Walker Art Center

Contact Information

Rates

  • Admission: $15 (adults), $13 (seniors 62+), $10 (students), FREE for children and teens under 18 and Walker members. Active military $7.50. Free every Target Free Thursday Night (5–9 pm) and the first Saturday of every month.

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Directions

  • Located off Hennepin & Lyndale exit from either I-94 or 394, follow signs to Vineland Place. Parking available.

Other Date Information

  • Galleries:Tuesday, Wednesday, and Sunday 11 am–5 pm, Thursday 11 am–9 pm, Friday and Saturday 11 am–6 pm; Closed Mondays. Check walkerart.org for details and special holiday open hours.

Attraction Attributes

  • Accessible to Disabled
  • Can Accommodate Groups of 45 or more

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Events

  1. Daniel Buren: Voile/Toile - Toile/Voile

    725 Vineland Pl
    Minneapolis, MN 55403
    Call: (612) 375-7600

    This summer, experience Voile/Toile – Toile/Voile, the US premiere of a major public artwork by conceptual artist Daniel Buren (France, b. 1938). For more than 50 years, Buren has been extending the possibilities of painting, placing brightly striped works in public spaces—on monuments, city squares, billboards, and train stations—around the world. Voile/Toile – Toile/Voile is a two-part artwork comprising a public performance and installation, marking the first presentation of the work in the United States. The performance takes the form of a sailboat regatta on Bde Maka Ska (formerly Lake Calhoun) in Minneapolis on June 23, featuring the artist’s signature custom-made, striped sails. An outdoor installation of the sails will be featured in the Minneapolis Sculpture Garden’s Cowles Pavilion on the Walker campus. Conceived especially for Minneapolis, known also as the “City of Lakes,” Buren’s commission celebrates the area’s unique landscape and identity.

    The title Voile/Toile – Toile/Voile translates to Sail/Canvas – Canvas/Sail, a play on words that emphasizes the dual nature of the striped canvases as both painting and sail, removing painting from its lofty tradition and inserting it into a discourse of utility. For this work, Buren considers the sail to be a painting and the water to be its exhibition space. When the sails are put on display, he states, “they are canvases that sail the wall, they expose and exhibit themselves as such, but if you go back to their source, they are and will be for a long time to come, painting setting sail.”

  2. I am you, you are too

    725 Vineland Pl
    Minneapolis, MN 55403
    Call: (612) 375-7600

    At a time of heightened uncertainty, division, and geopolitical tensions, I am you, you are too foregrounds works from the Walker’s collections that explore contemporary life through themes of citizenship and belonging, borders and barriers, and ways in which everyday life informs our understanding of ourselves. Bringing together a diverse, multigenerational, and international group of artists, the exhibition questions how we memorialize the past and understand the social, geographic, and political structures that shape us.

    The show’s title is taken from I M U U R 2 (2013), a room-scaled installation by Danh Vo that considers how collected objects, such as knickknacks and souvenirs, can communicate who we are. Monuments and shared public space play a key role for Francis Alÿs, Song Dong, and Robert Longo, whose works examine the relationship between the individual and the state. Chantal Akerman and Julie Mehretu reflect upon shifting geographical borders and changing political systems, while Postcommodity and Wolfgang Tillmans reference recent debates on the Mexico-US border and Brexit, respectively. While some artists draw on recognizable places and known stories, others turn to abstraction to elicit themes of the place of the home, the city, and national belonging.

    In the exhibition’s final gallery, a selection of works from the collection hang against wallpapers by Yto Barrada, Yoko Ono, and Adam Pendleton, forming unexpected juxtapositions across generations, geographies, and media. Seen together, these pieces chart ways that artists have challenged prevailing systems, including gender, race, and sexual orientation. In presenting a broad range of artistic approaches, I am you, you are too draws out timely questions of national identity, shifting political borders, and international and intercultural dialogue.

  3. Mario Garcia Torres: Illusion Brought Me Here

    725 Vineland Pl
    Minneapolis, MN 55403
    Call: (612) 375-7600

    Illusion Brought Me Here is the first US survey to focus on the work of Mexico-based artist Mario Garcia Torres (Mexico, b. 1975). Working in a variety of media, including video, installation, photography, and sculpture, the artist creates environments that explore obscure histories and personalities, particularly those associated with conceptual art of the 1960s and 1970s.

