’s recent video work by Helen Molesworth, Barbara Lee Chief Curator at the Institute of Contemporary Art, Boston; as well as ruminations on recurring motifs in the artist’s work by author Susan Griffin. Born in 1957 in Spokane, Washington, New York-based artist Jim Hodges has been featured in numerous solo and group exhibitions in the U.S. and in Europe, including the 2004 Whitney Biennial and a solo exhibition at the Centre Georges Pompidou, Paris. Hodges’ work is included in the collections of notable institutions, among them the Dallas Museum of Art; the Walker Art Center, Minneapolis, MN; The Art Institute of Chicago; the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Los Angeles County Museum of Art; The Museum of Modern Art, New York; the Philadelphia Museum of Art; the San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York.

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Heart of Darkness centers on three large-scale installations by artists Kai Althoff, Ellen Gallagher and Thomas Hirschhorn. Working with fairy tales, science fiction and sensational imagery, these artists invite us to enter an uncanny world of their own creation, where darkness is not just a representation of chaos, madness and dystopia, but an artistic strategy in the search for clarity and empathy within the insurmountable nihilism of the twenty-first century. With an introduction by curator Philippe Vergne and individual interviews with the artists.

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Six decades of sculptural innovation from the Arte Povera pioneer and alchemist of the everyday Over the course of more than five decades, Jannis Kounellis developed a singular practice across painting, works on paper, sculpture, installation and hybrid works combining objects with live performance. Playing a central role in the Italian Arte Povera movement of the 1960s and early 1970s, Kounellis created wide-ranging and innovative works exploring theater, migration, history, politics and other themes, which continue to influence subsequent generations of artists. Published by the Walker Art Center for the first US Kounellis survey in over 35 years, Jannis Kounellis in Six Acts offers the most comprehensive assessment of his career to date. The richly illustrated catalog, assembled with the full cooperation of the artist’s estate and archive, presents a first-of-its-kind collection of visual materials and Kounellis’ writings, including image-based exhibition and performance chronologies. The volume also features essays by Vincenzo de Bellis, Claire Gilman, Kit Hammonds and Ara H. Merjian. Jannis Kounellis (1936–2017) was born in Piraeus, Greece. In 1956, he moved to Rome and by 1960 was an active member of the Arte Povera movement. In 1969 he created one of his best-known works: the installation of 12 live horses in the gallery L’Attico in Rome. Kounellis’ first New York solo show was in 1972. Recent exhibitions have been held at the Museum of Cycladic Art, Athens, Greece (2012) and the Neue Nationalgalerie, Berlin, Germany (2007), among others.

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How performance has transformed the status of the art object, in works by Félix González-Torres, Oskar Schlemmer, Robert Morris and more Presenting works from the early 20th century to today, The Paradox of Stillness: Art, Object, and Performance examines the notion of stillness as both a performative and visual gesture, featuring practitioners who have constructed static or near-static experiments that hover somewhere between action and representation as they are experienced in the gallery space. The exhibition investigates performance from the perspective of the object rather than the body, examining how performance has reinterpreted traditional artistic mediums. Stillness and permanence are qualities typically seen as inherent to painting and sculpture—consider the frozen gestures of a historical tableau or the unyielding solidity of a bronze figure. The Paradox of Stillness, however, expands the artwork’s quality of stillness to accommodate uncertain temporalities and physical states, investigating works that merge objects with human bodies suspended in motion. Featuring artists whose works include performative elements but also embrace acts, objects and gestures that refer more to the inert qualities of painting or sculpture than to true staged action, The Paradox of Stillness rethinks the history of performance through its aesthetic investigations into the interplay of the fixed image and the live body. Artists include: Marina Abramovic, Merce Cunningham, Giorgio de Chirico, VALIE EXPORT, Gilbert and George, Félix González-Torres, Maria Hassabi, Jannis Kounellis, Kasimir Malevich, Piero Manzoni, Robert Morris, Senga Nengudi, Michelangelo Pistoletto, Oskar Schlemmer, Sophie Taeuber-Arp, Cindy Sherman, Mario Garcia Torres and Franz West.

