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Co-presented with the Northrop’s jazz series, last night’s concert marked the Minnesota debut of Cuban percussionist Dafnis Prieto. Prieto’s music revels in the fertile middle ground between free jazz and the straight-ahead jazz rooted in 1950s hard bop. The songs that made up the more than 80-minute set, many of which were from his recent [...]
1. Event Horizon and Benches & Binoculars: The much anticipated reinstallation of the permanent collection opens on Saturday. Previews of the exhibition are in the local media today, but I suggest reading them after visiting the exhibition…it’s more fun that way, personally. You can get a jump on general public tonight at the always fun (and packed) [...]
This post is the first in an on-going series, in which guest artist-instructors involved with our various Raising Creative Kids programs reflect upon their teaching experience. Last Saturday (Nov. 14th) I had the pleasure of working with the Walker to develop and teach MyNet: Google SketchUp, a course designed to introduce the amazing world of 3d [...]
Robert Pattinson’s got nothing on Francis Bacon! Who needs fan sites and movie trailers when you have ArtsConnectEd.org? See the slideshow presentation created by a Twilight fan, who uses artworks by Bacon and others to illustrate an outline of this, uh, literary sensation. It’s not too early to get a start on next year’s [...]
The Walker’s next collection catalogue will be free for the whole world. Getty has sponsored nine art museums[i] to lead the pilot stage of what has been termed the Online Scholarly Catalogue Initiative (you’ll hear it referred to around here as OSCI). Through innovative web-based architectures, each awarded institution will present visitors prodigious access to artists’ [...]
As I mentioned in my last post on our mobile site, one of the key features for our site was making sure that we don’t use any javascript unless absolutely necessary. If you use Google Analytics (GA) as your stats package, this poses a problem, since the supported way to run GA is via a [...]
As the person charged with the task of seeking out prints for films screened in the Walker Cinema, I’ve found historically that 35mm prints from the 1980s are the hardest to find. Why this is is anyone’s guess; perhaps films from the 80s aren’t old enough to be considered “classic,” but aren’t recent enough to [...]
E: Hey, where’s that blog post you were going to finish two weeks ago? A: I, uh, have been working on it. E: Really? It looked to me like you were watching movies. A: I was refreshing my memory. E: Uh huh. What’s this post about then? A: It’s about Jean-Luc Godard. And it’s done. Stills selected from Pierrot le fou, 1965 [...]
Recent Comments
TEN: This Week in Local Art – Sales, Scrap and Carl Sagen
Date: December 31, 6:00 pm
by: Scott Stulen
Thank you Randy. I appreciate it!
TEN: This Week in Local Art – Sales, Scrap and Carl Sagen
Date: December 31, 6:00 pm
by: Randy Pena
I finally decided to write a comment on your blog. I just wanted to say good job. I really enjoy reading your posts.
10: The week in local art and other bits of interest
Date: December 31, 6:00 pm
by: Frank Gaard
jl - I don't agree with your idea, it's too glib too inside. Picasso lived a long while Oiticica lived a less long life and in a culture quite unlike Paris. His work was fragile to begin with and more unusual in materials and function; he was not so much a painter of a sculptor as he was a lover of the Samba. If you saw the Walker show of his material you might see the loss differently. Besides the idea that all work falls within some paradigm of failure is simply not reasonable. Oiticica was something else something only found late. Maybe I'm too emotional about this because I'm grown old but I do know how thrilling that show was and I know every rule has an exception.
Reflections on My Net: Google SketchUp
Date: December 31, 6:00 pm
by: ArtRuby
<p>this is amazing! RT @walkerartcenter: Reflections on My Net: Google SketchUp <a href="http://bit.ly/10Bg9H" rel="nofollow">http://bit.ly/10Bg9H</a></p> <p><i>This comment was originally posted on <a href="http://twitter.com/ArtRuby/statuses/5865508239" rel="nofollow">Twitter</a></i></p>
Reflections on My Net: Google SketchUp
Date: December 31, 6:00 pm
by: walkerartcenter
<p>Reflections on My Net: Google SketchUp <a href="http://bit.ly/10Bg9H" rel="nofollow">http://bit.ly/10Bg9H</a></p> <p><i>This comment was originally posted on <a href="http://twitter.com/walkerartcenter/statuses/5865261352" rel="nofollow">Twitter</a></i></p>
Yellow Earth and The Trials and Tribulations of Screening 35mm in the 21st Century
Date: December 31, 6:00 pm
by: brent
ahh yes, our good friend shelly kraicer's list. thanks!
