#walker art center
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Rebecca Horn, The Little Painting School Performs a Waterfall, 1988 [Walker Art Center, Minneapolis, MN. © Rebecca Horn / ARS, New York / VG Bild-Kunst, Bonn]
Details: metal rods, aluminum, sable brushes, electric motor, acrylic on canvas
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Office at Night, Edward Hopper, 1940
#art#art history#Edward Hopper#interior#night scene#Realism#Realist art#American Realism#Modernism#American art#20th century art#modern art#Walker Art Center#oil on canvas
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Sigmar Polke - Untitled (1999)
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Walker Art Center, Minneapolis.
#minneapolis#minnesota#twin cities#photography#photographers on tumblr#original photographers#black and white photography#walker art center
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Sociologists caution against reading too much into a society’s cultural products, be they books or banner ads, but it’s impossible not to see each year’s selection of British Arrows award-winning ads as a barometer of the masses’ mood.
When the annual parade of video spots first gained Stateside popularity through holiday season screenings at the Walker Art Center in Minneapolis, British humor was a principal draw. Side-splitting ads have remained part of the mix, but over the decades the program has become more wide-ranging. The internet became a major medium, digital effects became routine, and onscreen representation of the nation’s diversity increased dramatically.
There’s also been a gradual deflation of the optimism following the end of the Cold War. Hot wars, global warming, resurgent authoritarianism, and the coronavirus pandemic have all contributed to a more somber mood among consumers. In marketing circles, authenticity and transparency have become watchwords for companies hoping to convince consumers they’re committed to an open and honest relationship in these challenging times.
This is all to say that this year’s British Arrows are a little moody, conveying the sense of a capitalist economy where we’re all holding hands but we can’t say whether it’s out of genuine attraction or sheer panic.
read more
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My favorite day of the week.
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Pierre Huyghe “After Dream” - on view in the Minneapolis Walker Art sculpture garden.
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Arthur Hacker (British, 1858-1919) • Victorian Academic Painter. Arthur Hacker was born in 1858 to the family of a line engraver and became one of the famous British artists influenced by French artist school. Arthur entered the Royal Academy Schools at the age of 18 and in four years, after graduation, he moved to Paris to be trained in the atelier under Léon Bonnat.
In Bonnat's atelier, Arthur Hacker mastered realistic plein air painting and thereafter worked in academic idealism manner. Arthur's visits to Spain and Morocco also influenced his artist style.
Arthur Hacker regularly exhibited his mythological, landscapes and still life paintings at the Royal Academy and New Gallery in London and at the Walker Art Gallery.
In 1886, Arthur Hacker helped to establish the New English Art Club despite his high Victorian style of painting being dissimilar to ideals of this new institution.
Hacker's fame came in the 1890s before the taste of contemporary art lovers refocussed on twentieth century styles.
Abundance • 1916
Annunciation • 1892 • Tate, Britain
A Morning Walk • 1902 • Private collection
The Temptation of Sir Percival • c. 1894 • City Art Gallery Leeds, UK
Vale (farewell) • 1913 • Private collection
The Sea Maid • 1897
And There was a Cry in Egypt • 1897
Musician of Silence • 1900 • Private collection
The Cloister or the World • 1896 • Bradford Art Galleries and Museums, West Yorkshire, UK
Oxeye Daisies and Irises • c. 1918 • Brighton Museum and Art Gallery, UK
Vae Victis! The Sack of Morrocco by the Almohades, Woe to the Vanquished • 1890 • Broken Hill Art Gallery, Australia
Pelagia and Philammon • 1887 • Walker Art Gallery Liverpool, UK
#art#painting#fine art#bannedonpinterest#art nude#early 20th century art#classissism#academicpainting#british art#19th century art#arthur hacker#mythological painting#victorian art#tate britain#manchester art gallery#walker art center#bradford art galleries#brighton museum and art gallery#city arts gallery leeds
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Hannah Höch, Astronomie, (collage), 1922 [The Mayor Gallery, London. © Hannah Höch / DACS, London / VG Bild-Kunst, Bonn]
[Bibl.: The Photomontages of Hannah Höch, Organized by Maria Makela, Peter Boswell, Essays by Peter Boswell, Maria Makela, Carolyn Lanchner, Chronology by Kristin Makholm, Walker Art Center, Minneapolis, MN, 1996, p. 43 (pdf here). Exhibitions: Walker Art Center, Minneapolis, MN, October 20, 1996 – February 2, 1997; The Museum of Modern Art, New York, NY, February 26 – May 20, 1997; Los Angeles County Museum of Art, Los Angeles, CA, June 26 – September 14, 1997]
#graphic design#art#collage#visual writing#exhibition#catalogue#catalog#hannah höch#maria makela#peter boswell#carolyn lanchner#kristin makholm#walker art center#moma#the museum of modern art#lacma#los angeles county museum of art#1920s#1990s
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Spoonbridge and Cherry
Claes Oldenburg, renowned artist and co-creator of the Minneapolis Sculpture Garden's Spoonbridge and Cherry, died this week at age 93. Oldenburg was famous for large sculptures depicting common objects.
