Art continues during the time of Covid! Catch , WALKER ART CENTER PRESENTS ARTIST MICHAELA EICHWALD’S FIRST US SOLO MUSEUM SHOW!

WALKER ART CENTER PRESENTS ARTIST MICHAELA EICHWALD’S FIRST US SOLO MUSEUM SHOW Michaela Eichwald, Die Unsrigen sind fortgezogen, 2014. Private collection, Minneapolis. Berlin-based artist and writer Michaela Eichwald (Germany, b. 1967) maintains a restless and fearless belief in the possibility of painting. Bringing together pieces made over the last 15 years, this first US museum exhibition reveals the wide variety of references in her work, drawing on references to theology, philosophy, and art history, while also reflecting on her own life: her surroundings, thinking, reading, and friends.   Following studies in philosophy, history, art history, and German philology in Cologne, Eichwald emerged as an artist, with her first exhibition held at Galerie Daniel Buchholz in 1997. The context of Cologne—at the time, an undisputed center of European contemporary art—proved formative for Eichwald, a place where she maintained a lively exchange of ideas with many intellectuals and fellow artists, including Kai Althoff, Jutta Koether, Michael Krebber, Josef Strau, and Charline von Heyl, among others. In 2006, Eichwald began episodically blogging on uhutrust.com, providing a logbook with insight into her practice, everyday musings, and contemplations of current affairs.   Bridging abstraction and figuration, Eichwald’s densely layered paintings—often made on unconventional surfaces such as printed canvas or imitation leather—bear an alchemical combination of acrylic, oil, tempera, spray paint, mordant, graphite, varnish, and lacquer. Whether in large- or small-scale formats, her works combine smooth paint strokes and quick smudges, at times revealing figurative forms and snippets of text. Discussing her preference for pleather, the artist notes, “artificial leather has something repulsive, inelegant, something that cannot be easily classified in art history.” This sense of refusing to fall within conventions underscores Eichwald’s practice. While her works are part of a lineage of abstraction, they resist any direct connection to a particular movement or period, instead churning through a history of painterly styles and combining them in surprising ways.   To create her sculptures, Eichwald pours resin into bags, rubber gloves, and plastic bottles, in which she collects—like objects captured in amber—uncommon and dissonant materials, such as chicken bones, erasers, jewelry, mushrooms, fishing tackle, needles, candy, small drawings, and hard-boiled eggs. At once repulsive and alluring, grotesque and seductive, these pieces bring to mind associations ranging from trophies and time capsules to the human digestive system.   Interspersed throughout the exhibition is a newly commissioned long-form poem by her friend, writer Ulf Stolterfoht, created especially in response to the selection of works on view.   Curator: Pavel Pyś, curator, Visual Arts   The exhibition will be on view November 14, 2020–May 16, 2021.   Note: This exhibition was previously scheduled to be on view June 4–November 8, 2020.     RELATED EVENTS   Virtual Exhibition Talk: Laura Hoptman on Michaela Eichwald November 14, Free To celebrate the opening of Michaela Eichwald’s first US museum exhibition, curator and writer Laura Hoptman will offer a virtual lecture that surveys the artist’s practice. Looking across Eichwald’s paintings, drawings and sculptures, Hoptman will seek key motifs and subject matters recurring throughout Eichwald’s work. The lecture will be screening online for free beginning at 10 am (CDT) November 14 and will be available online throughout the duration of the exhibition.   Michaela Eichwald, Gebet, so wird Euch genommen [Giveth, and it will be taken from you], 2019. Private collection, Minneapolis #walkerartcenter#fineartmagazine#artfun

Catch the innovative performance art at the Walker Center Minneapolis: read the press release for the April opening.

