Midnight Party Study Set

Wed, 20 Jul 2011 18:21:42 -0400

Title
Author	lampens

Intro Text

Wed, 20 Jul 2011 18:21:42 -0400

Title	Intro Text
Author	lampens

Untitled

Lee Bontecou — Thu, 01 Jun 1961 00:00:00 -0400

Title	Untitled
Artist	Lee Bontecou
Date	1961
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Lee Bontecou

Wed, 20 Jul 2011 18:21:43 -0400

Title	Lee Bontecou
Author	lampens

Sumere...sumptuary

Carter Mull — Wed, 01 Jun 2005 00:00:00 -0400

Title	Sumere...sumptuary
Artist	Carter Mull
Date	2005
Institution	Walker Art Center
Location	Not on view.

A manipulated photographic detail of crystals, jewels, etc.

Pascal's Wager (A Market of the Senses)

Carter Mull — Wed, 01 Jun 2005 00:00:00 -0400

Title	Pascal's Wager (A Market of the Senses)
Artist	Carter Mull
Date	2005
Institution	Walker Art Center
Location	Not on view.

A manipulated photographic detail of crystals, jewels, etc.

Cadere...cadaver

Carter Mull — Tue, 01 Jun 2004 00:00:00 -0400

Title	Cadere...cadaver
Artist	Carter Mull
Date	2004
Institution	Walker Art Center
Location	Not on view.

A manipulated photographic detail of crystals, jewels, etc.

Carter Mull, triptych of photographs (track 1)

Wed, 01 Jun 2011 00:00:00 -0400

Title	Carter Mull, triptych of photographs (track 1)
Creator	Art on Call
Date	March 17, 2011
Institution	Walker Art Center

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

Night Ride

Susan Rothenberg — Mon, 01 Jun 1987 00:00:00 -0400

Title	Night Ride
Artist	Susan Rothenberg
Date	1987
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

painting shows multiple representations of the same figure on a bicycle to imply motion.

Susan Rothenberg, Night Ride (track 1)

Wed, 01 Jun 2011 00:00:00 -0400

Title	Susan Rothenberg, Night Ride (track 1)
Creator	Art on Call
Date	March 17, 2011
Institution	Walker Art Center

NIGHT ANGEL

Bruce Conner — Sun, 01 Jun 1975 00:00:00 -0400

Title	NIGHT ANGEL
Artist	Bruce Conner
Date	1975
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

silhouette of a woman bent at the waste holding a globe of light

Rain Forest Column XXXI

Louise Nevelson — Thu, 01 Jun 1967 00:00:00 -0400

Title	Rain Forest Column XXXI
Artist	Louise Nevelson
Date	1967
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

The Dark Ellipse

Louise Nevelson — Sat, 01 Jun 1974 00:00:00 -0400

Title	The Dark Ellipse
Artist	Louise Nevelson
Date	1974
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Young Tree II

Louise Nevelson — Tue, 01 Jun 1971 00:00:00 -0400

Title	Young Tree II
Artist	Louise Nevelson
Date	1971
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Young Tree VI

Louise Nevelson — Tue, 01 Jun 1971 00:00:00 -0400

Title	Young Tree VI
Artist	Louise Nevelson
Date	1971
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Young Tree XIX

Louise Nevelson — Tue, 01 Jun 1971 00:00:00 -0400

Title	Young Tree XIX
Artist	Louise Nevelson
Date	1971
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Women in Pet Cemetery, Stockholm

Arthur Tress — Thu, 01 Jun 1967 00:00:00 -0400

Title	Women in Pet Cemetery, Stockholm
Artist	Arthur Tress
Date	1967
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

An image of two women in overcoats, wearing hats, gazing sorrowfully at the ground.

From Another Approach

Kay Sage — Thu, 01 Jun 1944 00:00:00 -0400

Title	From Another Approach
Artist	Kay Sage
Date	1944
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

egg surrounded by cloth on a dark abstract mountain like structure

Stillness

Jimmy Ernst — Fri, 01 Jun 1956 00:00:00 -0400

Title	Stillness
Artist	Jimmy Ernst
Date	1956
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

circular, curved and straight bar forms that seem to represent sculptural shapes and planar designs

The Parachutist

Robert Mallary — Fri, 01 Jun 1962 00:00:00 -0400

Title	The Parachutist
Artist	Robert Mallary
Date	1962-1963
Institution	Walker Art Center
Location	On view at the Walker Art Center,

Cold War Concerns

Wed, 20 Jul 2011 18:21:44 -0400

Title	Cold War Concerns
Author	lampens

The Parachutist

Robert Mallary — Fri, 01 Jun 1962 00:00:00 -0400

Title	The Parachutist
Artist	Robert Mallary
Date	1962-1963
Institution	Walker Art Center
Location	On view at the Walker Art Center,

Nick Mauss — Fri, 09 Sep 2011 02:04:24 -0400

Title
Artist	Nick Mauss
Date	2009
Institution	Walker Art Center
Location	Not on view.

A black painted plywood panel covered with aluminum leaf. Portions of the leaf have been removed creating an image.

Mirror

Mary Jo Vath — Mon, 01 Jun 1987 00:00:00 -0400

Title	Mirror
Artist	Mary Jo Vath
Date	1987
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

pedestal mirror on a shelf/ledge overlooking a mountainous landscape

Eugene Von Bruenchenhein

Wed, 20 Jul 2011 18:21:45 -0400

Title	Eugene Von Bruenchenhein
Author	lampens

Black Mirror: 8

Sherrie Levine — Tue, 01 Jun 2004 00:00:00 -0400

Title	Black Mirror: 8
Artist	Sherrie Levine
Date	2004
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

A black mirror in a mahogany frame

Ritual

Mark Rothko — Thu, 01 Jun 1944 00:00:00 -0400

Title	Ritual
Artist	Mark Rothko
Date	1944
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Abstract forms that hint at a figure on a red/violet field.

Untitled XII

Willem de Kooning — Wed, 01 Jun 1983 00:00:00 -0400

Title	Untitled XII
Artist	Willem de Kooning
Date	1983
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Colorful gestural brushstrokes on a white field.

Human Fragment

Grace Hartigan — Sat, 01 Jun 1963 00:00:00 -0400

Title	Human Fragment
Artist	Grace Hartigan
Date	1963
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Brown field covered by black gestural brushstrokes and areas of pure color.

Aquatique (Aquatic)

Jean (Hans) Arp — Mon, 01 Jun 1953 00:00:00 -0400

Title	Aquatique (Aquatic)
Artist	Jean (Hans) Arp
Date	1953
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Artwork of the Month: Jean Arp's Aquatique

Tue, 01 Jun 2010 00:00:00 -0400

Title	Artwork of the Month: Jean Arp's Aquatique
Author	Walker Art Center
Date	April 1998
Institution	Walker Art Center

The Artwork of the Month's activity and label focus on a single work in the Walker's collection and provide entertaining art experiences for young people. You can see an activity with the ArtsConnectEd image viewer or download the PDF file to your computer. Use the Prev/Next buttons to move between images of the PDF and the actual file.

About the Artwork

French poet-sculptor-collage artist Jean Arp began to make sculpture that sits on a pedestal for the first time in 1930. For Aquatique (which means growing or living in water), he started carving into the block of white marble without knowing what the final result would be, and continued sculpting until he decided he liked the shape. Often he would begin a new artwork using ideas from his earlier projects, and almost always titled his abstract sculptures after they were finished. He based the name on what the shape seemed to suggest. The round belly and the playful split tail of Aquatique might help you imagine a creature floating in the sea.