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Despite its apparent throwaway status, the stock image comprises the primary commodity of a billion-dollar global industry with far-reaching effects in the marketplace and the public sphere. Taking this overlooked facet of contemporary life as a point of departure, Ordinary Pictures explores the photographic apparatuses and commercial interests that have given rise to our generic image culture through the conceptual image-based work of some 40 artists, including John Baldessari, Steven Baldi, Sarah Charlesworth, Anne Collier, Liz Deschenes, John Divola, Aleksandra Domanovi´c, Hans-Peter Feldmann, Morgan Fisher, Hollis Frampton, Jack Goldstein, Rachel Harrison, Robert Heinecken, Leslie Hewitt, Elad Lassry, Louise Lawler, Sherrie Levine, Steve McQueen, Jack Pierson, Peter Piller, Seth Price, Amanda Rossotto, Ed Ruscha, Steven Shore, Sturtevant, Mungo Thomson, Wolfgang Tillmans, Tseng Kwong Chi, Julia Wachtel and Christopher Williams. Spanning generations, movements and artistic strategies from the 1960s to the present day, this publication brings together works by artists who have probed, mimicked and critiqued this aspect of our visual environment as well as its industrial modes of production and distribution. Through the work of these artists and a series of scholarly essays, the catalogue aims to examine different operations of the generic image in culture, namely its anonymous circulation and editorial uses, its adaptability and reproducibility, its technical processes of production, its claim to copyright and artistic license and its tendency toward abstraction. Featuring a unique, coil-bound design reminiscent of stock photo catalogues and a flexidisc recording by the artist Jack Goldstein, this highly collectible book ultimately reflects on contemporary art’s own complicit function as an expanding industrial image economy.

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The Walker Art Center recently opened its expanded space, which includes a new theater, a new restaurant and more galleries, but is best known for being Herzog & de Meuron's first public building in the United States. The project drew national coverage from media including The New York Times. Expanding the Center addresses this public interest in the building with a generous selection of images, including sketches, renderings and photographs of the construction process and the completed work. Herzog & de Meuron's shimmering but grounded design mirrors the textures and shades of the Walker's original space, and an institutional philosophy based in innovation and risk-taking, the exploration of alternative approaches to learning, the experimental use of technologies to communicate information, and the design of spaces to enhance a variety of museum experiences. The book is organized around the decisions and actions of the architects, builders, Walker staff and the audience--i.e. designing, constructing, unveiling, staging, gathering, patterning, framing, collecting--and highlights the thinking that led to the visible form of the Center as well as the innovative projects and initiatives that give it its inimitable character.

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A handsomely designed overview of Chan’s acclaimed Badlands imprint and his latest sculptural series exploring the metaphor of the “breather” This volume surveys Paul Chan’s publications and works made between 2010 and 2022 following his return to artmaking. The exhibition takes as its organizing principle the notion of the “breather,” a word that can signify a moment of rest or pause but can also reference a purposeful redirection toward other activities. Chan’s turn to publishing through the founding of his independent press Badlands Unlimited represented a type of “breather.” Badlands for Chan embodied a radical break that seeded new ideas and ways of working. The term is also what Chan titles a recent major body of work. Breathers is an ongoing series of pneumatic sculptures and installations that he considers a new genre of moving-image works. Tacitly and overtly, the metaphor of the “breather” underscores each of the works in the Walker Art Center exhibition, which, with the artist’s input, is conceived in four sections. The exhibition catalog includes scholarly contributions by Chan; Pavel Pys, Curator of Visual Arts at the Walker Art Center; and Vic Brooks, Senior Curator of Time-based Visual Art at Experimental Media and Performing Arts Center Rensselaer Polytechnic Institute (EMPAC). Paul Chan (born 1973) is an artist, writer and publisher who lives in New York. Chan is the winner of the Hugo Boss Prize in 2014, a biennial award honoring artists who have made visionary contributions to contemporary art. Chan founded the independent press Badlands Unlimited in 2010. Badlands has published over 50 books, including the works of Yvonne Rainer, Calvin Tomkins, Lynne Tillman, Hans Ulrich Obrist, Carroll Dunham, Claudia La Rocco, Dread Scott, Martine Syms, Craig Owens, Petra Cortright, Cauleen Smith, Ian Cheng, Rachel Rose, Aruna D’Souza and many others.

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Since 2001, Swedish-born artist Nathalie Djurberg (born 1978) has honed a distinctive style of video animation. Set to music and sound effects by her collaborator Hans Berg, Djurberg's handcrafted cinematic tales explore revenge, lust, submission, gluttony and other primal emotions through the conventionally innocent technique of “Claymation,” which in her hands becomes a medium for nightmarish yet wry allegories of human behavior and social taboo. Increasingly, Djurberg's practice has blurred the cinematic and the sculptural in environments that integrate moving images and related set pieces. This publication accompanies the artist's largest presentation in an American museum to date. The catalogue weaves documentation of her sculptures and stills from her recent films with texts (both original and found) that trace the historical, scientific and literary threads running through her practice.