WALKER ART CENTER PRESENTS MAJOR GROUP EXHIBITION THE PARADOX OF STILLNESS: ART, OBJECT, AND PERFORMANCE Maria Hassabi, STAGING (2017), Merce Cunningham: Common Time, Walker Art Center, February 8–12, 2017. Photo: Gene Pittman, Walker Art Center. Presenting works from the early 20th century to today, The Paradox of Stillness: Art, Object, and Performance is a large-scale group exhibition which examines the notion of stillness as both a performative and visual gesture, featuring artists who have constructed static or near-static experiments that hover somewhere between action and representation as they are experienced in the gallery. Stillness and permanence are qualities typically seen as inherent to painting and sculpture—consider the frozen gestures of a historical tableau, the timelessness of a still life painting, or the unyielding solidity of a bronze or marble figure. The Paradox of Stillness, however, expands the artwork's quality of stillness to accommodate uncertain temporalities and physical states. The exhibition rethinks the history of performance, featuring artists whose works include performative elements but also embrace acts, objects, and gestures that refer more to the inert qualities of traditional painting or sculpture than to true staged action. Investigating the interplay between the fixed image and the live body, this major group exhibition showcases over 100 works by approximately 60 artists, including fifteen live performances throughout the duration of the show by Francesco Arena, Simone Forti, Felix Gonzalez-Torres, Anthea Hamilton, Maria Hassabi, Pierre Huyghe, Anne Imhof, Joan Jonas, Goshka Macuga, Senga Nengudi, Roman Ondák, Michelangelo Pistoletto, Tino Sehgal, Cally Spooner, and Franz Erhard Walther. Artists included in the exhibition: Marina Abramović, Giovanni Anselmo, Vanessa Beecroft, Larry Bell, Robert Breer, Trisha Brown, Pier Paolo Calzolari, Paul Chan, Merce Cunningham, Giorgio De Chirico, Fortunato Depero, VALIE EXPORT, Lara Favaretto, T. Lux Feininger, Urs Fischer, Simone Forti, Gilbert and George, Felix Gonzalez-Torres, Anthea Hamilton, David Hammons, Maria Hassabi, Pierre Huyghe, Anne Imhof, Joan Jonas, Eva Kot'átková, Paul Kos, David Lamelas, Fernand Léger, Goshka Macuga, Maruja Mallo, Piero Manzoni, Fabio Mauri, Lucia Moholy-Nagy, Robert Morris, Senga Nengudi, Alwin Nikolais, Paulina Olowska, Roman Ondák, Dennis Oppenheim, Philippe Parreno and Rirkrit Tiravanija, Pier Paolo Pasolini, Francis Picabia, Michelangelo Pistoletto, Charles Ray, Pietro Roccasalva, Anri Sala, Xanti Schawinsky, Oskar Schlemmer, Cindy Sherman, Roman Signer, Laurie Simmons, Avery Singer, Cally Spooner, Sophie Taeuber-Arp, Franco Vaccari, Jeff Wall, Franz Erhald Walther, Tom Wesselmann, Franz West, Jordan Wolfson, and Haegue Yang. The show opens Saturday, April 18, 2020 and is on view through Sunday, July 26, 2020. Curators: Vincenzo de Bellis, curator and associate director of programs, Visual Arts; with Jadine Collingwood, curatorial fellow, Visual Arts Senga Nengudi, Untitled (RSVP), 2013, performed by longtime collaborator and artist Maren Hassinger, Radical Presence: Black Performance in Contemporary Art, Walker Art Center, July 24, 2014 – January 4, 2015. Photo by Gene Pittman for Walker Art Center, Minneapolis. #walkercenter#preforamance#art#fineartmagazine

Walker Art Center will presents, German artist Andrea Büttner, November 21, 2015 through April 10, 2016 in the Burnet Gallery.

WALKER ART CENTER TO PRESENT FIRST U.S. SOLO EXHIBITION OF ANDREA BÜTTNER

Images in Kant's Critique of the Power of Judgment, 2014 (detail) Courtesy Hollybush Gardens, London and David Kordansky Gallery, Los Angeles. © Andrea Büttner / VG Bild-Kunst, Bonn 2014. MINNEAPOLIS, September 14 2015—The Walker Art Center will present the first solo exhibition in the United States of German artist Andrea Büttner (b. 1972), including a newly-commissioned installation. Andrea Büttner will be on view from November 21, 2015 through April 10, 2016 in the Burnet Gallery. Andrea Büttner’s work often creates connections between art history and social or ethical issues, with a particular interest in notions of poverty, shame, value, and vulnerability, and both exploring and challenging the belief systems that underpin them. Working within a range of premodernist media that includes woodcuts, reverse glass painting, weaving, sculpture, and moss cultivation, Büttner emphasizes such methods in dialogue and counterpoint with video, performance, and installation. By restoring outmoded methods of our time, Büttner challenges conventions of high and low, constructing a profound space between ornate and humble, cool remove and humility, and the urge to judge or remain partially withheld. She often infuses her work with her own primary research on artists who engaged in socially responsive projects, including German printmaker and activist HAP Grieshaber and the Welsh painter Gwen John. In other projects, Büttner has positioned the relatively anonymous alongside a questioning of monumental or iconic figures, a contrast evident in the artist’s recent illustration of German philosopher Immanuel Kant’s Critique of the Power of Judgment (1790). #fineartmagazine