The voice of the institution at its core, presenting news and views from across the Walker.
When Etsy invited its first round of tastemakers to be part of Pages, a new initiative launching today that helps Etsy visitors navigate its universe of artists and artisans, it invited retailers, magazines, and design pros — from Swiss Miss and Apartment Therapy to west elm and Tom Dixon — to share their recommendations. Only […]
When Etsy invited its first round of tastemakers to be part of Pages, a new initiative launching today that helps Etsy visitors navigate its universe of artists and artisans, it invited retailers, magazines, and design pros — from Swiss Miss and Apartment Therapy to west elm and Tom Dixon — to share their recommendations. Only one museum shop was invited: Ours. Shop director Michele Tobin is always on the hunt for hand-crafted items that best illustrate the Walker Shop’s brand — “modern living, well-crafted” — and for Etsy she’ll be hand-picking her favorite projects from the site’s more than 18 million listings. To commemorate Pages’ launch — including the Walker’s Etsy Page — we caught up with Tobin to hear more about what she does in the Shop and how.
At the Walker we use the term “curate” carefully. But isn’t that what you do in the Shop?
In short, yes. In the Walker Shop, items are for sale, of course, so the selection criteria is different than in a gallery. But the idea of collecting items from a common point of view is the same.
What does curating a museum shop entail?
There are overarching necessities within a retail setting – price point, packaging, product type (do I have enough scarves for the fall?). Then there are seasonal considerations – outdoor living items and vases for fresh flowers should be available in the Spring, messenger bags and hats in the Fall, for instance. For the Walker, there are several more layers. The themes and points of view of the artists we work with, along with the interpretation of our curators and the educational programs we present, inform the buying process and presentation in the Shop.
How do you keep up on ideas, products, trends, and makers?
You want me to tell you all my secrets?! Every buyer has their own methodology developed over time. For me, there are companies that work with designers that I have my eye on all the time. I also attend buyers’ shows in New York and Chicago to look for new lines and emerging designers. There’s also a constant, steady flow of email pitches flowing through my inbox, and sometimes a hidden gem shows up there (but truthfully, there isn’t enough time in the day to read them all!). My favorite way to discover something new is word of mouth – someone I know found something I should take a look at, and I just have to have it!
Are “influencers” important to you, and if so, who are some of yours?
While I have my eye on what other retailers are doing, honestly, I like to forge my own way. I used to be much more focused on other museum stores and tastemakers, but I started to feel a little bit like I was chasing my tail. Now I get my inspiration from what designers are doing and items that excite me, and I bring them to the Walker to hopefully give our customers a fresh point of view and some of the same inspiration and excitement.
How does working with Etsy support the mission of the Walker Shop?
The Walker’s main mission is supporting creative expression, and the same is true in the Walker Shop. Etsy has allowed me to see scores of handmade items that I wouldn’t see otherwise, and now Pages will provide a way for me to tip the Walker hat to an artist or designer for a job well done.
What do you love about Etsy?
I love the unpredictable treasure hunt of Etsy. It’s fun! Sometimes you see some crazy stuff, but usually I’m just amazed at how beautiful or well executed a design is.
What non-shop/non-consumer ideas or people influence your work at the Walker?
I love art installations – how things are organized, the pedestals or platforms that are made, how things hang on the wall or from the ceiling. I’m also fascinated by public places and how people interact with them. Why do some benches always have people on them and some never do? I think those things inspire me to create an experience that is beautiful but also engaging.
What would you love to sell that won’t fit in our shop?
Well, baby animals would probably drive traffic during the holiday season…
I would love to have the space to highlight more furniture and lighting design. I bring in some select pieces to showcase, but to do it well we need a different size and location. We also currently don’t have any real walls to hang posters, organizational solutions, clocks, etc. But, I’m working on that – stay tuned!
How do you feel about online shopping?
I think it’s very convenient! I know I certainly shop online (only for things that aren’t in the Walker Shop, of course!). What’s interesting is that there are many people who prefer it. Everything is easy to see, with good photography and detailed product information. That’s very interesting, and an important consideration when developing in-store and online strategies. For example, we have many Minneapolis online customers. That wasn’t something I expected, but I think it’s great.
What was the first thing you remember buying?
