previews

  • “THEASTER GATES: ASSEMBLY HALL”

    Walker Art Center
    725 Vineland Place
    September 5, 2019–January 12, 2020

    Curated by Victoria Sung

    For his most significant US exhibition to date, Theaster Gates promises to transform the Walker galleries into a sprawling, monumental Gesamtkunstwerk: an immersive aggregation of objects that Gates gathered over the past decade through his work with his Dorchester Projects, 2009–, in Chicago. Fifteen thousand books, periodicals, items of furniture, and other ephemera from the Johnson Publishing Company Archives & Collections join some sixty thousand slides of art and architectural history from the University of Chicago collection of glass lantern slides, as well as a selection of objects from the Edward J. Williams Collection of “Negrobilia” and ceramics made by Gates and others. Across the street at the Minneapolis Sculpture Garden, Gates will “activate” his 2017 commission Black Vessel for a Saint, a structure housing a salvaged statue of Saint Laurence, the patron saint of librarians and archivists.

  • Digital rendering of Theaster Gates’s sculpture Black Vessel for a Saint, 2017, as it will be installed in the Walker Art Center/Minneapolis Sculpture Garden.

    Digital rendering of Theaster Gates’s sculpture Black Vessel for a Saint, 2017, as it will be installed in the Walker Art Center/Minneapolis Sculpture Garden.

    MINNEAPOLIS SCULPTURE GARDEN

    Walker Art Center
    725 Vineland Place
    June 3, 2017–November 30, -0001

    Curated by Olga Viso

    After a year of extensive renovation, a transformed Minneapolis Sculpture Garden opens in June with the aim of tying the garden, built by Edward Larrabee Barnes in 1971, to the Walker Art Center via a new plaza, entrance, and expanded lobby, all designed by HGA Architects and Engineers. While Barnes based his garden on extant European examples, HGA has instead emphasized the flora of the region, employing native plants and trees and using environmentally sustainable materials and building practices.Beloved fixtures of the original garden, such as Claes Oldenburg and Coosje van Bruggen’s Spoonbridge and Cherry, 1985–88, will keep company with more recently acquired pieces by American and European artists, including a spectacular new iteration of Katharina Fritsch’s Hahn/Cock, 2013/ 2016, originally commissioned for the Fourth Plinth in London’s Trafalgar Square.