Hans Breder — Fri, 09 Sep 2011 02:02:14 -0400

Title
Artist	Hans Breder
Date	1973
Institution	Walker Art Center
Location	Not on view.

An image of a nude lying on a sandy beach with a mirror. The model is Ana Mendieta

Hans Breder — Fri, 09 Sep 2011 02:02:14 -0400

Title
Artist	Hans Breder
Date	1973
Institution	Walker Art Center
Location	Not on view.

An image of a nude bending at the torso over a mirror. The model is Ana Mendieta.

Hans Breder — Fri, 09 Sep 2011 02:02:15 -0400

Title
Artist	Hans Breder
Date	1972
Institution	Walker Art Center
Location	Not on view.

Two intertwined nude female models on a table holding mirrors

Femme debout (Standing Woman)

Joan Miró — Sun, 01 Jun 1969 00:00:00 -0400

Title	Femme debout (Standing Woman)
Artist	Joan Miró
Date	1969
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Tete et Oiseau (Head and Bird)

Joan Miró — Thu, 01 Jun 1967 00:00:00 -0400

Title	Tete et Oiseau (Head and Bird)
Artist	Joan Miró
Date	1967
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 4

Psychedelic Soulstick (43)

Jim Lambie — Sun, 01 Jun 2003 00:00:00 -0400

Title	Psychedelic Soulstick (43)
Artist	Jim Lambie
Date	2003
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

A bamboo stick wrapped with wire, a guitar strap, and a cigarette package, then completly encased by multiple wrapped layers of multicolored thread.

Third Eye Vision

Chris Ofili — Tue, 01 Jun 1999 00:00:00 -0400

Title	Third Eye Vision
Artist	Chris Ofili
Date	1999
Institution	Walker Art Center
Location	On view at the Walker Art Center,

A decorative patterned painting. Deep layers of paint and magazine image collage covered with heavy layer of resin. Attached at the center of the canvas is a sphere of elephant dung . On the dung sphere, in beads, is an image of an eye. The painting stands on two dung balls, left beaded with the work "Third", right beaded with the word "Eye"

Artist: Chris Ofili

Sun, 01 Jun 1997 00:00:00 -0400

Title	Artist: Chris Ofili
Author	Elaine Paterson
Date	1997
Institution	Walker Art Center

Here are Chris Ofili's responses to a questionnaire from London's weekly Time Out magazine, first published in the edition of September 10-17, 1997. The artist's comments reflect his ironic stance between cultural traditions and the contemporary art scene.

What Makes Britain's Artists the Best in the World?

Please answer the following questions and return to Elaine Paterson, Features Editor, Time Out magazine, 251 Tottenham Court Road, London.

Name: Chris Ofili

Date of birth:
"The days of Herod the King" Matthew 2:1

How many hours a week on average do you spend working?
a. Under 10; b. 11-20; c. 21-30; d. 31-40; e. 41-50; f. Over 50
"Forty days and forty nights" Matthew 4:2

Are your average annual earnings:
a. £10,000 or under; b. £11,000-£20,000; c. £21,000-£30,000; d. £31,000-£40,000; e. £41,000-£50,00;0 f. £51,000-£100,000; g. Over £100,000
"Five loaves and two fishes" Matthew 14:17

Is painting dead?
Yes. . . No. . . Other
"All go unto one place; all are of the dust, and all turn to dust again." Ecclesiastes 3:20

What form of transport do you most often use?
a. Underground; b. Buses; c. Trains; d. Pedal bike; e. Car; f. Other
"The Lord delivers"

If you weren't an artist, which of the following would you most like to be?
a. Popstar; b. Supermodel; c. Mechanic; d. Doctor; e. Unemployed
"And who knoweth whether he shall be a wise man or a fool" Ecclesiastes 2:19

Painted Lady

Ed Paschke — Thu, 01 Jun 1995 00:00:00 -0400

Title	Painted Lady
Artist	Ed Paschke
Date	1995
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

brightly colored painting of two feet

Ed Paschke, Painted Lady (track 1)

Wed, 01 Jun 2011 00:00:00 -0400

Title	Ed Paschke, Painted Lady (track 1)
Creator	Art on Call
Date	March 17, 2011
Institution	Walker Art Center

Photo-Transformation

Lucas Samaras — Tue, 02 Oct 2012 02:18:44 -0400

Title	Photo-Transformation
Artist	Lucas Samaras
Date	July 20, 1976
Institution	Walker Art Center
Location	Not on view.

Photo-Transformation

Lucas Samaras — Tue, 02 Oct 2012 02:18:44 -0400

Title	Photo-Transformation
Artist	Lucas Samaras
Date	November 1, 1973
Institution	Walker Art Center
Location	Not on view.

photographed November 1, 1973

Photo-Transformation

Lucas Samaras — Tue, 02 Oct 2012 02:18:44 -0400

Title	Photo-Transformation
Artist	Lucas Samaras
Date	July 9, 1976
Institution	Walker Art Center
Location	Not on view.

Lucas Samaras, Photo-Transformation (track 1)

Wed, 01 Jun 2011 00:00:00 -0400

Title	Lucas Samaras, Photo-Transformation (track 1)
Creator	Art on Call
Date	March 17, 2011
Institution	Walker Art Center

Untitled

Cindy Sherman — Sat, 01 Jun 2002 00:00:00 -0400

Title	Untitled
Artist	Cindy Sherman
Date	2002/2004
Institution	Walker Art Center
Location	Not on view.

A full length profile view of the artist with a pillow under her shirt, as if pregnant.

Untitled

Cindy Sherman — Mon, 01 Jun 1987 00:00:00 -0400

Title	Untitled
Artist	Cindy Sherman
Date	1987
Institution	Walker Art Center
Location	Not on view.

An image of the back of a woman who is putting condoms onto vegetables.

Kabinett

Wed, 20 Jul 2011 18:21:46 -0400

Title	Kabinett
Author	lampens

Untitled (Facial Cosmetic Variations)

Ana Mendieta — Thu, 01 Jun 1972 00:00:00 -0400

Title	Untitled (Facial Cosmetic Variations)
Artist	Ana Mendieta
Date	January – February, 1972/1997
Institution	Walker Art Center
Location	Not on view.

Self-portraits, documenting the artist wearing a wig and makeup. Taken while the artist was a student at the University of Iowa, but printed posthumously from the color negatives.

Olga Viso on Ana Mendieta

Sun, 01 Jun 2008 00:00:00 -0400

Title	Olga Viso on Ana Mendieta
Creator	Walker Channel
Date	November 11, 2008
Institution	Walker Art Center

Join Walker Art Center director Olga Viso for an illustrated lecture on her extensive research into the little-seen work of this celebrated artist. Viso's newly released book, Unseen Mendieta: The Unpublished Works of Ana Mendieta (Prestel), presents a selection of photographs and drawings from the archives of the pioneering Cuban-born American artist, many of which have never been seen before, including early studies and public art projects in development at the time of her tragic death in 1985. Viso, who served as director of Hirshhorn Museum and Sculpture Garden in Washington, D.C., before coming to the Walker, is the author of several books on contemporary Latin American art.

