Walker Art Center in Minneapolis, MN

I love the Walker Art Center, and was thrilled to go with some first timers. The permanent collection is absolutely fantastic, and they rotate it regularly, so it is always worth a visit when in Minneapolis.

Sol LeWitt, Arcs from four corners, with alternating bands of white and brown stone. The floor is bordered and divided horizontally and vertically by a black stone band, 1988/2016

On the rooftop of the Walker Art Center overlooking the Minneapolis Sculpture Garden is this striking Sol LeWitt floor. Read more about it here.

Agnes Martin, Untitled #7, 1977
India ink, graphite, gesso on canvas
72” x 72 in

I have seen a lot of Agnes Martin’s work, and I believe this is my all time favorite. I cannot capture the color of this piece in my photos, but it was magnificent in person. We can all learn a lot from Martin.

Jack Whitten, Sigma Group, IV, 1977-1978
Acrylic on canvas
64 3/16” x 63 5/8 in

I became familiar with, and an admirer of, Jack Whitten’s work back in 2018 when I went to a retrospective of his work at the now defunct Met Breuer.

Tauba Auerbach, Shadow Weave – Comb/Weave 1, 2013
Wooden canvas on wooden stretcher
72” x 54” x 1 3/4 in
Nelson Leirner, Homage to Fontana II, 1967
71 1/8” x 48 7//8” x 1 3/8 in (framed)

I am not a fan of the color burgundy, unless it is in a wine glass. I adore this Leirner piece, and think the color combination is absolutely perfect.

Katharina Fritsch, Pudel (Poodle), 1995
Plaster, paint
Edition 22/64

I really like when museums hang paintings salon style. There were two walls full of amazing work. It’s always fun to test not only your own art knowledge, but that of those you are with. We all did pretty well.

John Currin, Park City Grill, 2000
Oil on canvas
38 1/16” x 30 x 1 7/16 in

Years ago I saw a John Currin show at The Broad. I’ve been a fan ever since. His work is easy to recognize once you know it.

Alice Neel, Charlotte Willard, 1967
Oil on canvas
40 7/8 in x 30 7/8 in

Of course, Alice Neel’s paintings are particularly easy to recognize. After this year’s retrospective at the Metropolitan Museum of Art, I’m hoping you, my dear readers, if you’d participated in my little name game, would have scored some points on the Neel.

Olafur Eliasson, Your House, 2006
Laser die-cut paper
Edition 123/225
Left detail
Right detail
Carrie Mae Weems, Untitled, 1990
Gelatin silver prints, paint on wood
Edition 4/5
David Hockney, Hollywood Hills House, 1981-1982
Oil, charcoal, collage on canvas
59 7/8” x 120 1/2” x 2 1/4 in (unframed)
Edward Hopper, Office at Night, 1940
Oil on canvas
22 3/16” x 25 1/8 in (unframed)
Kerry James Marshall, Gulf Stream, 2003
Acrylic, glitter on canvas
108” x 156 in
Joan Mitchell, Posted, 1977
Oil on canvas
110” x 157 1/2 in (unframed)
Georgia O’Keefe, Lake George Barns, 1926
Oil on canvas
21 3/16” x 32 1/16” x 1 15/16 in (unframed)

The Paradox of Stillness exhibition was definitely enjoyable and featured works by “Marina Abramović, Francesco Arena, Vanessa Beecroft, Larry Bell, Robert Breer, Trisha Brown, Pier Paolo Calzolari, Elliot Caplan, Paul Chan, Merce Cunningham, Giorgio de Chirico, Fortunato Depero, VALIE EXPORT, Lara Favaretto, T. Lux Feininger, Urs Fischer, Simone Forti, Gilbert & George, Felix Gonzalez-Torres, Anthea Hamilton, David Hammons, Philip Haas, Maria Hassabi, Pierre Huyghe, Anne Imhof, Joan Jonas, Yves Klein, Paul Kos, David Lamelas, Fernand Léger, Goshka Macuga, Maruja Mallo, Piero Manzoni, Fabio Mauri, Robert Morris, Dudley Murphy, Senga Nengudi, Paulina Olowska, Roman Ondak, Dennis Oppenheim, Pier Paolo Pasolini, Michelangelo Pistoletto, Pope.L, Charles Ray, Pietro Roccasalva, Anri Sala, Xanti Schawinsky, Oskar Schlemmer, Kurt Schmidt, Cindy Sherman, Roman Signer, Laurie Simmons, Avery Singer, Cally Spooner, Sophie Taeuber-Arp, Franco Vaccari, Franz Erhard Walther, Franz West, Jordan Wolfson, and Haegue Yang.” (Walker Art Center)

Cindy Sherman, Untitled, 1989
Chromogenic color print
MP #212 edition 6/6
Goshka Macuga, Death of Marxism, Women of All Lands Unite, 2013 Polyester, cotton, wool, nylon and elastane fabrics and performance
Edition 1/5, 2 AP

I am enamored by contemporary tapestries and this one is fantastic. I personally would have preferred it without the live performers on it, but the show was entitled The Paradox of Stillness, and there was a solid performance schedule. I am happy to report that the performers were in fact very still.

“Stillness and permanence are common qualities of painting and sculpture. Consider, for example, the frozen gestures of a historical tableau, the timelessness of a still life painting, or the unyielding bronze or marble figure. Translating these traditional mediums into actions, artists use performance to investigate the interplay between the fixed image and the live body.

An evolving exhibition, The Paradox of Stillness includes up to 15 live performances in the galleries or public spaces. As the presentation unfolds, visitors encounter the unexpected as the galleries gradually become more active. Puppets and automatons dance through space. Mechanized sculptures subtly transform, while paintings and sculptures alike are activated by performers. Organic materials melt and decay, marking time’s passing.” (Walker Art Center)

Michelangelo PIstoletto, Lunch painting (minus objects), 1965
Senga Nengudi, R.S.V.P., 1975-1977/2012
Nylon, sand, mixed media

I loved the Senga Nengudi piece above. The knotting, colors, shadows were perfect, and perhaps the base reminded me of one of the best tips I received in a class years ago. Our substitute teacher, Rupa Palasamudram, in the ceramics class I have taken every Tuesday for the past seven years, taught us how to use old stockings to create weights for use with wet and leather hard clay. I happily took all of my never worn stockings, and filled them with kitty litter. They are my absolute favorite weights to use in my personal ceramics studio.

Franz Erhard Walther, Defined Place, Mobile Targets, 1984
Sewn dyed canvas and wood in five parts
Urs Fischer, Untitled, 2003
Nylon filament, banana, theater spotlight
Edition 1/2, 1 AP

Turns out that Urs Fischer thought of the banana well before Maurizio Catalan. Catalan’s duct taped banana caused quite the stir at Art Basel in 2019.

On the upper level I really liked a few of the installations at the Rayyane Tabet: Deep Blues exhibition.

Rayyane Tabet, Curtain Wall, 2021
Polyester window film
Rayyane Tabet, Auditorium, 2021
Eames fiberglass chair shells and steel frames

Luckily I didn’t miss this which was a bit off the beaten path. Christian Marclay’s 48 War Movies continuous loop video installation (clip below) was absolutely mesmerizing.

Christian Marclay, 48 War Movies, 2019
Video installation (color, sound), continuous loop
Edition 1/5 & 2 AP

And finally, a bonus for anyone who reads the entire post, this is my handsome husband who is always a willing participant in seeking art with me, as well as a terrific Woman Seeking Art blog editor.

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