• Jason Moran

    Walker Art Center
    725 Vineland Place
    April 26 - August 26

    Curated by Adrienne Edwards with Danielle Jackson

    What lies between the arts is jazz, or so Jason Moran proposes in his first solo museum exhibition. An acclaimed pianist, Moran makes music that is reverent of jazz, but his technical and disciplinary agility orient the piano out toward its broad potential. A piano is a big device, and playing it can feel like activating an installation. This feeling extends to his gleaming sculptural sets, which model legendary music stages. Three works from this series (two from 2015, plus a new piece based on the storied New York venue Slugs’ Saloon) are complemented by recent drawings and documents of performance collaborations with artists including Glenn Ligon, Joan Jonas, and Lorna Simpson. The occasion also marks the premiere of a new performance, The Last Jazz Fest, featuring Moran’s trio, the Bandwagon, in a collaboration with influential DJ Ashland Mines (aka Total Freedom) and hit artmakers Ryan Trecartin and Lizzie Fitch. While some jazz is strict, Moran’s is wide open.

  • Allen Ruppersberg, The Singing Posters Part I–III (Poetry Sound Collage Sculpture Book)—Allen Ginsberg’s Howl
    by Allen Ruppersberg
    (detail), 2003–2005
    , 209 letterpress posters, each 22 × 14".

    “Allen Ruppersberg: Intellectual Property 1968–2018”

    Walker Art Center
    725 Vineland Place
    March 17 - July 29

    Curated by Siri Engberg with Fabián Leyva-Barragan

    For five decades, Allen Ruppersberg has balanced grand gestures—say, opening a hotel or café under his own name, or transcribing Oscar Wilde’s The Picture of Dorian Gray by hand—with humble vernacular materials (Colby Poster Printing Company’s rainbow-gradient placards, pop LPs, laminated plastic, etc.) and self- effacing modesty (“Al”). Like his peers who defined West Coast Conceptualism (John Baldessari, Douglas Huebler, and Alexis Smith among them), Ruppersberg has embraced language as the province of visual art, often with humorous results. So, his first major retrospective in more than thirty years will be rife with words: A novel, a screenplay, piles of books (including the slyly fictional Remainders, 1991), and a mural-scale phonetic remake of Allen Ginsberg’s “Howl” are among the approximately 120 works included. A comprehensive catalogue with essays by the curator, Thomas Crow, Matthew S. Witkovsky, and Aram Moshayedi, plus an illustrated chronology, will give Al’s fans plenty to talk about. Travels to the Hammer Museum, Los Angeles, February 10–May 12, 2019. 

  • 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.


    Walker Art Center
    725 Vineland Place
    June 3 - November 30

    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.