Innocenti

Thomas Schütte — Wed, 01 Jun 1994 00:00:00 -0400

Title	Innocenti
Artist	Thomas Schütte
Date	1994
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

portrait of white fimo clay figure with black background

Innocenti

Thomas Schütte — Wed, 01 Jun 1994 00:00:00 -0400

Title	Innocenti
Artist	Thomas Schütte
Date	1994
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

portrait of white fimo clay figure with black background

United Enemies

Thomas Schütte — Thu, 01 Jun 1995 00:00:00 -0400

Title	United Enemies
Artist	Thomas Schütte
Date	1995
Institution	Walker Art Center
Location	On view at the Walker Art Center,

wood base has three fimo clay figures with different colored clothing, tied together with brass wire attached; glass dome sits over figures; base fits into plastic tube pedestal

Solarised Photogram #2

Armando Andrade Tudela — Fri, 01 Jun 2007 00:00:00 -0400

Title	Solarised Photogram #2
Artist	Armando Andrade Tudela
Date	2007
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

A black and grey photogram

Armando Andrade Tudela, Solarised Photogram #2 (track 1)

Wed, 01 Jun 2011 00:00:00 -0400

Title	Armando Andrade Tudela, Solarised Photogram #2 (track 1)
Creator	Art on Call
Date	March 17, 2011
Institution	Walker Art Center

Untitled Door and Door Frame

Robert Gober — Mon, 01 Jun 1987 00:00:00 -0400

Title	Untitled Door and Door Frame
Artist	Robert Gober
Date	1987–1988
Institution	Walker Art Center
Location	On view at the Walker Art Center,

A six panel door and door frame.

i think today is wednesday but what if it isn't who cares

Wed, 20 Jul 2011 18:21:46 -0400

Title	i think today is wednesday but what if it isn't who cares
Author	lampens

House Plan with Tear Drops

Guillermo Kuitca — Thu, 01 Jun 1989 00:00:00 -0400

Title	House Plan with Tear Drops
Artist	Guillermo Kuitca
Date	1989
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

A ground plan for a house painted in white modeled gray ground. Large tear drops hang from elements of the house plan.

Opening-day Artist Talk: Guillermo Kuitca

Tue, 01 Jun 2010 00:00:00 -0400

Title	Opening-day Artist Talk: Guillermo Kuitca
Creator
Date	June 26, 2010
Institution	Walker Art Center

Painting is considered Kuitca’s primary medium, yet the work on view in this exhibition includes steadfast engagements with drawing, theater, sculpture, and architecture. Join the artist for an illustrated conversation on working in between traditional artistic expressions, with Walker director Olga Viso, the show’s coordinating curator, and Douglas Dreishpoon, exhibition curator and senior curator at the Albright-Knox Art Gallery.

Associated Links

Opening-day Artist Talk: Guillermo Kuitca Walker Calendar
Guillermo Kuitca: Everything—Paintings and Works on Paper, 1980–2008 Walker Art Center exhibition, June 26 - September 19, 2010

Barn

Thomas Demand — Sun, 01 Jun 1997 00:00:00 -0400

Title	Barn
Artist	Thomas Demand
Date	1997
Institution	Walker Art Center
Location	Not on view.

interior of a barn, Jackson Pollock's studio

Den

Nari Ward — Tue, 01 Jun 1999 00:00:00 -0400

Title	Den
Artist	Nari Ward
Date	1999
Institution	Walker Art Center
Location	On view at the Walker Art Center,

The trunk of a tree that grew around a pole and section of chain-link fence that has been cut and had 4 furniture legs attached. The trunk sits on a soiled oriental -style rug, that has had one corner cleaned.

Seeing, Not Judging

Thu, 01 Jun 2000 00:00:00 -0400

Title	Seeing, Not Judging
Author	Nari Ward
Date	September 2000
Institution	Walker Art Center

Olukemi Ilesanmi: You started out as an abstract painter, but now consider yourself an installation artist. Why did you decide to switch modes of expression?

Nari Ward: I became really uncomfortable with the code of painting -- the idea that you would make a mark and it would represent something else, either historically or in terms of graffiti. So I became interested in actual objects that could have a different kind of reference. I was doing a lot of layering and trying to break down the material. Even when I was painting and drawing, I was using things like fire and trying to cover and coat things. I wanted to leave just enough information for the viewer to see the original but also to get another kind of read from it. Even now, I'm still interested in concealment, finding another way for the viewer to see things. So it was really easier for me to start working with what I call everyday material as opposed to trying to encode a kind of mark-making like painting.

Philippe Vergne: When did this shift away from painting to objects happen?

NW: Well, it's kind of a funny story. I moved to Harlem while I was going to the School of Visual Arts for illustration. I started living -- squatting -- in this building, and it was kind of a dangerous situation because people were doing illegal activities there. But I viewed it as an opportunity to get a large, cheap space. It was the '80s and the crack problem was at its height. The poorer neighborhoods of New York were hugely neglected. People were always dumping stuff in empty lots, and I started seeing good materials -- materials that I reacted to, that had stories behind them. I got really intrigued by working with these things and bored with mark-making. I was trying to find a language that would relate to the things I saw in those empty lots. So I started bringing them in, dragging them up the five flights of steps. Other people in the building felt threatened because they didn't know what I was doing with all this stuff. They related my activity to being a homeless person, not an artist, so I was "evicted." An artist represented an unknown danger. It was a revelatory experience for me.

PV: So quitting painting was a way to deal directly with the real and move away from a limiting studio practice?

NW: I didn't have a proper studio at that time, but as I began to accumulate things, I realized that I needed a specialized space to deal with it all. My new method of working also allowed me more flexibility to explore working on-site. I'm very interested in the challenge of going to a place and reacting to the broad range of experiences there. When I'm in the studio I fall into production mode, and as a result, I fall into old habits. It's important for me to break those habits. Visiting different places allows me to leave that practice behind for a moment and challenge myself to incorporate other kinds of information.

OI: So you gather materials and experiences in an effort to find new approaches to your work?

NW: What genuinely interests me is having all these gathered materials around me. Something may or may not end up in a work, but it's necessary for me to have it in the room. When I first came to Minneapolis, I needed to get a sense of those voices of the communities, to interact with them. Having a direct notion of where I was going wasn't necessary at that point. I tried to build the form around those voices.

OI: It was fascinating to watch you move from raw data to visual and conceptual narrative. How does the process of conversion from information overload to finished piece happen? Is it completely intuitive?

NW: Early on in this project, Dr. David Taylor of the University of Minnesota introduced me to the story of Clarence Wigington, the first African-American municipal architect in St. Paul and a gifted ice-palace designer in the 1930s and 1940s. I was captivated by this fading history. For me, memories often become richer as they become more distant. I began trying to extend my work with this theme, but I didn't feel comfortable going around Minneapolis and St. Paul picking up materials as I have with past pieces. Instead, I decided to ask people for objects and their stories. That's what I'm really interested in when I see something -- the story behind it, a sense of it having been used. I struggle with how to extend memories, layer them, make them more ambiguous. For this project, I wanted to find an unpredictable way of talking about the elusiveness of memory, and the ice palace makes a lot of sense for this. The palaces were temporary. They were meant as a kind of spectacle to exist in old photographs and the memories of the people who visited them. It is not necessary for them to last for long in the real world. Based on the architectural footprint of Wigington's 1940 ice palace, Rites-of-Way is built out of scaffolding, a material that is not place-specific. It goes around a building as an impermanent architecture, like an ice palace, and is often used to go up into a structure. I wanted this sculpture to capture that drama of height. That's why ice-fishing houses serve as the palace towers in Rites-of-Way. They capture the planar ascension of the original. All these connections were really important as I conceptualized the work.

PV: Rites-of-Way is so conceptually and visually complex. The Wigington ice palaces are only part of a larger picture. Other components include a post office, the Rondo neighborhood, ice-fishing houses, and the stories and objects you received from Twin Cities residents. How did you approach combining so many disparate elements?