Sequined ribbon globe ornaments. That was a long time ago… no judging!
Station to Station, the “polyphonic culture train” spearheaded by artist Doug Aitken, made its way to St. Paul Thursday night. While the locomotive itself was nowhere to be seen — it was parked at Midway Station — a train of artists made its way to the stage and throughout the expansive station. Four yurts outside […]
Station to Station, the “polyphonic culture train” spearheaded by artist Doug Aitken, made its way to St. Paul Thursday night. While the locomotive itself was nowhere to be seen — it was parked at Midway Station — a train of artists made its way to the stage and throughout the expansive station. Four yurts outside greeted around a thousand visitors, while inside, art, drink, and music were the fare. Here’s a look — including a clip of Patti Smith’s headlining performance — of what you missed.
Next month, a nine-car train departs from New York bound for Oakland. Dubbed a “nomadic happening,” the train will be part traveling fun show, part kinetic art project, and part broadcast beacon, beaming ideas about art, music, and culture around the world. The brainchild of artist Doug Aitken, Station to Station is making a stop […]
Next month, a nine-car train departs from New York bound for Oakland. Dubbed a “nomadic happening,” the train will be part traveling fun show, part kinetic art project, and part broadcast beacon, beaming ideas about art, music, and culture around the world. The brainchild of artist Doug Aitken, Station to Station is making a stop at St. Paul’s Union Depot September 12, for a night of art, music, and film benefiting the Walker. In a multimedia essay, Wired’s Clive Thompson writes of Aitken’s goal for the project:
To make art that’s simultaneously physical and virtual, local and global, broadcast using a mashup of the Internet and one of the oldest networks in the US, the steel rails. If Song1 was liquid architecture, this is practically a plasma. “We’re living in a new topography,” Aitken says. “Is it possible to be everywhere and nowhere?”
But while placelessness — being everywhere and nowhere — is part of the aim, so is rootedness. In anticipation of this epic rail ride, the team behind Station to Station is producing video portraits of the cities hosting the train’s stops. Released today is the Minneapolis/St. Paul edition, featuring footage of the Minneapolis Sculpture Garden, the Walker galleries, and Rock the Garden 2013, as well as an interview with Walker executive director Olga Viso, who explains the unique nature-meets-culture identity of the Twin Cities.
“People belief things are possible, and that’s a fertile place for art to really flourish,” says Viso. “There’s a great love of doing things collectively. There’s a strong sense of communal pride, this wanting to come together and gather, and to make things happen. And obviously music and art are central to what makes people come together and appreciate both culture and nature.”
Many of us at the Walker are disappointed by Monday’s news that Kevyn Orr, emergency manager for the city of Detroit, has contracted with the auction house Christie’s to assess the value of artworks in the Detroit Institute of Arts’ collection that might be sold to settle the city’s municipal debts. While such a sale […]
Many of us at the Walker are disappointed by Monday’s news that Kevyn Orr, emergency manager for the city of Detroit, has contracted with the auction house Christie’s to assess the value of artworks in the Detroit Institute of Arts’ collection that might be sold to settle the city’s municipal debts. While such a sale is not inevitable, Orr has said he wants all options “on the table” in dealing with Detroit’s bankruptcy. We’re in agreement with the American Association of Art Museum Directors — of which Walker executive director Olga Viso is a member — in opposing such a course of action. “A museum’s collection is held in public trust for current and future generations,” AAMD said in a recent statement. “This is a bedrock principle of the Association of Art Museum Directors and of the museum field as a whole. Art collections are vitally important cultural and educational resources that should never be treated as disposable assets to be liquidated, even in times of economic distress.”
Today we join with more than a dozen art websites in observing A Day for Detroit, spearheaded by Modern Art Notes’ Tyler Green as a way to showcase works in the DIA’s collection that could be threatened by such a sale. Below, favorite DIA artworks as selected by Walker staff, along with a few reflections on the art and the institution that’s given it a home.
“As a prescient City of Detroit purchase, van Gogh’s self-portrait would be among the most vulnerable masterpieces should any sale move forward,” says Andrew Blauvelt, the Walker’s design curator and Chief of Communications and Audience Engagement. “It is one of just a handful of van Gogh’s self-portraits that the public can see in the United States, which, if sold, would likely enter a private collection. One more transfer of wealth from a public trust to private hands.”
