- Double Feature: Walker director Olga Viso, chief curator Darsie Alexander, and curator Peter Eleey were quoted in two features in the June Issue of Artnews. In “Reshaping the Art Museum,” Viso and Alexander talked about their plans for engaging visitors when the Walker reinstalls its collection in several galleries this fall, while Eleey discussed ephemeral artwork in conjunction with the currently running show he curated, The Quick and the Dead, in an article by the critic Linda Yablonsky, “You Had to Be There.” Yablonsky also referenced the work of Tino Sehgal and his recent Walker exhibition; as for the collection reinstallation — watch for our own preview in the September/October issue of Walker magazine, out next month.
- Land of Enchantment: Speaking of ephemeral art from The Quick and the Dead, the Walker’s Andy Underwood-Bultmann just finished this fifth video short on a work that has quickly become a favorite: Pierre Huyghe’s Wind Chime (After Dream), installed in the Minneapolis Sculpture Garden.
- “Weeping Barbie Syndrome”: Yes, we do suffer from it — or rather, a couple of works in our collection do. Minnesota Public Radio story here. If your curiosity has been sufficiently piqued, go to “The Art Doctor,” a recent New Yorker story on the particular (and peculiar) problems that come with conserving works of contemporary art, via a profile of conservator Christian Scheidemann.
- From the Flyover Dep’t.: A group show called Minneapolis on view now at Peres Projects in Los Angles. Thing is, there are no Minneapolis artists in it, and curator Richard Lidinsky has never been to the City of Lakes. “All I really know about Minneapolis is Prince,” he told the New York Times. If he does wish to broaden his knowledge of artists here (and in the rest of the state) — all without leaving the comforts of LA — this is a good place to start. Read more about what the Times calls “a summer show that defies all logic.”
1 Comment
Sorry, the comment form is closed at this time.
At some point the avant-garde becomes less so as new players mount the stage. John Cage I’ve been conscious of since art school days in the early 1960’s and he was the very definition of an advanced artist same for Merce Cunningham, And as they and I grew older did they become less edgy? I remember a performance they did at Walker where a rude audience member shouted something to the effect that he found them bogus and fake as art. Siah Armajani rose to his feet to applaud Cage and Cunningham as a sign of support and to show solidarity with their difficult presentation.I recall thinking that the audience had become less passive and that this didn’t serve the artists at hand who depended on a certain quietude and belief in their mutual genius.But at some point we are all eclipsed by a future that isn’t as accommodating as our youthful days. Besides legends and heroes fit unwell into this future we live in. Perhaps becoming famous or noteworthy is not the measure of things, instead show me something , sing a song that takes me someplace new, and make room for other voices other musics. The future even history remains unwritten , ding dong the witch is dead still.
Comment by Frank Gaard — September 16, 2009 @ 4:20 pm