NW: It was faith. At the beginning of this project, I didn't even know what an ice palace looked like. I just knew they were amazing. At the Minnesota Historical Society, I finally got a chance to see them and was really fascinated by the floor plans. They sort of looked like spaceships out of Star Wars or something, and that sense of fantasy appealed to me. Wigington's ice palaces of 1940 and 1941 included post offices, which was unusual because most ice-palace themes revolved around winter sports. A post office is a way of processing and delineating information, and I wanted to incorporate that concept into my piece somehow. During my early research, I also learned about the old Rondo neighborhood of St. Paul. It was a thriving African-American community for several generations until Interstate 94 was built right through the heart of it in the late 1950s. Each of the homes demolished during the process of building the highway was photographed by the Minnesota Department of Transportation. Those images now appear in the King's Tower of Rites-of-Way.

OI: Why did the Minnesota ice-fishing houses so capture your imagination? Is it because they are another form of vanishing architectures, like the ice palaces or Rondo homes?

NW: The analogy between the ice house, the Rondo homes, and the ice palace makes total sense. When the three of us drove up to Lake Mille Lacs to see one particularly large ice-fishing community, knowing that in just a few weeks the lake would thaw out and none of this would be there, I was further intrigued. Ice fishing seems like a primarily male ritual. These little houses are brought onto the frozen lake and holes are cut into the ice so that people can fish. Fishermen spend a whole day or two waiting for the fish. I think it's really a way to commune with the self. When we left the lake, I immediately wanted to figure out a way to make those structures part of the piece.

OI: Could you take us through the workshop process that was so crucial to creating Rites-of-Way?

NW: During the residency, I met with several different groups -- teens, elders, writers, homeless kids, recent immigrants. I asked them to tell me about an old home or an early experience that remains rich in their memory. Finally, I asked them to convey that story through a single object. For some people it was very easy, because they were talking about a specific item. For others, it was quite difficult. They had to distill an important experience or emotion into a single physical object, so we worked together to figure out what that might be. I asked them to either donate it or allow me to document it with a photograph. The most crucial element for me was the storytelling. Many participants knew one another quite well before the workshops began, but I felt they discovered new things about each other because I asked them to open up about their lives.That sharing built trust levels as they delved deeper into dialogue.

PV: How did their donations link to the larger project?

NW: After photographing them and concealing them in fiberglass cloth wrapping, I mailed their objects to old Rondo addresses that no longer exist. Eventually, they were returned through the post-office system and installed into the Queen's and Federal towers in Rites-of-Way, the latter of which had been the post-office site in Wigington's original design. Members of the Walker Teen Arts Council, in addition to participating in one of the workshops, designed rubber stamps that were used to mark the parcels containing the donated objects. This special collaboration added a level of sensitivity to the project and established a conceptual link back to the workshop process. It was important that their designs be guided by their conception of stamps in general and the function of this one in particular. The stamps symbolize four phases in an individual's life: birth, adolescence, adulthood, and death or rebirth. I am delighted with the results because it's a very open-ended system that allows for multiple readings. The designs are carried over to the flags that fly above the throne area of Rites-of-Way, unifying the work without confining it.

PV: How did you approach asking strangers to tell you something very personal, which would then become part of your process and outside their control?

NW: When someone contributes something to my projects, it places a lot of pressure on me because, on some level, I want to live up to their expectations. My sense of responsibility increases, and I like that. It's like hearing, "Okay, I trust you completely." I have to make their moment, their experience, really special. My anxiety becomes a kind of positive force. However, I do acknowledge that this way of working brings up issues of exploitation and cultural tourism. I try to keep centered in terms of necessary boundaries. I want to be respectful of the people, their memories, and their objects.

PV: One of those crucial boundaries might simply be the threshold of someone's home or personal space. Did you meet people who resisted your process? Did anyone respond as though you were stealing their memories?

NW: There were some people whose memory objects were very meaningful to them, and they were reluctant or unable to part with them. Initially, I thought I wanted all of the items donated outright, but at a certain point I had to be realistic. When requested by the participant, I decided to substitute a photo of the object in place of the real thing. As long as they shared their story, they became part of the process.

PV: It must be challenging to separate your dual roles as artist and sociocultural catalyst in projects like this. As an artist trying to maintain creative control over the entire piece, would you exclude an object you did not like?

NW: I would not, but that's a good question. It's really important to stick with the parameters established at the onset. So again, it's the idea of trust. As much as possible I try to do what I say I'm going to do, but I also need to complete the project. I feel that in this case, I've done really well.

OI: As a follow-up to that, I remember the very first time you met with the homeless teenagers who belong to the Kulture Klub at Project OffStreets. Afterward, you questioned how your project demands fit into their troubled lives. I imagine this reminded you of your experience working with street kids in Bahia.

NW: The children in Projeto Axé and Project OffStreets are faced with such hardship on a daily basis. I'm coming in with an artist's proposal, and they don't know where they're going to sleep the next day. That's why I'm interested in this idea of taking people into a space of contemplation. How do I get somebody to reflect upon their everyday experience and make it transformative? How do I take them to another place? For me, that's how Rites-of-Way could function. It's an environment that says, "This is a special place. You're going to have an important moment here with yourselves and with each other."

PV: There is something in your practice that I particularly enjoy: you don't shy away from the big topics -- the role of the artist in the community, historical realities, rigorous form -- yet you maintain a certain distance, irony...

NW: Survival instinct.

PV: Survival, humor, and politics. You often balance radical social content with compelling form. This seems to reflect your approach to life and art. It's remarkable that you can develop your work while maintaining such a delicate balance.

NW: You've hit on something -- this idea of being a kind of socially conscious artist as well as a liberated artist or trickster. I find I can navigate between both of those things quite easily. Some projects allow me to be more of the trickster and much more disruptive. In others, I create something that elaborates on different kinds of information. I try not to limit myself by thinking I will do only certain types of projects. I can do both. I grow as a person through both approaches, which means knowing where my center is. Sometimes I may run from it, but I still know where it is.

OI: This idea of the trickster echoes throughout Rites-of-Way. Visitors navigate through an unfamiliar built environment, the elements of which offer several open-ended readings. Its simultaneously specific and unpredictable system fascinates me.

NW: For my process, it's very important to avoid making linear connections, thus allowing the viewer to do some work. Those connections have to be carefully orchestrated, though, and that's one of the difficult things about putting ideas into physical form. How do I make the visual form enticing enough to stimulate viewers' thoughts and engage them on several levels?

OI: As visitors navigate within the piece, they may become hyper-aware of their own bodies and sensations. You've talked of Rites-of-Way as a passageway or a threshold to another space -- physical, emotional, experiential. Could you elaborate?

NW: For me, the experiences of the work are crucial. Viewers have direct access to it, and I want to allow as much as possible to happen within that space. That's why the complexities of the ice-palace layout and what I was able to capture via the scaffolding are so important. You see different views at different times. I've tried to enrich the experiences of the individuals exploring it by coding material and concealing it so they have to fill in those empty areas.

OI: Doesn't encouraging the visitor to fill in those empty spaces mean relinquishing your control of the end result?

NW: When I worked on the stage sets for Ralph Lemon's Geography, I learned a lot about letting go. I was fascinated with the stage because of the focus it gives to the individual moment. This is the same kind of focus I seek in my environments, because it allows a specialized space within which people can interact. In my work,I usually make my hand apparent through repetition and manipulation of the materials. However, the architectural construction of the stage is very modular. This process allowed me to move away from the need to physically layer and handcraft things myself. Now, I layer things more conceptually. Onstage, the performer guides the audience into a dialogue with the materials, which is very different from a traditional visual-arts approach. My experience working on Geography allowed me to approach Rites-of-Way differently than I might have three or four years ago. I no longer felt the need to go out and get those objects myself; instead, I went to the community members. I also had to trust the Walker staff to help me design and construct the piece. It's been a good experience, a real growing experience. I want a balance between all of these approaches. There's no one way to do things.

