Blogs Walker Seen Paul Schmelzer

Nine-year editor of Walker magazine (1998-2007), Paul returned to the Walker as web editor in September 2011. A freelance writer and blogger, he writes on art, media, and activism for publications including Adbusters, Artforum.com, Ode, Utne, Cabinet, Raw Vision and at his personal site, Eyeteeth. Award-winning former editor of the Minnesota Independent, his interviews with architect Cameron Sinclair, artist Rirkrit Tiravanija and activist Winona La Duke appear in the book Land, Art: A Cultural Ecology Handbook (Royal Society of Arts). @iteeth

Artists on Site: Alison Klayman with Olga Viso

After winning accolades and racking up awards, including Sundance’s Special Jury Prize for Spirit of Defiance, for her documentary Ai Weiwei: Never Sorry, filmmaker Alison Klayman is directing her attention to another fiercely independent artist: Carmen Herrera. Born in Cuba in 1915 but long a resident of New York City, Herrera has been painting for […]

Alison Klayman and Olga Viso. Photo: Paul Schemlzer

Alison Klayman and Olga Viso. Photo: Paul Schmelzer

After winning accolades and racking up awards, including Sundance’s Special Jury Prize for Spirit of Defiance, for her documentary Ai Weiwei: Never Sorry, filmmaker Alison Klayman is directing her attention to another fiercely independent artist: Carmen Herrera. Born in Cuba in 1915 but long a resident of New York City, Herrera has been painting for more than seven decades, six of which were in near total obscurity. It was only in 2004, at age 89, that Herrera sold her first painting. That was when her work started selling swiftly. It was “very pleasant to be recognized a little bit,” she told The Guardian a few years ago. “I’ve made it on to the cover of the New York Times without ­having to kill anyone. All I had to do was get old. The world came to me ­eventually – I just had to wait 94 years, that’s all.” Today her geometric paintings are in collections worldwide, including the Walker’s.

Last week, Klayman dropped by the Walker to conduct an on-camera interview with Walker Executive Director Olga Viso on Herrera’s work and legacy for her upcoming film, Carmen Herrera: The 100 Years Show, scheduled for release to coincide with the artist’s 100th birthday on May 31. In 2010, Viso acquired four works by Herrera for the Walker’s collection: a series of three gouache paintings on paper from 1966 and a rare sculptural work from 1971, which will be on view in the Walker’s upcoming 75th-anniversary exhibition, Art at the Center: 75 Years of Walker Collections.

Carmen Herrera, Untitled, 1971

Carmen Herrera, Untitled, 1971

 

Seen: Bath Time in the Garden

In the Minneapolis Sculpture Garden, Henry Moore’s Standing Figure: Knife Edge (1961) gets a bath, May 29, 2014. “Seen” highlights one-off photos of Walker life as captured by our staff.

Seen: Surveillance and the Super State

Liam Gillick’s mural The Whatnot Itself Becomes a Super State (2008)—part of the 9 Artists exhibition, and just acquired for the Walker collection, as captured on a Walker security camera and re-mediated by curator Bartholomew Ryan on Instagram. “Seen” highlights one-off photos of Walker life as captured by our staff.

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Liam Gillick’s mural The Whatnot Itself Becomes a Super State (2008)—part of the 9 Artists exhibition, and just acquired for the Walker collection, as captured on a Walker security camera and re-mediated by curator Bartholomew Ryan on Instagram.

“Seen” highlights one-off photos of Walker life as captured by our staff.

Valentine’s Message: “I’m Your Man! Love, Sufjan”

Ryan Brink killed it on Valentine’s Day. The book specialist in the Walker Shop, he was picking out a Valentine’s card for his girlfriend Claire and figured he couldn’t go wrong with a handmade block-printed card by Ghost Academy. Then Sufjan Stevens walked into the Shop and helped up his game. Brink sheepishly approached Stevens, […]

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Ryan Brink killed it on Valentine’s Day. The book specialist in the Walker Shop, he was picking out a Valentine’s card for his girlfriend Claire and figured he couldn’t go wrong with a handmade block-printed card by Ghost Academy. Then Sufjan Stevens walked into the Shop and helped up his game.

Brink sheepishly approached Stevens, who would perform with his trio Sisyphus at the Walker later that night during the opening of Jim Hodges’ retrospective, and asked him to sign the card. Stevens laughed and grabbed the pen, writing a message that Brink assures went over well with Claire:

Claire
You’re making a huge mistake with this boy Ryan. I’m your man!

XXOO

Love,
Sufjan

card-interior

 

Jim Hodges in Dallas: Walker Co-curated Exhibition Opens at DMA

More than three years in the making, Jim Hodges: Give More Than You Take opens October 6 at the Dallas Museum of Art. Co-curated by Walker executive director Olga Viso and Jeffrey Grove, DMA’s senior curator of special projects and research, the exhibition is the first comprehensive survey of Hodges’ work in the United States. Viso, […]

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Olga Viso, Jim Hodges, Jeffrey Grove at the Dallas Museum of Art. All photos courtesy Olga Viso

More than three years in the making, Jim Hodges: Give More Than You Take opens October 6 at the Dallas Museum of Art. Co-curated by Walker executive director Olga Viso and Jeffrey Grove, DMA’s senior curator of special projects and research, the exhibition is the first comprehensive survey of Hodges’ work in the United States. Viso, who’s in Dallas to oversee installation of the show and attend the opening, sent these photos of the preparations.

