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Walker Art Center

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Now on view—“Sophie Calle: Overshare.”

Drawing on intimate relationships and chance encounters, French conceptual artist Sophie Calle’s work has anticipated the personality-driven, voyeuristic nature of contemporary culture. Comprising photography, text, video, and installation work, this exhibition marks the first North American survey to display the breadth and depth of Calle’s artistic career.

Admission is free every Thursday night.

© 2024 Artists Rights Society (ARS), New York / ADAGP, Paris.
Now on view—“Sophie Calle: Overshare.” Drawing on intimate relationships and chance encounters, French conceptual artist Sophie Calle’s work has anticipated the personality-driven, voyeuristic nature of contemporary culture. Comprising photography, text, video, and installation work, this exhibition marks the first North American survey to display the breadth and depth of Calle’s artistic career. Admission is free every Thursday night. © 2024 Artists Rights Society (ARS), New York / ADAGP, Paris.
3 10 2 months ago
Now open: Idea House 3 at the Walker. 🎉

Stop by and discover design objects that infuse inspiration into your daily life. Idea House 3 is located in the Walker Art Center’s Hennepin lobby. 

📍 Walker Art Center: 725 Vineland Pl, Minneapolis, MN

Experience it for yourself @walkerartcenter, or visit us online at the link in our bio.
Now open: Idea House 3 at the Walker. 🎉 Stop by and discover design objects that infuse inspiration into your daily life. Idea House 3 is located in the Walker Art Center’s Hennepin lobby. 📍 Walker Art Center: 725 Vineland Pl, Minneapolis, MN Experience it for yourself @walkerartcenter, or visit us online at the link in our bio.
3 37 a year ago
Skincare routine just dropped 🍒
 
Each year, Spoonbridge and Cherry undergoes cleaning to keep it looking pristine. ✨ Included in this special treatment is the removal of mineral deposits and the administration of fresh wax.
Skincare routine just dropped 🍒 Each year, Spoonbridge and Cherry undergoes cleaning to keep it looking pristine. ✨ Included in this special treatment is the removal of mineral deposits and the administration of fresh wax.
3 173 a year ago
“It felt like for the first time I was seeing this Black queer intimacy that looked like something I was familiar with.” —Darryl DeAngelo Terrell

In a powerful conversation, artists D’Angelo Lovell Williams (@yerbakente) and Darryl DeAngelo Terrell (@blkboyshine) explore how Black queer culture, HIV, and the artists who came before them have shaped their work and lives.

Read the full conversation at the 🔗 in bio.

Our ongoing series “Because AIDS Is Not Over” on Walker Reader is co-presented with @visual_aids.

Images: (1) D’Angelo Lovell Williams, “The Lovers,” 2017. Courtesy the Artist and Higher Pictures. (2) Darryl DeAngelo Terrell, “DeAndre as Hydrangeo,” 2015. Courtesy of the artist. (3) D’Angelo Lovell Williams, “The Way Our Blood Beats,” 2022. Courtesy of the Artist, Lumber Room, and Higher Pictures. (4) Darryl DeAngelo Terrell, “Play Cleo Sol, Album 2, track 4, at 4:19,” 2023. Courtesy of the artist.
“It felt like for the first time I was seeing this Black queer intimacy that looked like something I was familiar with.” —Darryl DeAngelo Terrell In a powerful conversation, artists D’Angelo Lovell Williams (@yerbakente) and Darryl DeAngelo Terrell (@blkboyshine) explore how Black queer culture, HIV, and the artists who came before them have shaped their work and lives. Read the full conversation at the 🔗 in bio. Our ongoing series “Because AIDS Is Not Over” on Walker Reader is co-presented with @visual_aids. Images: (1) D’Angelo Lovell Williams, “The Lovers,” 2017. Courtesy the Artist and Higher Pictures. (2) Darryl DeAngelo Terrell, “DeAndre as Hydrangeo,” 2015. Courtesy of the artist. (3) D’Angelo Lovell Williams, “The Way Our Blood Beats,” 2022. Courtesy of the Artist, Lumber Room, and Higher Pictures. (4) Darryl DeAngelo Terrell, “Play Cleo Sol, Album 2, track 4, at 4:19,” 2023. Courtesy of the artist.
3 1 19 hours ago
Gray winter days 🤝 Stanley Whitney

In the early 1990s, Whitney began grounding rounded forms of color within loose grids. He arrived at his mature work in 2002, when he began creating square, richly colored, irregular gridded abstractions of vibrant hues.