Associate registrar Pamela Caserta says a different van Gogh — The Diggers from 1889 — as her favorite piece in the DIA collection. She writes:
“The Detroit Institute of Arts is energized, lively, and essential. The arts could be Detroit’s saving grace, but not if the state sells away one of the city’s most impressive traits. To dismantle Detroit’s most prized collection would be a disservice, not only to the people who live an love Detroit, but to the future of its position as a cultural center, and to the international communities public access to important masterworks. Detroit is already attracting artists who are working to transform its terrain, perhaps around ideas like urban farming, clean energy, and creative expression.”
“It’s hard to select just one favorite in the DIA collection, but I’m going old school by Walker standards with John Singer Sargent’s Mosquito Nets. Sargent’s portrait—of what its provenance suggests may be his sisters Emily and Violet—feels a little like Downton Abbey crossed with Minnesota summer,” says Robin Dowden, director of New Media Initiatives.
Scott Lewis, supervisor of the Walker’s frame shop, has deep ties to Michigan: He grew up in Jackson, went to college near Pontiac, and lived in Detroit for six years, where he and his wife had their first daughter. A great fan of the DIA collection, he points to two “stunners”: Judith and Maidservant with the Head of Holofernes by Artemisia Gentileschi and The Wedding Dance by Pieter Bruegel the Elder. But his favorite painting is The Nut Gatherers by William-Adolphe Bouguereau. “I would make it a point to visit the work every time I went to the DIA, even if for a minute,” he says. “For a long while it hung beside the Farnsworth Entrance beside the Visitor Services desk, a testament to its popularity. Many think the work of Bouguereau is sentimental, but perhaps that’s why I like it. I liked the innocence of the subjects, the brush work, the color and shading – it’s a work of real craft. Later, my wife and I produced two daughters: one blonde and one dark haired. I’ve felt that The Nut Gatherers was a window to my future.” He notes that his daughters gave him a Father’s Day gift years ago: a photo of the two of them reenacting the image.
Mia Lopez, a curatorial fellow for Visual Arts, often visits family in Detroit. “Whenever we visit, my mother and I love to stop by the DIA. She enjoys photorealism and had an early influence on my taste: Richard Estes is someone we both appreciate.”
“I enjoy the opposing sensations of getting lost and grounded in the Rothstein photograph,” says Walker photographer Gene Pittman. “The persistence of the subjects to continue on their path in this storm feels like a portrait of Detroit.”
Pittman offers a second pick, from the DIA’s extensive collection of objects and ephemera related to the performing arts. “I want to photograph this face and listen to his story,” he explains. “I want my son to see this puppet and tell me what he is saying.”
“When I finally saw Whistler’s Nocturne in Black and Gold in person last year, I was literally left breathless by its beauty,” shares Sarah Schultz, the Walker’s director of Education and curator of public practice. “That memory will never leave me.”
“A beautiful example of John Sloan’s work which captures the street life of New York,” says archivist Jill Vuchetich of her pick. “The work was purchased for DIA directly from the artist in 1924! That’s a wonderful legacy and would be a great loss to DIA.”
“Diego Rivera’s stunning Detroit Industry Murals, painted on the north and south walls of the museum, are one of the unquestioned masterpieces at the DIA, that virtually no other US museum can boast,” says Olga Viso, Walker executive director. “Depicting laborers working at the city’s Ford Motor Company River Rouge Plant in the 1930s, Rivera saw and painted the significance of Detroit as a world city. His vision of Detroit in the early 20th century provides not only an important historical record of the city’s past achievements that is paramount to preserve, but also offers an important touchstone from which to consider and imagine its future.”
What are your favorite works from the DIA collection? Share your thoughts in comments, and please consider supporting this valuable cultural institution however you’re able.