PV: The other day, someone remarked to me that Rites-of-Way is an "attractive nuisance." Is that one way you would describe your work?

NW: I want to be able to visually seduce viewers to enter my environments, but I also want to give them something unexpected. I'm always trying to turn the script on them by being sweet and sour at once. Once they are leaning toward one, they're also getting a better view of the other. So maybe that's what "attractive nuisance" means. I like that term a lot.

OI: Some of the most powerful moments during the workshops were the profound reactions participants had to being asked to share their stories, their lives. Are you concerned that Rites-of-Way may challenge their expectations since you've taken their specific stories and made them accessible in a different, perhaps unexpected, way?

NW: I have a lot of explaining to do. Part of working with a community includes education, for me and them. I wanted to have an opening-day celebration so I could explain what I was thinking, why it's important that their objects don't get revealed. For me, being hidden is also about being empowered, for instance, because it's like operating in the shadows. There's a certain amount of power you can gain from being able to navigate undetected. I've always been interested in wrapping things or closing them off as a way of empowering what they are. People aren't just looking at them and saying, "Oh yeah, I know that's a knife." Instead, they're looking and wondering what's in the box. It keeps the viewer curious, and it makes the objects more potent.

PV: What would you like someone visiting Rites-of-Way to experience? What would you like them to walk away with?

NW: Ultimately, if they connect with the information, the stories, the objects, I will be happy. Rites-of-Way is about notions of community in the broadest sense. If someone enters the piece and says, "Yeah, I can relate to this," that's a beginning. Secondly, I'd like people to engage in the space itself, move through it, feel what it's like. Perhaps this could become a special experience they'll want to document. Like the original ice palaces, Rites-of-Way could live in their memories and photographs even after it is removed in a few years.

PV: Is there a critical quality or common denominator that links all of your work? Is there something that you would be able to define?

NW: That's a big question. Much of my work is about memory and mortality. I don't want to say "death" because that carries too much baggage. We always wonder what happens to those little moments we have that are precious to us. We want them to continue and other people to share them. I've been thinking about how to keep them alive as long as possible. My work is an attempt to hold onto what we know is slipping away from us. For that brief time, we're convinced that we're really holding onto it. Rites-of-Way also addresses the concept of ownership -- once you've shared something, who owns it? When someone else says, "I remember that, too," you've both come together and a third thing is created. Ultimately, I want to maintain a critical awareness in my work process and remain unseduced by any one way of thinking. I constantly check myself because it's easy to start doing the same thing over and over and not see that other realities also exist. As an artist, I try to remain as open as possible. I don't mean only in terms of judging, but also in terms of seeing.

Marvin Cone, Black Door (track 1)

Wed, 01 Jun 2011 00:00:00 -0400

Title	Marvin Cone, Black Door (track 1)
Creator	Art on Call
Date	March 17, 2011
Institution	Walker Art Center

Brush Blp

Richard Artschwager — Wed, 01 Jun 1988 00:00:00 -0400

Title	Brush Blp
Artist	Richard Artschwager
Date	1988
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

Vakuum Masse (Vacuum Mass)

Joseph Beuys — Mon, 01 Jun 1970 00:00:00 -0400

Title	Vakuum <---> Masse (Vacuum <---> Mass)
Artist	Joseph Beuys
Date	1970
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

Museum: Background Information

Sun, 01 Jun 2003 00:00:00 -0400

Title	Museum: Background Information
Author	Walker Art Center
Date	2003
Institution	Walker Art Center

Joseph Beuys was born in Krefeld, Germany, in 1921, the only child in a middle-class Catholic family. As a boy he was interested in both art and science and wanted to become a doctor. In 1940 he volunteered for military service during World War II and trained as an aircraft radio operator and combat pilot. He was wounded several times over the course of his duty before he returned home in 1945. The war had a profound effect on Beuys, who enrolled at the Düsseldorf Academy of Art instead of pursuing a medical career. While at school, he studied sculpture, but also pursued other areas of interest, including philosophy, literature, and science.

Beuys had an unconventional approach to making art, choosing to work in many types of media, including sculpture, installations, and performances, which he sometimes called "actions." He believed in the power of art as the main factor governing human existence and behavior, and that both art and life must be pursued with absolute attention to social responsibility. "To me," Beuys said, "it's irrelevant whether a product comes from a painter, from a sculptor, or from a physicist." During the 1960s and 1970s, a time of increased political awareness, Beuys was heavily involved in political activism, which he considered an extension of his activities as an artist. In fact, Beuys first wore the Filzanzug (Felt Suit) in an action interpreted as a protest of the Vietnam War. It was performed in 1971 with another artist, Terry Fox, in a cellar of the Staatliche Kunstakademie (National Art Academy) in Düsseldorf, Germany. Fox burned the wood of a cross-shaped window frame and sped up the burning of a lit candle by exposing it to the heat of a naked lightbulb. Beuys cradled a dead mouse in his hand. Then Fox banged an iron pipe till it resounded violently. Beuys repeatedly spat the seeds of an exotic fruit into a silver bowl to create a delicate ringing sound.

Much of Beuys' art promoted the notion that every person is an artist and that an individual's creative activity helped a society thrive and grow in ways beneficial to all. Beuys pursued the idea that society itself is not an abstract entity but an art form--in constant flux--and capable of being "sculpted." His involvement in the fields of politics and education in order to create real change reflected his goal to sculpt society. Beuys worked with several groups that called for radical political reform. In 1979 he co-founded the Green Party, a grassroots alternative to traditional politics that stressed social and environmental issues.

Beuys/Logos a hyperessay by Julie Luckenbach

The Philosophical Nail

James Lee Byars — Sun, 01 Jun 1986 00:00:00 -0400

Title	The Philosophical Nail
Artist	James Lee Byars
Date	1986
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

A large iron nail covered with gold leaf. The nail is displayed in a mahogany virtine, that was constructed at WAC

James Lee Byars, The Philosophical Nail (1986)

Thu, 01 Jun 2000 00:00:00 -0400

Title	James Lee Byars, The Philosophical Nail (1986)
Author	Walker Art Center
Date	2000
Institution	Walker Art Center

Born in Detroit, James Lee Byars wore the mantle of "American artist" uncomfortably throughout his eccentric career. He lived for many years in Japan, Venice, and the United States before his death in Egypt in 1997. His varied body of works included drawings, sculpture, installation, and performance, all of which captured his vision of a culture at the confluence of East and West. Though well-supported early in his career by sponsors here and abroad, his suspected expatriotism caused him to be virtually ignored by American critics until the last decade of his life.

Byars' work often featured Eastern mysticism dramatically blended with American practicality and showmanship. Like his contemporaries Andy Warhol and Ed Ruscha, Byars had a unique vision stemming from his reinvention of the American vernacular, colored with international sensibilities about the spaces humans and objects share.

In The Philosophical Nail, Byars incorporates rituals from both Western and Eastern religions. The work is visually conceived as a contemporary reliquary. Inside this housing is the gold nail, an object that might represent, in terms of Western culture, a relic from the cross of Christ. It can also be perceived as the foundation nail of our history and culture. The gold metal suggests purity and contemplation, as well as a possible fetishist dimension. With the use of the glass case, Byars comments upon "museification" and the notion of the artist as the modern figure of the martyr.