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The suburbs have always been a fertile space for imagining both the best and the worst of modern social life. Portrayed alternately as a middle-class domestic utopia and a dystopic world of homogeneity and conformity--with manicured suburban lawns and the inchoate darkness that lurks just beneath the surface--these stereotypes belie a more realistic understanding of contemporary suburbia and its dynamic transformations. Organized by the Walker Art Center in association with the Heinz Architectural Center at Carnegie Museum of Art, Worlds Away: New Suburban Landscapes is the first major museum exhibition to examine both the art and architecture of the contemporary American suburb. Featuring paintings, photographs, prints, architectural models, sculptures and video from more than 30 artists and architects, including Christopher Ballantyne, Center for Land Use Interpretation, Gregory Crewdson, Estudio Teddy Cruz, Dan Graham and Larry Sultan, Worlds Away demonstrates the catalytic role of the American suburb in the creation of new art and prospective architecture. Conceived as a revisionist and even contrarian take on the conventional wisdom surrounding suburban life, the catalogue features new essays and seminal writings by John Archer, Robert Beuka, Robert Breugmann, David Brooks, Beatriz Colomina, Malcolm Gladwell and others, as well as a lexicon of suburban neologisms.

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One of the premier institutions of contemporary art in the country, the Walker Art Center also holds an important collection of over 11,000 objects from the early twentieth century to the present. These holdings reflect the Center's renowned multidisciplinary program, and include paintings, sculpture, prints, photography, film, video, installations and digital arts that range in date from classic early Modernist to cutting edge contemporary.

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Parallel Cities examines the history of the multilevel city with a focus on elevated pedestrian systems as a recurrent concept in urban planning and design. The book chronicles the evolution and migration of this concept from 19th-century French social utopian thinkers and 20th-century Soviet Constructivist architectural circles to its incubation in postwar London, its theorization by members of CIAM and Team 10, and its eventual dissemination to North America and Asia, where extensive systems were built in cities such as Minneapolis, Calgary and Hong Kong. This fascinating and untold history explores an architectural idea as it evolves under varying social, geographic and political contexts—charting its use as an ever-shifting multipurpose tool to segregate or commingle the classes, foster social cohesion and the public good, facilitate security and surveillance, improve pedestrian safety and traffic flows, or to enhance retail consumption by ameliorating climatic extremes. The implementation of streets above streets creates parallel cities, not mirrored but alternate realities where questions about access, use and control emerge. The book considers both radical visionary schemes of the future urban metropolis by progressive architects and the grand, if visually more mundane, implementation plans of extensive networks built in cities around the world that engender what the authors call a surreptitious urbanism. The first and only comprehensive book on the subject, Parallel Cities represents important new scholarly research on a topic that remains a persistent theme in architecture and urban planning. Accompanying the extensively illustrated text is a lexicon of related terms and an appendix of specific systems drawn from key cities.

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“Jason Moran [is] shaping up to be the most provocative thinker in current jazz.” —Rolling Stone This is the first in-depth publication to investigate the practice of pianist, composer and visual artist Jason Moran, whose work bridges the fields of visual arts and performing arts. As a “torchbearer for jazz,” Moran challenges traditional forms of musical composition; his experimental works merge object and sound, underscoring the theatricality of both mediums. Moran—who often collaborates with prominent visual artists such Joan Jonas, Stan Douglas, Lorna Simpson and Glenn Ligon—pushes beyond the conventions of sculpture and the concert stage while continuing to embrace the essential tenets of jazz and improvisation. This volume, published in conjunction with the Walker Art Center’s 2018 exhibition, considers the artist’s practice and his collaborative works as interdisciplinary investigations that further the fields of experimental jazz and visual art. It features essays by curators, artists, musicians and art historians, plus an interview and photo essay by Moran. These are supplemented by sections documenting the creation of Moran’s mixed-media “set sculptures” including STAGED: Savoy Ballroom 1, STAGED: Three Deuces (both 2015) and STAGED: Slugs (2018). This is an essential volume for anyone interested in the intersection of contemporary art and music. Jason Moran was born in Houston, Texas, in 1975, and received a BM from the Manhattan School of Music in 1997. He joined the faculty of the New England Conservatory in 2010. In 2014, was named artistic director for jazz at the Kennedy Center in Washington, DC. He was a 2015 Grammy nominee for Best Jazz Instrumental Album for ALL RISE: A Joyful Elegy for Fats Waller, and he composed his first feature film score for Selma (2014), directed by Ava DuVernay.

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9 Artists is an international, multigenerational group exhibition that considers the mutable and mutating role of the artist in contemporary culture. Bringing together the expansive practices of some of the most provocative and engaged artists working today--Yael Bartana, Liam Gillick, Natascha Sadr Haghighian, Renzo Martens, Bjarne Melgaard, Nástio Mosquito, Hito Steyerl and Danh Vo--the show examines ways that they negotiate the complicities and contradictions of living in an ever more complex and networked world. Rarely considered together, they each use their own backgrounds or identities as material, frequently in antagonistic or subversive ways. For this catalogue, each artist has contributed a 16-page artist's book exploring some aspect of their practice, often in collaboration with other artists, writers, or designers including Karl Holmqvist, Phùng Vo, Galit Eilat, Vic Pereiró, An Art Service, Federica Bueti and T.J. Demos. Some contributions are purely visual; others entirely textual, ranging from new essays to ghostwritten letters, cease and desist orders, and cinematic diaries. An accompanying compendium of works provides a visual journey through past projects and ephemera, setting up an associative conversation between the artists' works. Additionally, exhibition curator Bartholomew Ryan's essay weaves together their various approaches, placing them in the context of broader contemporary art practice and the complex world we inhabit. As each artist has developed strong networks of collaborators, the volume is anticipated as a means to promote and create dialogue between the participants and their respective communities.