It’s fair to say the Walker–and, indeed, downtown Minneapolis–might not look the way it does today without the influence of Tom Crosby, who passed away Sunday at age 74 after a battle with pancreatic cancer. A board member for 45 years, Crosby was close advisor to three Walker directors, served as president of the board […]
It’s fair to say the Walker–and, indeed, downtown Minneapolis–might not look the way it does today without the influence of Tom Crosby, who passed away Sunday at age 74 after a battle with pancreatic cancer. A board member for 45 years, Crosby was close advisor to three Walker directors, served as president of the board of trustees at key moments in the Walker’s history, and contributed, with his wife Ellie, generously to help the Walker realize some of its most important projects, from the Minneapolis Sculpture Garden in 1988 to the Herzog & de Meuron expansion in 2005, the 2012 exhibition Lifelike to our current project restoring the building’s façade, to name but a few. Throughout nearly five decades, Crosby was at the center of many of the Walker’s biggest moments.
The great grandson of John Crosby, a founder of General Mills Corporation, Crosby specialized in real estate law, becoming a partner, and later managing partner, at Faegre & Benson (now Faegre Baker Daniels). He joined the Walker board of trustees in 1967 and quickly grew close to then-director Martin Friedman. He was president of the board in 1976 when the T.B. Walker Foundation agreed to transfer $27 million to the Walker Art Center, an important moment that brought more community members into Walker governance, making the institution a fully public museum.
The Crosby family’s generous giving to the Walker’s Annual Fund helped make recent exhibitions–including Sol LeWitt: 2D+3D and 1964–possible, and the couple’s gifts of artwork–including Ellsworth Kelly’s 2001 lithograph Dark Blue–have bolstered the Walker’s collection (this summer the Minneapolis Sculpture Garden will see the installation of a new sculpture, the conceptual work, For Whom, by Kris Martin, which the Crosbys and other Walker board members purchased on the Walker’s behalf and in honor of Friedman). And in coming years, it will help reinvent the Walker’s four-acre green space, host to Rock the Garden and Open Field. Active since his first moments with the Walker, Crosby served as chair of a range of committees over the years–from Government Relations to the Park Board–as well as serving as president, vice president, and chair of the Walker board. He also ensured the solid legal counsel of his firm.
The neighborhoods abutting the Walker and Minneapolis Sculpture Garden have also been transformed with Crosby’s help. Active in downtown commercial real estate, Crosby was involved with the acquisition, financing, and disposition of major Twin Cities properties such as the IDS Center, Baker Center, and Minneapolis City Center. He also served on the board of directors of Oxford Development Group Limited, a real estate developer with major downtown projects in several Canadian cities and in the Twin Cities, Denver, Chicago, and Los Angeles.
Crosby’s civic enthusiasm extended to other organizations and municipalities where he shared his passions and skills. The mayor of Medina just prior to his death, and a past city council member there, he served on the boards of Greater Twin Cities United Way, The Minnesota Orchestral Association, The Blake School, and Abbott-Northwestern Hospital, among others.
But it’s Crosby’s personal counsel, on issues of varying degrees of magnitude, that will most be missed by those of us who knew him through the Walker.
“Tom was always the voice of calm and reason, even in the most difficult situations,” notes Olga Viso, executive director of the Walker. “I so appreciated how his mind worked–his probing questions, how he could parse and dissect the relevant issues, and the way he always kept the highest possible end goal and aspiration in mind. He was absolutely brilliant at finding solutions that worked for everyone, and he was especially savvy at finding ways to confidently realize challenging artistic projects in public space, even if they might at times test the bounds of state or city ordinances!”
“During my first weekend living in Minneapolis, Tom and his wife Ellie invited me to their home,” she recalls. “I will never forget the subzero temps that Sunday morning in January as they took me on a hay ride around their gorgeous property. While I at first thought that he might be testing my fortitude in those first days as director, I knew when he and Ellie handed me a pair of wool mittens with warmers inside that he would be a great friend and partner.”
The Walker’s past directors concur. “Tom was always at your side when you needed him, personally and professionally,” says emeritus director Friedman. “He was devoted to the Walker and saw us through many a crisis. He is irreplaceable.”
“Tom was two things which are becoming increasingly rare: a great citizen and a thoughtful friend,” says Kathy Halbreich, Walker director from 1991 to 2007 (now associate director at the Museum of Modern Art). “He just had a natural gift for knowing the right set of questions regardless of whatever the dilemma. He never panicked and always answered with what I initially thought was common sense and came to understand was wisdom delivered without pride.”
