An open-ended look at contemporary art – both inside the Walker and out – as framed by our Visual Arts curators.
Adam Pendleton Photo: Peter Ross To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from graphic designer Na Kim to filmmaker Tala Hadid, painter Jack Whitten to the Black Futures project—to share a list of the most noteworthy ideas, events, and objects they encountered in 2015. See the […]
To commemorate the year that was, we invited an array of artists, writers, designers, and curators—from graphic designer Na Kim to filmmaker Tala Hadid, painter Jack Whitten to the Black Futures project—to share a list of the most noteworthy ideas, events, and objects they encountered in 2015. See the entire series 2015: The Year According to .
Adam Pendleton is a New York–based artist. Pendleton’s work was exhibited at the Walker Art Center as a part of Radical Presence: Black Performance in Contemporary Art.
America is Hard to See at the new Whitney
The exhibition featured many great works and meaningful juxtapositions, but it may be the title that grabbed me the most. The language framed a perpetually compelling question: What is America?
The Republican Presidential Primary
We’ve gotten some insight into the question above from a rather raucous and disturbing group of presidential contenders.
Black Lives Matter/Student Protesters
And then something decidedly hopeful.
George Yancy, New York Times, Opinionator Blog
I’ve turned many times to Yancy’s conversations on race with philosophers throughout the year. The last one was just published on December 10th: bell hooks: Buddhism, the beats and Loving Blackness. Yes.
Butler was one of the philosophers who spoke with Yancy stating, “One reason the chant “Black Lives Matter” is so important is that it states the obvious but the obvious has not yet been historically realized.” And then she published Notes Toward a Performative Theory of Assembly. Get a copy.
What’s next for Mya Taylor and Kitana Kiki Rodriguez? I’ll be there.
Heavy Blue, Alicia Hall Moran
My favorite album of the year. Nate Chinen got it right when he wrote in the New York Times: “The singing is deeply assured and pliable in its effect: Ms. Hall Moran has a bell-like tone and impeccable control, but she understands what a bit of ragged intensity can do.”
My favorite new vodka. Now drinking really does support the artistic process.
I wish I could squeeze one of those big sculptures into my backyard.
Not Blacking Out, Just Turning the Lights Off was one of the best pieces I saw in a museum all year. This is how I want to look at images.