Hodges installing

Jim Hodges installing You (1997), a scrim made of silk, polyester, cotton, and thread

Hodges should be familiar to Walker visitors: his steel-clad boulders offer a gleaming companion to James Turrell’s skyspace on the Walker hillside; his film Untitled (created as an homage to his friend, artist Felix Gonzalez-Torres, who died from AIDS complications in 1996) screened at the Walker for World AIDS Day 2011; and several of his works are in the Walker’s permanent collection.

Groves with Hodges mirror piece Movements (Stage 1)

Grove with Hodges’ 2005 mirror piece Movements (Stage 1)

Jim Hodges: Give More Than You Take comes to the Walker in February before touring to the Institute of Contemporary Art, Boston  (June 3–September 1, 2014) and the UCLA Hammer Museum, Los Angeles (October 5, 2014–January 2015). A Walker-designed catalogue — featuring an essay by Viso — has been published to coincide with the Dallas opening and will be available at tour venues and in the Walker Shop.

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Olga Viso and Jeffrey Grove speak at the exhibition preview

Jim Hodges' Untitled (2001) with ghost (2008)

Jim Hodges’ Untitled (2001) with ghost (2008)

Seen: Hockney and Tilson at the Walker, 1965

Seen at the opening for London: The New Scene, 1965. (Art dealer John Kasmin recalled the visit to Minneapolis for The Telegraph this week.) “Seen” highlights one-off photos of Walker life as captured by our staff.  

Art dealer John Kasmin with artists Joe Tilson and David Hockney

 John Kasmin (center) with artists Joe Tilson and David Hockney. Photo: Eric Sutherland, Walker Art Center

Seen at the opening for London: The New Scene, 1965. (Art dealer John Kasmin recalled the visit to Minneapolis for The Telegraph this week.)

“Seen” highlights one-off photos of Walker life as captured by our staff.

 

Seen: Oldenburg and the Plug

Seen at MUMOK in Vienna, January 2012. Writes Walker Senior Registration Technician David Bartley: “After decades of having not seen it, artist Claes Oldenburg revisits his sculpture Three-Way Plug — Scale A, Soft, Brown (1975), from the Walker’s collection, at the first venue of his retrospective tour.” The work will be on view in Claes […]

Photo: David Bartley

Photo: David Bartley

Seen at MUMOK in Vienna, January 2012. Writes Walker Senior Registration Technician David Bartley: “After decades of having not seen it, artist Claes Oldenburg revisits his sculpture Three-Way Plug — Scale A, Soft, Brown (1975), from the Walker’s collection, at the first venue of his retrospective tour.” The work will be on view in Claes Oldenburg: The Sixties, opening at the Walker Sept. 21, 2013.

“Seen” highlights one-off photos of Walker life as captured by our staff.

Seen: A Local Sighting of The National’s Bryce Dessner

Seen in the Walker’s Garden Cafe Wednesday, August 7: Fresh off Tuesday night’s concert by The National at Roy Wilkins Auditorium, the band’s guitarist, Bryce Dessner, stopped by to say hi to Philip Bither, the Walker’s senior curator of performing arts. It wasn’t Dessner’s first trip to the Walker, though: the Yale-trained classical guitarist and […]

Photo: Amy Fox

Philip Bither, producer Kate Nordstrum, Bryce Dessner. Photo: Amy Fox

Seen in the Walker’s Garden Cafe Wednesday, August 7: Fresh off Tuesday night’s concert by The National at Roy Wilkins Auditorium, the band’s guitarist, Bryce Dessner, stopped by to say hi to Philip Bither, the Walker’s senior curator of performing arts. It wasn’t Dessner’s first trip to the Walker, though: the Yale-trained classical guitarist and composer was here in 2004, playing with minimalist composer Michael Gordon.

“Seen” highlights one-off photos of Walker life as captured by our staff.

Seen: Light Reading at High Altitude

Seen atop Mount Rainier, July 13, 2013: Walker Cunningham Research Fellow Abigail Sebaly perused Walker magazine after reaching the summit of America’s most topographically prominent mountain. “Seen” highlights one-off photos of Walker life as captured by our staff.

Photo: Abigail Sebaly

Photo: Emily Johnston

Seen atop Mount Rainier, July 13, 2013: Walker Cunningham Research Fellow Abigail Sebaly perused Walker magazine after reaching the summit of America’s most topographically prominent mountain.

“Seen” highlights one-off photos of Walker life as captured by our staff.

Seen: Acoustic Skyspace

Seen in James Turrell’s Sky Pesher (2005), July 11, 2013. “Seen” highlights one-off photos of Walker life as captured by our staff.

Photo: Nes Kovacevic

Photo: Nes Kovacevic

Seen in James Turrell’s Sky Pesher (2005), July 11, 2013.

“Seen” highlights one-off photos of Walker life as captured by our staff.

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