She recalls an incident when a conservative group had singled out books for sale in the Walker Shop as pornography. “His response was to ask where else the books were sold which, after a couple ofhours of research, turned out to be quite a comprehensive list including the Harvard co-op,” she recalls. “Tom and Ellie even got me to go camping. Once. Good friend, great guide, indispensable civic leader. Both Walker and I are in his debt.”
We extend our sympathies to Ellie and the entire Crosby family, their friends, and all those touched by Tom Crosby’s remarkable life. He will be missed.
Twenty-Twelve was a big year for our blogs: we redesigned them, renamed them, and added a few new ones–including Centerpoints and Walker Seen. We also grew traffic. Here’s a look at some of the posts that best took hold across the interwebs. 1. Cats! Cats! Cats! This just in: folks on the Internet like them. […]
Twenty-Twelve was a big year for our blogs: we redesigned them, renamed them, and added a few new ones–including Centerpoints and Walker Seen. We also grew traffic. Here’s a look at some of the posts that best took hold across the interwebs.
1. Cats! Cats! Cats! This just in: folks on the Internet like them. So the wild success of our Internet Cat Video Festival shouldn’t have been a surprise, especially given how much traffic our blog posts got. Hands down, our most popular post was our May announcement about the festival, but people also really wanted to know about voting for “best in show,” nominating videos, and details on attending the summer festival, which drew 10,000 people to our lawn the last day of August. Missed it? Here’s a video recap.
2. For Those About to Rock: The annual spring reveal of bands in our annual Rock the Garden concert has become a not-to-be-missed event, and the 2012 edition glued listeners to the radio as the Walker and 89.3 The Current named off the lineup at a live event at the Fitz in St. Paul. Livestreamed on the blogs, we revealed the names as well. Here’s who played our tenth Rock the Garden in June: Howler, tUnE-yArds, Doomtree, Trampled by Turtles, and headliner The Hold Steady. Missed it? Here’s a time-lapse of the entire day.
3. Designing About Design: The designers behind the exhibition Graphic Design: Now In Production share glimpses of what went into the design of the exhibition catalogue on the popular design blog, The Gradient. The show is on view until January 6, 2013, at the Hammer Museum in Los Angeles, and then it moves to the Grand Rapids Art Museum on Feb. 1 and the Contemporary Art Museum Houston on July 20.
4. Puzzling Over Design: Maybe it was the interactive quiz or the Draw-Tippy illustration, but designer Andrea Hyde’s post calling for applicants for the Walker Design Studio’s annual design fellowship really packed ‘em in. No word on how many young designers aced the “art test.”
5. Now Screaming: Kim Beom’s video work Yellow Scream (2012), spotted by Walker curators at the Gwangju Biennale, came into the Walker collection late this year. The piece–in which an actor gives a Bob Ross–style demonstration of a painting technique in which brush strokes are accompanied by various kinds of screams, thus altering the makeup of the applied paint–was made available on the Walker Channel for a limited time (Dec. 6-18, 2012), yet still generated enough buzz to be among our most popular posts all year.
More posts that blew up this year:
Vintage Makeover Ideas for a Downtown Thoroughfare, Centerpoints
“Vote No”: A Walker Family Photo, Centerpoints
Since relaunching last December as a hub for sharing original ideas about art and contemporary culture, the Walker homepage has published more than 100 original pieces, from articles and interviews to slideshows and visual essays. Here’s the work that our readers responded to most over the last 12 months. 1. Buoyant Boulders: The addition of […]
Since relaunching last December as a hub for sharing original ideas about art and contemporary culture, the Walker homepage has published more than 100 original pieces, from articles and interviews to slideshows and visual essays. Here’s the work that our readers responded to most over the last 12 months.
1. Buoyant Boulders: The addition of four, shining steel-clad boulders to the Walker hillside has brought us a new icon, and the announcement of the acquisition of Jim Hodges’ Untitled (2011) presaged later looks at the installation and thinking behind the mammoth works. Dubbed “buoyant monoliths” by executive director Olga Viso, the works were purchased in advance of a 2014 retrospective of Hodges’ work, organized by the Walker and the Dallas Museum of Art.