Oldenburg's Spoonbridge and Cherry (created in collaboration with his wife Coosje van Bruggen) has been the centerpiece of the Minneapolis Sculpture Garden since it opened in 1988. The grand opening (program pictured in lower right) included vendors selling cherry sundaes, the chance to play the spoons in a group Spoon Band concert, and supplies to make floatable sculptures to sail beneath the Spoonbridge.
In the press release for Spoonbridge and Cherry's unveiling, Oldenburg shared his thoughts on his famous sculpture: "The way the cherry throws itself into the air, it suggests a ship drawing up on shore."
Photos from M/A 0255 Collection on the Walker Art Center and the City of Minneapolis Collection in the Hennepin County Library Digital Collections (C39602 and C00759).
#minneapolis#minnesota#minneapolis sculpture garden#spoonbridge and cherry#sculpture#claes oldenburg#1980s#walker art center#minneapolis parks
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Sigmar Polke - Früher oder später (2003)
screenprint on paper
27.6 x 19.7 inches
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Give More Than You Take | Jim Hodges
Walker Art Center exhibit | mirror mosaic
#jim hodges#walker art center#exhibits#Give More Than You Take#mosaic#mirror#art#contemporary art magazine
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the “Hidden Figures” series
+ Photographed by @skyclad.studio (ig) // website
Back in the before times, in 2019, I took a trip to Minneapolis for a concert on New Year’s Eve. With literally 30 hours in the city, I landed on the 31st at 9am, headed to the concert at around 9pm - had a transcendent time - then back to the hotel afterwards. The next day, I had about 5 hours to kill before having to head at the airport to return home. I asked the front desk for a late checkout - they obliged - and at noon I left my room with 3 hours still until I had to hit the road.
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When I can squeeze it into a trip to a new place, I try to make a visit to an art museum or botanical attraction in the area. I looked to see what was nearby and fatefully, the Minneapolis Sculpture Garden - home of the Spoonbridge & Cherry and the notable Hahn/Cock - was a short drive from the hotel. I hailed a ride and hopped in, made lively banter with my driver, then soon enough stepped out of the car and down a set of steps onto the snowy park grounds.
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As I walked among the pieces, several of them spoke to me: the fracturedness of Judith Shea’s “Without Words”, the pensive and mysterious “Walking Man” by George Segal, the playful “Empire” by Eva Rothschild, the eerie holiness of Theaster Gates’ “Black Vessel for a Saint”... Some of them spoke to different feelings I had inside me at the time; others depicted stories I felt I could relate to and wanted to watch unfold before my eyes. I found myself wanting to interact with so many of them - wanting to fit myself into their sculpted moments, entwine my stories and feelings between their crevices and curves. But with only a few hours left in the city, I couldn’t squeeze in the chance to link with a fellow artist to help me capture the visions I had. So I tucked the concept away in my mind and continued moseying through the winding pathways of the park.
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Back to Seattle, the sculpture garden’s marks on me remained. As I embarked on other projects, processing other emotions through other pieces, I also started scouting places I could take my Midwest vision and execute it in the Pacific Northwest. Sure, there's plenty sculptures and statues in the city of Seattle - but getting to and interacting with them the way I wanted to (see my recent mini-post on nudity as vulnerability and power) would prove to be a little difficult...
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A fellow artist mentioned the Olympic Sculpture Park and I thought back to what I remembered seeing there. It’d been a minute since I had last walked through so I visited it again and the pieces that I saw touched me differently from the last time I saw them. Then, I was new to the area - everything shined brightly, glowing with a promise of what was to come for me here: “Which pieces would be the ones that I would grow to understand - which ones would I grow to love seeing in the distance?” But walking through it in 2022, the sculptures spoke to me differently than they did the first time; and in turn, they also spoke to a different me...
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I was seeing the sculptures with more worn eyes. And as I mentally noted which sculptures I could see myself fitting into like I had in Minneapolis, I started to realize that the pieces were reflecting a deeper feeling back at me: The pieces on the Olympic park grounds that spoke to me before were no longer the fascinating landmarks welcoming me to my new home - the pieces that spoke to me were the monuments that emphasized the outsider feelings I had that were settling in.
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In a place I thought I’d fit into, that I thought I had....I was sticking out. The boxes I thought I’d fit into I was pouring out of. The doors I thought were wide open were really just windows ajar just wide enough for me to stick an arm’s length into. The language of the land I thought I knew and understood were now sounding strange. Though I’d been here for 4 years, I felt like a stranger who didn’t belong - an antigen the host was beginning to respond to and filter out, an intrusive thought in someone else’s dream.
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I slowly realized that this concept was bigger for me than just speaking to my original thought of art begetting art as I combined my feelings and stories with the ones depicted on the park grounds. The feelings I had looking over the park pieces stirred the idea to speak to and represent the way I felt about being here now, with this iconic Seattle landscape as the backdrop. “Hidden Figures” then became my next cathartic art exercise - a visual representation of the struggle I felt trying to find my place in the city’s spaces I thought were made for me, the dichotomy of how standing out can be a strength and a hinderance here, and the lonesomeness that can come with being a transplant in the city - baring and presenting all those feelings in the heart of the city itself.
#sculpture park#minneapolis sculpture garden#walker art center#olympic sculpture park#seattle artists#conceptual photography#conceptual art#black artists#black and white photography#seattle art#portrait photography#sculpture#creative process#art shit
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