Pouring

David Goldes — Wed, 01 Jun 1994 00:00:00 -0400

Title	Pouring
Artist	David Goldes
Date	1994
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

various liquids pouring into jars; black background

ENVELOPA: Drawing Restraint 7 (manual) D

Matthew Barney — Tue, 01 Jun 1993 00:00:00 -0400

Title	ENVELOPA: Drawing Restraint 7 (manual) D
Artist	Matthew Barney
Date	1993
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

DRAWING RESTRAINT 7

Matthew Barney — Tue, 01 Jun 1993 00:00:00 -0400

Title	DRAWING RESTRAINT 7
Artist	Matthew Barney
Date	1993
Institution	Walker Art Center
Location	Not on view.

Matthew Barney, Drawing Restraint 7 (1993)

Mon, 01 Jun 1998 00:00:00 -0400

Title	Matthew Barney, Drawing Restraint 7 (1993)
Author	Walker Art Center
Date	1998
Institution	Walker Art Center

In his films, videos, and sculptural installations, Matthew Barney's primary interest has been the transformation and metamorphosis of the physical body. In elaborate, ritualized performances Barney uses a highly developed visual language to address such themes as endurance, androgyny, autoeroticism, and spectacle.

Drawing Restraint 7 is part of Barney's ongoing interest in self-imposed restraint. He creates conditions in which it is an extreme challenge to draw on a surface, then attempts to do just that, stressing the notion that form cannot develop without resistance. Barney first experimented with this principle in Drawing Restraint 2, where he strapped himself to an elaborate harness and vaulted up to a pad of paper attached to the ceiling in an attempt to make marks.

In this work, two cloven-hoofed satyrs wrestle in the back seat of a stretch limousine, trying to force each other to make images with their horns in the condensation on the limo's sunroof. Barney's interest in Greco-Roman mythology is apparent in this video installation, and the artist himself plays the young satyr with budding horns who spins endlessly in pursuit of his own tail. This work can be read not only as an extension of Barney's ideas about physical metamorphosis, but as a metaphor for the seemingly endless struggle of the artist.

Invitations

Ranjani Shettar — Thu, 01 Jun 2000 00:00:00 -0400

Title	Invitations
Artist	Ranjani Shettar
Date	2000
Institution	Walker Art Center
Location	On view at the Walker Art Center,

19 pod shaped vessels, piled into a corner for installation.

Apparat, mit dem eine Kartoffel eine andere umkreisen kann (Apparatus Whereby One Potato Can Orbit Another)

Sigmar Polke — Sun, 01 Jun 1969 00:00:00 -0400

Title	Apparat, mit dem eine Kartoffel eine andere umkreisen kann (Apparatus Whereby One Potato Can Orbit Another)
Artist	Sigmar Polke
Date	1969
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 5

Die Waschung der Lineale (The Washing of the Rulers)

Sigmar Polke, Ernst Mitzka — Thu, 01 Jun 1972 00:00:00 -0400

Title	Die Waschung der Lineale (The Washing of the Rulers)
Artist	Sigmar Polke, Ernst Mitzka
Date	1972/1999
Institution	Walker Art Center
Location	On view at the Walker Art Center,

Black and white images of figures and rulers.

Uran (Uranium)

Sigmar Polke — Sat, 01 Jun 1996 00:00:00 -0400

Title	Uran (Uranium)
Artist	Sigmar Polke
Date	1996
Institution	Walker Art Center
Location	Not on view.

A light blue abstract form on a darker blue ground.

Das Schweigen (The Silence)

Joseph Beuys — Fri, 01 Jun 1973 00:00:00 -0400

Title	Das Schweigen (The Silence)
Artist	Joseph Beuys
Date	1973
Institution	Walker Art Center
Location	Not on view.

Five reels of film of Ingmar Bergman's The Silence (1962). Original 35mm theater copies of German version of film of 1962, lacquered and plated in copper and zinc baths. The carton in which the object is supplied is not a constituent part of the edition.

Hymn to Nature

Louis Eilshemius — Sun, 01 Jun 1919 00:00:00 -0400

Title	Hymn to Nature
Artist	Louis Eilshemius
Date	1919
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

nude by stream and waterfall

Quarter Moon

Louis Eilshemius — Sat, 16 Jul 2011 02:01:53 -0400

Title	Quarter Moon
Artist	Louis Eilshemius
Date	not dated
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

lake scene at night with quarter moon

Unstill Life

Wed, 20 Jul 2011 18:21:47 -0400

Title	Unstill Life
Author	lampens

Maine Coast Still Life

Marsden Hartley — Sun, 01 Jun 1941 00:00:00 -0400

Title	Maine Coast Still Life
Artist	Marsden Hartley
Date	1941
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Still LIfe of two dead seagulls in front of a bottle, churn, lantern and a bright red form all on a flat surface grey/violet colored, background dark brown.

Masks

Marsden Hartley — Mon, 01 Jun 1931 00:00:00 -0400

Title	Masks
Artist	Marsden Hartley
Date	1931-1932
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

stack of masks all with different faces and expressions.

Marsden Hartley, Masks (track 1)

Wed, 01 Jun 2011 00:00:00 -0400

Title	Marsden Hartley, Masks (track 1)
Creator	Art on Call
Date	March 17, 2011
Institution	Walker Art Center

Roses

Marsden Hartley — Tue, 01 Jun 1943 00:00:00 -0400

Title	Roses
Artist	Marsden Hartley
Date	1943
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

abstract representation of a bouquet of roses against the sky

Still Life

Marsden Hartley — Tue, 01 Jun 1920 00:00:00 -0400

Title	Still Life
Artist	Marsden Hartley
Date	1920
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Stylized depiction of a potted plant and a lemon in front of a window with curtains drawn. Through the window two faces are visible.

Abstract Expressionism

Sun, 01 Jun 2008 00:00:00 -0400

Title	Abstract Expressionism
Creator	Minneapolis Institute of Arts
Date	2008
Institution	Minneapolis Institute of Arts

30-90 second Quick Stop Audio Tour Commentary

Dalet Chaf

Morris Louis — Sun, 01 Jun 1958 00:00:00 -0400

Title	Dalet Chaf
Artist	Morris Louis
Date	1958
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

A "veil" painting.

Painting

Ad Reinhardt — Wed, 01 Jun 1960 00:00:00 -0400

Title	Painting
Artist	Ad Reinhardt
Date	1960
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

A greek cross in black on a black ground with a blue rectangle overlay.

Ad Reinhardt, Painting (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Ad Reinhardt, Painting (track 1)
Creator	Art on Call
Date	December 29, 2009
Institution	Walker Art Center

Curator, Joan Rothfuss.

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

Ad Reinhardt, Painting (track 2)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Ad Reinhardt, Painting (track 2)
Creator	Art on Call
Date	December 29, 2009
Institution	Walker Art Center

Curator Joan Rothfuss talks more about Reinhardt's program.

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

Cradle Song, Variation #2

Theodore Roszak — Sat, 01 Jun 1957 00:00:00 -0400

Title	Cradle Song, Variation #2
Artist	Theodore Roszak
Date	1957-1960
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Theodore Roszak, Cradle Song, Variation #2 (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Theodore Roszak, Cradle Song, Variation #2 (track 1)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

Theodore Roszak, Cradle Song, Variation #2 (track 2)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Theodore Roszak, Cradle Song, Variation #2 (track 2)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

No. 2

Mark Rothko — Sat, 01 Jun 1963 00:00:00 -0400

Title	No. 2
Artist	Mark Rothko
Date	1963
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Dark brown painting

Mark Rothko, No. 2 (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Mark Rothko, No. 2 (track 1)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

Walker curator, Joan Rothfuss.