2. More Real than Real: From a gigantic church-basement folding table and chair set to a tiny replica of a bee, works in the Walker-organized exhibition Lifelike entranced visitors with art that questions the nature of “the real.” Julie Caniglia’s keystone essay captured readers as well, traversing both through art history and through the exhibition, from Ron Mueck’s crouching boy to Ai Weiwei’s sunflower seeds, Jonathan Seligman’s gigantic sculptural homage to a carton of Vitamin D milk to a tiny (functioning) elevator by Maurizio Cattelan.
3. Haring in the House: Created a few months after the debut of Apple’s first Macintosh, Keith Haring’s mural of a computer-headed creature now seems prescient. This account of the residency that brought the famed NYC graffiti artist to the Walker 28 years ago includes a quick video of Haring at work, plus a Walker staffer remembering how Haring “drew a radiant baby in the schmutz on the back of my hatchback.”
4. Hot Couture: Costuming was one of many challenges faced by Obie-winning Out There 24 artist Young Jean Lee when creating the text-free–and ultimately clothing-free–work Untitled Feminist Show. “Nudity was the only way for us to de-objectify the performers,” she says in this interview. “No matter what we had them wear—say, if we had them wearing really frumpy clothes—that could be hot, too. We had them wearing these astronaut uniforms, and that was hot. Everything we put them in was hot, and I wanted them to be people and not these hot women.”
5. Fill-in-the-Blank: A graphic designer, guerrilla artist, and urban planner, Candy Chang has spearheaded interactive fill-in-the-blank projects from the Before I Die wall (installed on a vacant building in post-Katrina New Orleans) to her latest, Neighborland (in which residents can share their dreams for their neighborhoods, online and in the streets). How she answered for us one of her signature questions: “Before I die I want to hole up and read books in soulful hotels.”
Other popular stories from 2012:
The Walker has been vocal about its opposition to a constitutional amendment on the Minnesota ballot today that would restrict the definition of marriage as between a man and a woman. We join more than 120 other nonprofit cultural organizations across that state that are taking this stand. As executive director Olga Viso wrote back […]
The Walker has been vocal about its opposition to a constitutional amendment on the Minnesota ballot today that would restrict the definition of marriage as between a man and a woman. We join more than 120 other nonprofit cultural organizations across that state that are taking this stand. As executive director Olga Viso wrote back in May:
“We affirm that love is love, and that the Minnesota Constitution—a document created to define rights instead of impose restrictions—should not be amended to make value judgments about love… But beyond that, we realize that creative communities like ours thrive when we can all be ourselves. The immensely talented people we work with include many who are gay and lesbian, and we support them and see them as friends and equals. We also recognize that the healthiest creative climates are open to all. To foster creativity, to attract artists and audiences, and to grow the state’s economy during difficult times, we believe we must be welcoming to all, regardless of the gender of their loved ones.”
This morning, we visually reiterated these values. We turned over the lawn beside our building to 100 or more “Vote No” signs–provided by staff, friends, neighbors, and the Minnesotans United for All Families campaign–to give those who pass through our busy intersection a bold reminder of where we stand (and a colorful reminder to get out and vote). Then we invited staff and members of the community–not to mention a wandering Gandalf carrying a “You Shall Not Pass” marriage amendment sign–to join us for a “Vote No” family photo. Despite blustery weather, several dozen people showed up from all Walker departments, the neighborhood, and beyond.
Update 11.07.12: We’re pleased to report that the marriage amendment–along with the voter ID amendment–were defeated by Minnesota voters Tuesday.
Nate Solas, the Walker’s head technologist, came in on his day off to share Minnesota-shaped “Vote No” cookies he and his daughter Isla made:
Digital marketing associate Kristina Fong and artist Sam Gould of Red76 give the constitutional amendment the thumbs down:
Walker director Olga Viso, who wrote that the Walker believes the amendment is “an unnecessary measure, but also one that would make our state a less welcoming place.”
Walker performing arts intern Anat Shinar, with husband Sam Baker and daughter Miri, braved the winds…
…and later posed with Sheila Smith (at left below) of Minnesota Citizens for the Arts:
Michèle Steinwald, assistant curator of performing arts, couldn’t make the photo: she took the day off to doorknock for Minnesotans United. But she and her neighbors in the Kingfield neighborhood, Robert Litvak and Chris McGrath, sent in a photo in solidarity.