    Garcia Torres juxtaposes facts with imagined scenes and dialogue to foreground the often blurred division between truth and fiction. Appropriation, narrative, repetition, reenactment, and the tropes of reportage are some of the strategies that he employs to uncover the limitations of memory and the subjectivity of historical records.

    Illusion Brought Me Here takes a radical approach to the traditional retrospective. A newly commissioned sound piece - a soundtrack compilation of all of Garcia Torres’s media-based works to date - creates the framework for the exhibition, which features a selection of artworks and site-specific installations.

    The show is organized by the Walker and copresented with WIELS, Contemporary Art Centre, Brussels. It will be accompanied by the first publication to survey the artist’s work, published by the two institutions.

  4. Platforms: Collection and Commissions

    725 Vineland Pl
    Minneapolis, MN 55403
    Call: (612) 375-7600

    Platforms: Collection and Commissions looks at key artists from the Walker’s Ruben/Bentson Moving Image Collection together with newly commissioned film and video works by eleven international contemporary artists. Commissioned by the Walker between 2014 and 2018, the works respond to the influence, inquiry, and inspiration of leading artists and filmmakers in the collection to create new works that premiered first as an online series. These Moving Image Commissions bridge generations: contemporary artists create new works based on the history of experimental film while using multiple platforms to exhibit their work, from online to gallery exhibition. The dynamic initiative weaves together production, scholarship, distribution, and archival work to highlight and grow the collection.

    The first installment of the exhibition, Leslie Thornton’s commission They Were Just People (2016), was produced in direct response to the influence and inquiry of Bruce Conner. The piece is a chilling exploration of the purpose and repurposing of memory during wartime, combining Thornton’s manipulated footage of the La Brea Tar Pits in California with an oral account describing moments in the immediate aftermath of the 1945 US atomic bombing of Hiroshima, Japan. They Were Just People is a dark, personal response to Crossroads (1976), Conner’s iconic film of the 1946 Bikini Atoll nuclear test.

    Future installations in Platforms will include pieces by James Richards and Moyra Davey, inspired by British filmmaker Derek Jarman; Shahryar Nashat and Uri Aran’s work based on the films of Belgian artist Marcel Broodthaers; and Yto Barrada, Renée Green, Marwa Arsanios, and the duo of Pauline Boudry/Renate Lorenz’s commissions that were all influenced by German filmmaker Harun Farocki. The exhibition will conclude with two new commissions produced in 2018 by filmmakers Kevin Jerome Everson and Deborah Stratman.

  5. Siah Armajani: Follow This Line

    725 Vineland Pl
    Minneapolis, MN 55403
    Call: (612) 375-7600

    Siah Armajani: Follow This Line is the first comprehensive retrospective in the United States devoted to the work of Minneapolis-based artist Siah Armajani. Born in Tehran in 1939, Armajani moved to Minnesota in 1960 to attend Macalester College in St. Paul, where he immersed himself in the study of philosophy and American literature. He has lived and worked in the Twin Cities ever since, while exhibiting internationally.

    Armajani is best known today for his works of public art—including bridges, gazebos, reading rooms, and gathering spaces—across the United States and Europe. Near the Walker, the artist’s landmark 375-foot Irene Hixon Whitney Bridge connects Loring Park to the Minneapolis Sculpture Garden. This groundbreaking exhibition spans seven decades of the artist’s studio practice and resituates his work first within the context of prerevolution Tehran and, later, postwar and present-day United States. The exhibition encourages viewers to “follow the line” of language woven throughout Armajani’s practice, which engages a range of thinkers and references—from Persian calligraphy to the manifesto, letter, and talisman; from poetry to mathematical equations and computer programming; from the Abstract Expressionist canvas to the vernacular architecture of rural America, Bauhaus design, and Russian Constructivism.

Meetings & Conferences

  • Facility accommodates meetings for 30 or more
  • Meetings Website
  • Meeting/Convention Facilities (maximum capacity): 600
  • Banquet Facilities (maximum capacity): 380
  • Number of Meeting Rooms: 9
  • Largest Meeting Room (sq ft): 3100
  • Catering Available
  • On-site Catering Required

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