Yellow Earth and The Trials and Tribulations of Screening 35mm in the 21st Century
Date: December 31, 6:00 pm
by: Jenny Jones
Jason McGrath reports that it's actually called Chinese Cinema Digest. Here's the contact info: ccd-editor@chinesecinemas.org
Reggie Wilson and Andreya Ouamba’s The Good Dance: Dakar/Brooklyn
Date: December 31, 6:00 pm
by: beth
for me the dance was fabulous. there is a lot to comment on, but i have heard one person say it was 'boring'. as with much else, it if was boring, you weren't paying attention. i agree with much said earlier about the water bottles, the symbolism or literalness of people the world over who still must transport water on their heads (oftentimes at great personal risk), to westerners who have the privilege of carrying water around in plastic bottles to become the scourge of pollution. the back and forth of the bottles on the stage was a flood, welcome and reviled. i also appreciated the political themes, often very sly in subtle movements. the small white woman paired with tall black men, her gestures first to hold a secret, then seduction, then a lynching. there was so much going on simultaneously, it was a joy and a challenge to keep up. i wish their had been a post performance Q & A.
Impressionable Youth
Date: December 31, 6:00 pm
by: alisetalto
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Impressionable Youth
Date: December 31, 6:00 pm
by: tyeirela
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Reggie Wilson and Andreya Ouamba’s The Good Dance: Dakar/Brooklyn
Date: December 31, 6:00 pm
by: Alanna
The Good Dance Saturday night What was I looking for, Ms. Darst, you asked? I am a dancer and dance carnivore. Oftentimes when one hears the words “Africa” and “Black” an image is constructed of what to expect—the type of movement, storyline, artistic philosophy, etc. These nouns did prepare me to see something familiar on Saturday night. Nevertheless, I came to The Good Dance on Saturday night with no expectations except expectation. What I did I get? The thrill of unconventional movement vocabulary and unusual spatial relationships; a dance where every moment seemed heavy with symbolism; and the pleasure of watching compelling performers imbue every gesture with meaning. What did I love about The Good Dance? I loved the surprise. Watching the dancers progress from one moment to another I had no idea what was coming next. While Mr. Wilson says The Good Dance is non-literal and non-narrative, I followed a narrative throughout. The row of water bottles seemed like the boundaries of the Mississippi River and The Congo River, the two bodies of water that connect these choreographers. The scattering of the bottles was like the bleeding of their worlds and a representation of the destructive elements that have affected these areas. The rebuilding of the walls I likened to the resilience of these men/their homelands/ its inhabitants. One of the many poignant moments was the duet between Reggie and Andreya. Andreya Ouama’s movement is like a secret. You can’t figure out how it’s happening and where it originates, but it is unleashed with unquenchable force, very satisfying. He is a dynamic mover, twisting, bending, broken arms and angles, falling. He is vulnerable and dominant, passionate. Andreya moves with deft alacrity that was a contrast to Reggie’s calming and simple presence. The costumes accentuated juxtaposition, Andreya in a lappa and bare chest; Reggie dressed in a curious combination of lappa and suit jacket. So much meaning here. They danced side by side, like the history of these two men. I was pleasantly surprised on Saturday night. A Good Dance indeed.
Yellow Earth and The Trials and Tribulations of Screening 35mm in the 21st Century
Date: December 31, 6:00 pm
by: brent
what chinese cinema list did you inquire with? would love to join it.
Godard’s Intertitles
Date: December 31, 6:00 pm
by: Andrea Hyde
Interesting observation. I will have to review \Bande a part\ and look for the resemblance.
Take a kid to Graham!
Date: December 31, 6:00 pm
by: Susannah Schouweiler
I had <a href="http://www.minnpost.com/artsarena/2009/11/06/13218/go_see_dan_graham_beyond_at_the_walker_and_take_a_kid_with_you" rel="nofollow">precisely the same idea</a> when I first walked through the show -- it's nice to hear your real, live 7-year-old did indeed enjoy it, though. I'm definitely bringing my preschooler in the near future. I have a feeling he'll love it, too.