Our exhibition “Stanley Whitney: How High the Moon” is the first-ever retrospective of the artist’s career, tracing 50-years of artistic production.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

📷: @everette
📷: @lauralaptsevitch
📷: @kameron_herndon_photo
Gray winter days 🤝 Stanley Whitney In the early 1990s, Whitney began grounding rounded forms of color within loose grids. He arrived at his mature work in 2002, when he began creating square, richly colored, irregular gridded abstractions of vibrant hues. Our exhibition “Stanley Whitney: How High the Moon” is the first-ever retrospective of the artist’s career, tracing 50-years of artistic production. Experience the exhibition for free during Free Thursday Nights and Free First Saturdays. 📷: @everette 📷: @lauralaptsevitch 📷: @kameron_herndon_photo
3 9 3 days ago
We fondly remember Lorraine O’Grady upon hearing the news of her passing. We celebrate her intellectual rigor, creative courage, and her steadfast commitment to art as a force for social change.

O’Grady was a discerning critic of social codes and conventions, her work demanded change and redefined who art is for. She was also a legendary mentor and educator, whose work continues to resonate deeply.

Displayed in our permanent collection exhibition “This Must Be the Place” is O’Grady’s “Art Is...” (1983/2009). Set at Harlem’s African-American Day Parade in September 1983, the performance was a joyful celebration of art in everyday life. Accompanied by a 9 x 15 ft. antique-styled gold frame mounted on a float, 15 young actors moved through the crowd, framing everyone they passed as art.

Images: Laumont Editions, Lorraine O’Grady, “Art Is...” (1983/2009).
We fondly remember Lorraine O’Grady upon hearing the news of her passing. We celebrate her intellectual rigor, creative courage, and her steadfast commitment to art as a force for social change. O’Grady was a discerning critic of social codes and conventions, her work demanded change and redefined who art is for. She was also a legendary mentor and educator, whose work continues to resonate deeply. Displayed in our permanent collection exhibition “This Must Be the Place” is O’Grady’s “Art Is...” (1983/2009). Set at Harlem’s African-American Day Parade in September 1983, the performance was a joyful celebration of art in everyday life. Accompanied by a 9 x 15 ft. antique-styled gold frame mounted on a float, 15 young actors moved through the crowd, framing everyone they passed as art. Images: Laumont Editions, Lorraine O’Grady, “Art Is...” (1983/2009).
3 10 6 days ago
Within the well-dressed pages of “Kosta Theos: ‘Dogma I am God’” Daniel Spoerri recounts an artwork by Sophie Calle. She sent a man one piece of clothing every year at Christmas time because she didn’t like the way he dressed himself. 

Visitors can see the book on display in a Sophie Calle-inspired case and explore the artist’s major works in the exhibition, “Sophie Calle: Overshare.” Now on view.
Within the well-dressed pages of “Kosta Theos: ‘Dogma I am God’” Daniel Spoerri recounts an artwork by Sophie Calle. She sent a man one piece of clothing every year at Christmas time because she didn’t like the way he dressed himself. Visitors can see the book on display in a Sophie Calle-inspired case and explore the artist’s major works in the exhibition, “Sophie Calle: Overshare.” Now on view.
3 0 6 days ago
Take a closer look at Mark Tansey’s “Constructing the Grand Canyon” and unexpected details emerge. 

While from a distance it looks like a familiar view of the famous landmark, the scene buzzes with workers “constructing” the landscape. The rock formations are composed, layer by layer, of words. With this gesture, Tansey suggests the land is not a fact of nature but a text whose meaning is reshaped over time.

See the work on view in the exhibition “This Must Be the Place: Inside the Walker’s Collection.”