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

Mark Rothko

Wed, 20 Jul 2011 18:21:48 -0400

Title	Mark Rothko
Author	lampens

untitled (1950-C)

Clyfford Still — Thu, 01 Jun 1950 00:00:00 -0400

Title	untitled (1950-C)
Artist	Clyfford Still
Date	1950
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Clyfford Still, untitled (1950-C) (1950)

Mon, 01 Jun 1998 00:00:00 -0400

Title	Clyfford Still, untitled (1950-C) (1950)
Author	Walker Art Center
Date	1998
Institution	Walker Art Center

For Clyfford Still, a single painting such as Untitled (1950-C) was comparable to an entry in a journal recording his interior experience. He described his artistic process as a solitary ethical journey, and each painting as an "instrument of thought," an extension and exaltation of his self and its contradictions.

The artist's aim was to relieve color of its traditionally "pleasant, luminous, and symbolic" aspects, and to heighten its expressive potential through selection, juxtaposition, and method of application. In this work, Still employed texture as a central element. The heavy impasto surface of the black contrasts with the smooth surface of the mineral-orange pigment. The act of painting is evident through the visible impressions of his brush strokes and palette-knife scrapings on the surface of the canvas.

Kitchen

Kiki Smith — Wed, 01 Jun 2005 00:00:00 -0400

Title	Kitchen
Artist	Kiki Smith
Date	2005
Institution	Walker Art Center
Location	On view at the Walker Art Center,

An installation containing stencil painted walls, ceramic vessels, a dining table a winsor chair, a NY Times, a witches broom, plastic rats, a porcelain female figure gazing at a window. The female figure was also produced in an edition of 3 the title is Standing Girl 2004-2005, Pace #37774.01

Kiki Smith and Peter Schjeldahl in Conversation

Thu, 01 Jun 2006 00:00:00 -0400

Title	Kiki Smith and Peter Schjeldahl in Conversation
Creator	Walker Channel
Date	February 26, 2006
Institution	Walker Art Center

Over the past 25 years, Kiki Smith has established herself as one of the most engaging and original artists of our time. To celebrate the opening of the exhibition, join the artist and critic Peter Schjeldahl for a conversation about Smith's work and career. Schjeldahl is an art critic for the New Yorker and has written regularly for Art in America, the New York Sunday Times, and Vanity Fair.

Presented in conjunction with the exhibition Kiki Smith: A Gathering, 1980-2005.

Wunderkammer

Wed, 20 Jul 2011 18:21:49 -0400

Title	Wunderkammer
Author	lampens

? Early

Charles Simonds — Wed, 01 Jun 1977 00:00:00 -0400

Title	? Early
Artist	Charles Simonds
Date	1977
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Meditation in the Endlesstape of the FuturePast

Tetsumi Kudo — Fri, 01 Jun 1979 00:00:00 -0400

Title	Meditation in the Endlesstape of the Future<—>Past
Artist	Tetsumi Kudo
Date	1979
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Flight Fantasy

David Hammons — Thu, 01 Jun 1978 00:00:00 -0400

Title	Flight Fantasy
Artist	David Hammons
Date	1978
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

David Hammons, Flight Fantasy (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	David Hammons, Flight Fantasy (track 1)
Creator	Art on Call
Date	March 21, 2009
Institution	Walker Art Center

Walker curator, Philippe Vergne.

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

David Hammons, Flight Fantasy (1978)

Tue, 01 Jun 1999 00:00:00 -0400

Title	David Hammons, Flight Fantasy (1978)
Author	Walker Art Center
Date	1999
Institution	Walker Art Center

Old dirty bags, grease, bones, hair . . . it's about us, it's about me. It isn't negative. We should look at these images and see how positive they are, how strong, how powerful. Our hair is positive, it's powerful, look what it can do. There's nothing negative about our images, it all depends on who is seeing it and we've been depending on someone else's sight. . . . We need to look again and decide. --David Hammons, 1977

Since the late 1960s, David Hammons has been instrumental in the ongoing investigation of African-American popular culture, which has become the primary source for his work. In his sculptures he often uses refuse found in the urban environment in which he lives, such as chicken bones, paper bags, hair, bottle caps, and liquor bottles. Vacillating between cultural paradigms, Hammons' work resonates with the human need for subsistence.

An important addition to the Walker's collection of postwar assemblage art, Flight Fantasy is made of found objects such as feathers, bamboo, and shards of 45 rpm records with which the artist conveys a sense of flight and illusion. This piece is also significant for its incorporation of human hair. It is part of a genre of works that marks Hammons' five-year investigation of African-American hair as a versatile fiber for art-making and serves as a subtle reminder of the place of the black body as a commodity in the making of the United States.

Hippopotamus from Technological Reliquaries

Paul Thek — Tue, 01 Jun 1965 00:00:00 -0400

Title	Hippopotamus from Technological Reliquaries
Artist	Paul Thek
Date	1965
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Paul Thek, Hippopotamus from Technological Reliquaries (track 1)

Mon, 01 Jun 2009 00:00:00 -0400

Title	Paul Thek, Hippopotamus from Technological Reliquaries (track 1)
Creator	Art on Call
Date	November 19, 2009
Institution	Walker Art Center

Walker curator Richard Flood talks about this piece as a great example of some of the major tensions in Thek's work.

This audio file is part of Art on Call, the Walker Art Center audio program that includes artists, curators, and tour guides discussing works of art from the Walker's collection. Art on Call's interpretative content, a complete up-to-date listing of events at the Walker, and much more is available on your phone at 612.374.8200. Additional play options and more information about the program are available online at http://newmedia.walkerart.org/aoc/

Paul Thek, "Hippopotamus" from Technological Reliquaries (1965)

Tue, 01 Jun 1999 00:00:00 -0400

Title	Paul Thek, "Hippopotamus" from Technological Reliquaries (1965)
Author	Walker Art Center
Date	1999
Institution	Walker Art Center

"I was amused at the idea of meat under Plexiglas because I thought it made fun of the scene--where the name of the game seemed to be 'how cool you can be' and 'how refined.' Nobody ever mentioned anything that seemed real. The world was falling apart, anyone could see it."--Paul Thek, 1981

Paul Thek began a group of "meat" pieces in the mid-1960s. They evolved primarily from two negative impulses: a reaction against the clean, cool forms of Minimalist and Pop Art and, more importantly, his revulsion with U.S. involvement in Vietnam. Both impulses positioned the artist in opposition to the mainstream current, where he continued to stand until his death from AIDS in 1988.

The meat pieces suggest the fragile hold on life that is our shared human condition. Encased in a vitrine resembling both an incubator and a glass casket, Hippopotamus leads the viewer to contemplate the literal and spiritual mortification of the flesh that haunted Thek throughout his career as an artist.

? Later

Charles Simonds — Wed, 01 Jun 1977 00:00:00 -0400

Title	? Later
Artist	Charles Simonds
Date	1977
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Oven-Pan

Yayoi Kusama — Sat, 01 Jun 1963 00:00:00 -0400

Title	Oven-Pan
Artist	Yayoi Kusama
Date	1963
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

bronze colored potato-like forms protruding from a metal pan with a wire spatula resting on top

Artwork of the Month: Yayoi Kusama's Oven- Pan

Tue, 01 Jun 2010 00:00:00 -0400

Title	Artwork of the Month: Yayoi Kusama's Oven- Pan
Author	Walker Art Center
Date	March, 2001
Institution	Walker Art Center

About the Artwork

Japanese artist Yayoi Kusama moved to New York in the late 1950s and quickly made a name for herself with both small and large works she called “accumulation sculptures.” To make them, she covered many ordinary household objects—chairs, ironing boards, ladders, clothing, rugs, and cookware— with dense patterns of polka-dots, squiggly lines, and other shapes made from materials such as canvas or real macaroni. When she was finished, she often painted the artworks all one color. Kusama sewed, stuffed, and painted canvas to make hundreds of forms like those you see repeated in the sculpture Oven- Pan. They seem to flow over the sides, almost as if they could wriggle away.