10: The week in local art and other bits of interest
Date: December 31, 6:00 pm
by: Jimmy Longoria
Hola Frank, your comment reminds me of an exhibition I once saw of Pablo Picasso's hidden stash of work. The show was in the Los Angeles County Museum of Art. It was a big deal and the show brought a whole of cash along with long lines and a killing at the Gift Shop. I was lucky and had a friend on the staff that arrange for me to see the show as often I wanted. I learned a very important truth about an artist's total output of work. I learned that what Peter Drucker had said about the work of Master Sumi E brush painters was right. 90 % of any great artist's work is crap. Great crap relative to others; but crap none-the-less. I found Mr. Drucker credible because he also included his own writing in that assessment. With caveat: \the challenge is to figure out what is the good 10% and keep only that!\ Happy Turkey Day Frank. Bobo
“The Good Dance” lives up to its name
Date: December 31, 6:00 pm
by: Michele Steinwald
"The Walker-commissioned world premiere deserves a large audience; this evening of contemporary dance is accessible and entertaining." from The American Jewish World News: http://www.ajwnews.com/archives/4063
“The Good Dance” lives up to its name
Date: December 31, 6:00 pm
by: Julie Caniglia
see also Caroline Palmer's review in today's Star Tribune: http://www.startribune.com/entertainment/onstage/69974772.html?elr=KArks7PYDiaK7DUdcOy_nc:DKUiD3aPc:_Yyc:aUU
“The Good Dance” lives up to its name
Date: December 31, 6:00 pm
by: Kenna Sarge
Dakar/Brooklyn - the same act can mean so many different things. The same rhythm looks different in different space. How do you read two men holding hands? In Dakar? In the BK? I'm looking at THE GOOD DANCE like a book - as Mr. Wilson tells me to. The speech he gives narrows my vision. Rivers, water, collaboration, improvisation, skype, good book, good dance. I wonder if this part will be different on other nights. Favorite parts: the Intro: Red lights, pulsing house music, and I can't take my eyes off Rhetta Aleong. She sits, standing, hip jutting out, wrist hanging. She pivots and winds her leg up like a propeller. She's hitting this contemporary movement in a way that I can feel. Her haughty expression makes me smile. The other dancing bodies taking up space in the middle of the floor can't take my attention from her. She finally sees them, and then I do too. A climax: Anna D. Schon's and Paul Hamilton's argumentative dance, and I'm rolling my eyes at the juxtaposition of these two dancers-- hold up! He's pushing the little white girl, uh oh! she's pushing him back! They stare defiantly at us, crawling toward us with Anna D. Schon draped over Paul Hamilton's back. On Thursday night, as these two rejoin the line, my homegirl starts clapping. I don't join in. The drama: Michel Kouakou, also known as "Lil' Bit," jumping, reaching, snapping cobwebs from his face, or signaling a homie; snapping off into some coupe decalle style serious rotation; footworking with a wine bottle like its a football (and how do you read "football" in Dakar? Brooklyn?); this is what you call freestyle. The word improvisation reads differently than freestyle in my good dance. Headbanger moment: If you knock that water bottle off her head one more time I'm gonna....! I need to see this one again. Talking to Ms. Cisse after the performance makes me want to have a relationship with this performance. She told me about working from improvisation, that Andrea Ouamba might lay out a different setup. The book is like an Almanac. You don't read it cover to cover, and you return again and again to the parts you need.
Take a kid to Graham!
Date: December 31, 6:00 pm
by: walkerartcenter
<p>Take a kid to Graham! <a href="http://bit.ly/1t3Xuo" rel="nofollow">http://bit.ly/1t3Xuo</a></p> <p><i>This comment was originally posted on <a href="http://twitter.com/walkerartcenter/statuses/5682132191" rel="nofollow">Twitter</a></i></p>
Godard’s Intertitles
Date: December 31, 6:00 pm
by: Mike
I think Jean Luc Godard's work is always constantly refreshing to read and explore. I thought the screen titles of Band a part was just superb, the composition and centered text was unique. I also thought it referred to the public street signs and the metro train system that exists now. It's a break away from the baroque and herculean stylised titles of old Hollywood classics.