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A comprehensive survey of Abad's visually dazzling and politically prescient works blending fabric and painting This volume surveys three decades of Pacita Abad’s multifaceted practice. Published on the occasion of her first-ever retrospective, it includes new research and writing by Julia Bryan-Wilson, Ruba Katrib, Nancy Lim, Matthew Villar Miranda, Victoria Sung and Xiaoyu Weng, an edited oral history about the artist’s life and work by Pio Abad and Victoria Sung, and never-before-seen artworks and archival materials. Over the course of her career, Abad made an exuberant, wide-ranging body of work that was ahead of its time in promoting a transcultural worldview. Moving between the Philippines, Indonesia, Singapore and the US—while also spending extended periods in dozens of countries on six continents—she interacted with the many artist communities she encountered on her travels. Drawing on her knowledge of global fiber traditions, Abad innovated a hybrid art form that she called “trapunto” painting (from the Italian word trapungere, “to embroider”). Made by stitching and stuffing her painted canvases as opposed to stretching them over a wood frame, the resulting works’ portability speaks to her peripatetic existence, while their association with textiles evokes female, non-Western forms of labor that have historically been marginalized as craft. Pacita Abad (1946–2004) was born in Batanes, Philippines. Because of her activism against the Marcos regime, she was forced to leave for the US in 1970, where she studied Asian history at the University of San Francisco and painting at the Corcoran School of Art in Washington, DC, and the Art Students League in New York City. Abad created more than 5,000 artworks and had over 60 solo exhibitions in the US, Asia, Europe, Africa and Latin America.

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The endless expressive potential of the human body, from portraiture and social satire to fantasy and erotica The Expressionist Figure documents a collection amassed over more than 60 years and recently gifted to the Walker, which includes some 80 superlative works on paper that focus on the figure. Dating from 1900 to 2018, the drawings span more than a century of artistic experimentation in the US and Europe and were executed in mediums ranging from graphite, ink and crayon to pastel, gouache and collage. Among the artists represented are Milton Avery, Max Beckmann, Christo, Chuck Close, Edgar Degas, Willem de Kooning, Otto Dix, Marlene Dumas, Arshile Gorky, David Hockney, Jasper Johns, William Kentridge, Ernst Ludwig Kirchner, Paul Klee, Gustav Klimt, René Magritte, Henri Matisse, Joan Miró, Claes Oldenburg, Pablo Picasso, Sigmar Polke, Egon Schiele, Ben Shahn, Zak Smith and Andy Warhol. Published on the occasion of the first exhibition of this collection, this luxurious volume includes full-page color reproductions of each drawing along with a catalog entry detailing the history of each object. Also included are an essay by the collector on his passion for drawing, and curator Joan Rothfuss’ deeply researched short essays on 14 individual works. Both beautiful and substantive, The Expressionist Figure is a testament to the pleasure of building a collection and the rewards of sharing it.

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Question the Wall Itself examines ways that interior spaces and décor can be fundamental to the understanding of cultural identity. It showcases 23 international artists who explore the political and social dimensions of interior architecture as well as its complicated relationship to history and their own backgrounds. The featured artists are Jonathas de Andrade, Uri Aran, Nina Beier, Marcel Broodthaers, Tom Burr, Alejandro Cesarco, Marc Camille Chaimowicz, Theaster Gates, Ull Hohn, Janette Laverrière, Louise Lawler, Nick Mauss, Park McArthur, Lucy McKenzie, Shahryar Nashat, Walid Raad, Seth Siegelaub, Paul Sietsema, Florine Stettheimer, Rosemarie Trockel, Cerith Wyn Evans, Danh Vo and Akram Zaatari. The book and the exhibition it accompanies take as its guiding principle what Marcel Broodthaers termed “esprit décor”: a critique of ideas of nationality, globalization and the space of the institution through constructed interior scenes. Recasting our conception of interior space and design, the featured works exist between art, prop, and set or stage. Espousing this mise-en-scène approach, Question the Wall Itself plugs readers into material that expands the show in the form of book-as-exhibition. It includes an extensive photographic walk-through of the installations, and essays by Jordan Carter, Adrienne Edwards, Isla Leaver-Yap, Fionn Meade, and Robert Wiesenberger, as well as contributions from participating artists.

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