The Personal Effects of the Pied Piper

Paul Thek — Sun, 01 Jun 1975 00:00:00 -0400

Title	The Personal Effects of the Pied Piper
Artist	Paul Thek
Date	circa 1975
Institution	Walker Art Center
Location	Not on view.

Cast bronze mice and objects.

Teasel Cushion

Hannah Wilke — Thu, 01 Jun 1967 00:00:00 -0400

Title	Teasel Cushion
Artist	Hannah Wilke
Date	1967
Institution	Walker Art Center
Location	On view at the Walker Art Center,

A terracotta form painted pink displayed on top of a mat of green painted interwoven plastic strands

Katharina Fritsch, Apple

Wed, 20 Jul 2011 18:21:49 -0400

Title	Katharina Fritsch, Apple
Author	lampens

Untitled (Soda Fountain Glass)

Paul Thek — Tue, 01 Jun 1965 00:00:00 -0400

Title	Untitled (Soda Fountain Glass)
Artist	Paul Thek
Date	1965–1966
Institution	Walker Art Center
Location	Not on view.

A soda glass and holder filled with blue wax, hair, and meat-like chunks. A spoon and straw are embedded in the wax.

Little Mountain

Kiki Smith — Tue, 01 Jun 1993 00:00:00 -0400

Title	Little Mountain
Artist	Kiki Smith
Date	1993-1996
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

A cast glass woman's breaset

Cadeau (Gift)

Man Ray — Wed, 01 Jun 1921 00:00:00 -0400

Title	Cadeau (Gift)
Artist	Man Ray
Date	1921/1963
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

A cast iron, Le Gauloise fabric iron with cut-tacks attached to the face.

Hi Red Center — Fri, 09 Sep 2011 02:03:07 -0400

Title
Artist	Hi Red Center
Date	1964
Institution	Walker Art Center
Location	Not on view.

Sealed cans containing unknown objects. Relics of a 1964 action.

Mirror-Piece (Mirror Piece)

Joseph Beuys — Sun, 01 Jun 1975 00:00:00 -0400

Title	Mirror-Piece (Mirror Piece)
Artist	Joseph Beuys
Date	1975
Institution	Walker Art Center
Location	On view at the Walker Art Center,

Glass bottle painted brown, with mirrored interior, and cylindrical cardboard box. Complete multiple should contain card "How to explain the iodine bottle to the Hares" (missing)

THE BRIDE

Bruce Conner — Wed, 01 Jun 1960 00:00:00 -0400

Title	THE BRIDE
Artist	Bruce Conner
Date	1960
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Black Newborn

Sherrie Levine — Wed, 01 Jun 1994 00:00:00 -0400

Title	Black Newborn
Artist	Sherrie Levine
Date	1994
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

A version of a Brancusi infant head in black sandblasted glass.

untitled from the portfolio 7 Objects/69

Eva Hesse — Sun, 01 Jun 1969 00:00:00 -0400

Title	untitled from the portfolio 7 Objects/69
Artist	Eva Hesse
Date	1969
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Hasenblut (Hare's Blood)

Joseph Beuys — Tue, 01 Jun 1971 00:00:00 -0400

Title	Hasenblut (Hare's Blood)
Artist	Joseph Beuys
Date	1971/79
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

plastic bag containing dried blood, attached to paper by a sticking plaster

Glass Drop

Richard Artschwager — Sun, 01 Jun 1969 00:00:00 -0400

Title	Glass Drop
Artist	Richard Artschwager
Date	1969
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

An Universe

Jess — Thu, 01 Jun 1961 00:00:00 -0400

Title	An Universe
Artist	Jess
Date	1961
Institution	Walker Art Center
Location	Not on view.

(last name is Collins, which he doesn't use)

RATBASTARD

Bruce Conner — Sun, 01 Jun 1958 00:00:00 -0400

Title	RATBASTARD
Artist	Bruce Conner
Date	1958
Institution	Walker Art Center
Location	Not on view.

a constructed box assemblage

Cuprum 0,3% unguentum metallicum praeparatum

Joseph Beuys — Thu, 01 Jun 1978 00:00:00 -0400

Title	Cuprum 0,3% unguentum metallicum praeparatum
Artist	Joseph Beuys
Date	1978-1986
Institution	Walker Art Center
Location	On view at the Walker Art Center,

Beeswax column with traces of copper (not visible); certificate from Beuys estate signed by Wenzel Beuys.

Rückenstütze eines feingliederigen Menschen (Hasentypus) aus dem 20. Jh. p. Chr. (Backrest for a Fine-Limbed Person [Hare-type] of the 20th C. A.D.)

Joseph Beuys — Thu, 01 Jun 1972 00:00:00 -0400

Title	Rückenstütze eines feingliederigen Menschen (Hasentypus) aus dem 20. Jh. p. Chr. (Backrest for a Fine-Limbed Person [Hare-type] of the 20th C. A.D.)
Artist	Joseph Beuys
Date	1972
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

cast-iron backrest, modelled on child's plaster cast

Shoe

Ray Johnson — Sat, 01 Jun 1974 00:00:00 -0400

Title	Shoe
Artist	Ray Johnson
Date	1974
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

A woman's shoe with an attached fragement, image of boots, of Bruce Conner for Supervisor poster. Stamped in black ink on attached image "Collage by Ray Johnson"

Time Capsule (OPEN AFTER JAN. 1, 2075 A.D.)

Stephen Kaltenbach — Sun, 01 Jun 1969 00:00:00 -0400

Title	Time Capsule (OPEN AFTER JAN. 1, 2075 A.D.)
Artist	Stephen Kaltenbach
Date	1969
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

No Title

Robert Therrien — Mon, 01 Jun 1987 00:00:00 -0400

Title	No Title
Artist	Robert Therrien
Date	1987
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

Jeffrey Vallance

Wed, 20 Jul 2011 18:21:50 -0400

Title	Jeffrey Vallance
Author	lampens

Hairbox

Richard Artschwager — Fri, 01 Jun 1990 00:00:00 -0400

Title	Hairbox
Artist	Richard Artschwager
Date	1990
Institution	Walker Art Center
Location	Not on view.

Pierre Molinier as Eugenie from The Philosopher's Suite

Nayland Blake — Sun, 01 Jun 1997 00:00:00 -0400

Title	Pierre Molinier as Eugenie from The Philosopher's Suite
Artist	Nayland Blake
Date	1997
Institution	Walker Art Center
Location	Not on view.

a skeleton figure with a cage like pelvic region, suspended by a hook, hanging over a cloth sack

Wed, 20 Jul 2011 18:21:51 -0400

Title
Author	lampens

Untitled

Robert Gober — Tue, 01 Jun 1999 00:00:00 -0400

Title	Untitled
Artist	Robert Gober
Date	1999
Institution	Walker Art Center
Location	On view at the Walker Art Center, Gallery 6

A wax torso, half male and half female, contained within a cast plastic milk crate.

ADSVMVS ABSVMVS

Wed, 20 Jul 2011 18:21:51 -0400

Title	ADSVMVS ABSVMVS
Author	lampens

I. WHITE CLOVER (Melilotus alba) from ADSVMVS ABSVMVS