What does research mean for artists and their work? Does it take the form of academic writing or rebel against it? Is it an Internet search or gathering of personal experiences? Does it form truth or question if such a thing is possible?
Exploring the myriad of ways research is utilized and rejected by artists, the series Artistic Research? opens questions about how artists engage with, question, and produce research.
What Makes an Object Bad? Jessi Reaves on Making Sculpture
Known for a sculpture practice that confounds preexisting notions of function and beauty, artist Jessi Reaves discusses the limits of enamel paint, landlord specials, and how material process influences her work.
Through her journal entries, artist Chang Yuchen explores how a residency on Dinawan Island in Malaysia helped to conceive her ongoing project Coral Dictionary.
Dyani White Hawk: Love Language Roundtable Conversation
Moderated by Candice Hopkins (Carcross/Tagish First Nation), this roundtable gathers Dyani White Hawk (Sičáŋǧu Lakota) and her women artistic peers Christi Belcourt (Métis)and Marie Watt (Seneca Nation) for a generative exchange about their artistic practices, supports, and commitments.
How do fragments reflect desires to hold onto history? Rose Salane discusses her series that explores the relationship between objects taken, and then returned, to archaeological park of Pompeii.
In the lead up to their first major museum survey, co-organized by the Walker Art Center and the Whitney Museum of American Art, Christine Sun Kim sat down with the exhibition curators to discuss how musical notation, infographics, and language—both in her native American Sign Language (ASL) and written English– impact her wide-ranging approach to art-making.
In the lead up to opening of the exhibition, Ways of Knowing, Walker curator Rosario Güiraldes sat down with art critic Claire Bishop, artist and writer Nicolás Guagnini, and curator Cuauhtémoc Medina for a roundtable discussion around the themes of artists, research, and knowledge.
In conjunction with Kandis Williams’s first museum survey at the Walker, curator Taylor Jasper explores Williams’ deeply researched practice and its emerging visions of liberation.