Following our photo shoot, “Gandalf”–aka Adam Sharp–continued canvassing Hennepin Avenue for at least two hours:
We’d like to thank all those who came by for the photo, all those who dropped off signs in our front yard, and–most importantly–all those who vote against this constitutional amendment.
More photos from the morning:
All photos by Paul Schmelzer unless otherwise noted.
It’s been seven years since we launched the Walker Blogs, and with the release of our new homepage back in December we thought it was finally time for a refresh. Formerly called Off Center, Centerpoints changes this blog’s mission. Now that we’re aggregating the best of news about art and culture on our website’s new […]
It’s been seven years since we launched the Walker Blogs, and with the release of our new homepage back in December we thought it was finally time for a refresh. Formerly called Off Center, Centerpoints changes this blog’s mission. Now that we’re aggregating the best of news about art and culture on our website’s new Art News From Elsewhere feature, we have less need for a blog that brings–as Off Center‘s tagline once read–”outside ideas from inside the Walker.” What we do need is a space to share ideas about the Walker that transcend our artistic disciplines or address the center as a whole. Now you’ll find cross-departmental news and updates on our neighborhood, the Minneapolis Sculpture Garden, the Shop and restaurant, and our staff. In addition to a new name, we have a new design, which brings our blogs into alignment with the new Walker homepage. All of our core blogs have new names and identities as well, so check them out to get the latest on what’s going on in our Design, Education & Community Programs, Film/Video, Performing Arts, Visual Arts, and New Media departments, as well as at the mnartists.org blog and Walker Seen, our new blog geared toward making the social seen.
• Taking a keen interest in caring for feral cats, photographer Sandy Carson set out to document the people and processes related to TNR (Trap-Neuter-Return). “You don’t have to be a crazy ‘cat person’ to be a certified trapper,” he assures, “but cat attire is optional.” • Here’s 4 minutes 33 seconds worth of clips […]
• Taking a keen interest in caring for feral cats, photographer Sandy Carson set out to document the people and processes related to TNR (Trap-Neuter-Return). “You don’t have to be a crazy ‘cat person’ to be a certified trapper,” he assures, “but cat attire is optional.”
• Here’s 4 minutes 33 seconds worth of clips of a non-speaking Nicholas Cage in which only ambient noises are audible. Created by Adam Lucas, Cage Does Cage is an homage to John Cage’s 1952 conceptual art piece 4‘33”, performed by the Ghostrider star.
• April 21 is Record Store Day, a great chance to support some of America’s 700 independently owned bricks-and-mortar records stores — and a fine excuse for us to point out one of Christian Marclay’s “Body Mix” collages.
• A new edition of Lewis Carroll’s surreal fable Alice in Wonderland is, aptly, designed by an artist known for creating mind-bending visual worlds. Penguin Global has just published a Yayoi Kusama-designed version of the 1865 tale.
• Craig Finn, who headlines Rock the Garden 2012 with the Hold Steady, got dudded up in the desert for a photoshoot as part of the Esquire Songwriting Challenge, in which he and four others each wrote a song, on the spot, inspired by the phrase “Pacific Standard Time.”
• “Our 1,000 artworks are headed for destruction anyway because of the government’s indifference,” says Antonio Manfredi, director of Italy’s Casoria Contemporary Art Museum, who says he’s begun burning paintings in protest of cuts in arts funding.
• Pedro Reyes follows his 2011 Walker exhibition Baby Marx with Rompecabezas, a show in Mexico City that includes his adjustable hand-shaped chairs. “Functional and comfortable, you can use it to communicate to the people you live with,” he says.
• All art installation shots all the time. This dedicated Tumblr site chronicles art handlers–including Walker staffers installing Jim Hodges’ gigantic boulder/sculptures and Robert Therrien’s mammoth folding chairs–doing their thing.
• The Walker took home two prizes at the 2012 Museums & the Web conference, held in San Diego over the weekend, including Most Innovative and Best Overall. Congratulations to the Walker web and design teams, and to all 2012 winners! (We’re getting drubbed, but you can still vote for the Walker in the People’s Voice section of the Webby Awards.)