🎨: Mark Tansey, “Constructing the Grand Canyon” (1990). Gift of Penny and Mike Winton, 1990.
Take a closer look at Mark Tansey’s “Constructing the Grand Canyon” and unexpected details emerge. While from a distance it looks like a familiar view of the famous landmark, the scene buzzes with workers “constructing” the landscape. The rock formations are composed, layer by layer, of words. With this gesture, Tansey suggests the land is not a fact of nature but a text whose meaning is reshaped over time. See the work on view in the exhibition “This Must Be the Place: Inside the Walker’s Collection.” 🎨: Mark Tansey, “Constructing the Grand Canyon” (1990). Gift of Penny and Mike Winton, 1990.
3 3 9 days ago
Meshell Ndegeocello brought her theatrical live rendition of “No More Water: The Gospel of James Baldwin” to the Walker on Saturday.

The powerful performance brought jazz and gospel to the fore, posing existential questions about love and collective understanding. This work is the latest evolution of Ndegeocello’s study of the eminent writer and activist.

This performance was presented in association with @dakotampls.

📷: Kameron Herndon
Meshell Ndegeocello brought her theatrical live rendition of “No More Water: The Gospel of James Baldwin” to the Walker on Saturday. The powerful performance brought jazz and gospel to the fore, posing existential questions about love and collective understanding. This work is the latest evolution of Ndegeocello’s study of the eminent writer and activist. This performance was presented in association with @dakotampls. 📷: Kameron Herndon
3 14 10 days ago
It’s the final weekend to experience the lush, vivid colors and psychically charged interior worlds of “Walter Price: Pearl Lines.”

As the most comprehensive museum exploration to date of Price’s work, the exhibition provides a unique window into the artist’s evolving practice. 

Visit for free during Free Thursday Night or Free First Saturday.
It’s the final weekend to experience the lush, vivid colors and psychically charged interior worlds of “Walter Price: Pearl Lines.” As the most comprehensive museum exploration to date of Price’s work, the exhibition provides a unique window into the artist’s evolving practice. Visit for free during Free Thursday Night or Free First Saturday.
3 2 14 days ago
Experimenting with form as much as content, the British Arrows Awards feature mini-documentaries, sci-fi spoofs, animation, and more. This year’s show includes everything from Olivia Colman as an oil baron to Salma Hayek as a party crasher.

Screenings start this week at the Walker! Gather your best mates and get tickets at the link in bio.

🎥: Just Eat, “Did Somebody Say HipOpera” made for Craft WW and McCann London by Craft London, RadicalMedia Europe, Final Cut and String and Tins, directed by Dave Meyers and Dave Dean, 2023. Courtesy the British Arrows

🎥: Virgin Media, “Goat Glider” made for VCCP by Rogue, Untold Studios and Factory Studios, directed by Sam Brown, 2023. Courtesy the British Arrows.

🎥: Squarespace, “The Singularity” made for Squarespace by SMUGGLER, Black Kite Studios and Heard City, directed by Aoife McArdle. Courtesy the British Arrows.
Experimenting with form as much as content, the British Arrows Awards feature mini-documentaries, sci-fi spoofs, animation, and more. This year’s show includes everything from Olivia Colman as an oil baron to Salma Hayek as a party crasher. Screenings start this week at the Walker! Gather your best mates and get tickets at the link in bio. 🎥: Just Eat, “Did Somebody Say HipOpera” made for Craft WW and McCann London by Craft London, RadicalMedia Europe, Final Cut and String and Tins, directed by Dave Meyers and Dave Dean, 2023. Courtesy the British Arrows 🎥: Virgin Media, “Goat Glider” made for VCCP by Rogue, Untold Studios and Factory Studios, directed by Sam Brown, 2023. Courtesy the British Arrows. 🎥: Squarespace, “The Singularity” made for Squarespace by SMUGGLER, Black Kite Studios and Heard City, directed by Aoife McArdle. Courtesy the British Arrows.
3 3 17 days ago
Artist Kevin Beasley (speaking) sat down with MacArthur Fellow Ralph Lemon to discuss their new work “Tell it anyway, 2024,” performed at the Walker on October 5th, 2024. Brimming with artistic fury (and grace) befitting our times, the performance examined issues of memory, race, and impermanence.

Watch the full conversation at the 🔗 in bio.
Artist Kevin Beasley (speaking) sat down with MacArthur Fellow Ralph Lemon to discuss their new work “Tell it anyway, 2024,” performed at the Walker on October 5th, 2024. Brimming with artistic fury (and grace) befitting our times, the performance examined issues of memory, race, and impermanence. Watch the full conversation at the 🔗 in bio.
3 3 20 days ago