인스타그램 스토리 저장

Suzanne Jackson’s first major museum retrospective traces six decades of groundbreaking painting, abstraction, and material experimentation. 

From early figurative works to luminous hanging acrylic compositions suspended in midair, “What Is Love” follows the evolution of Jackson’s distinct practice. 

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

Christine Sun Kim’s first major museum survey draws on the dynamism of ASL to reshape notions of sound and communication.

Using musical notation, infographics, and text, Kim interrogates language and amplifies the possibilities of Deaf sonic experience.

Experience “All Day All Night” for free during Free Thursday Nights and Free First Saturdays.

Step inside Rosy Simas’s new immersive installation, a space for reflection that invites us to consider how Indigenous knowledge can inspire collective renewal.

Anchored by a constellation of twined corn husk bottles suspended in the middle of the room, the installation is grounded in Onöndowa’ga:’ (Seneca) ideas of community, peacemaking, and living with a “mind of peace.”

This exhibition is part of a two-year, cross-disciplinary residency at the Walker, which also includes a major new dance commission premiering in May and a series of community programs.

Experience “A:gajë:gwah dësa’nigöëwë:nye:’ (i hope it will stir your mind)” by Rosy Simas during Free Thursday Nights and Free First Saturdays. Admission is always free for citizens and members of Tribal Nations.

Summer mode: activated 😎

📷: @unapologetically_coco @jillian_blanc
📷: @scott_bryant_7
📷: @novemberprojectmsp
📷: @kylemurphyofficial
📷: @h_florell

Summer mode: activated 😎

📷: @unapologetically_coco @jillian_blanc
📷: @scott_bryant_7
📷: @novemberprojectmsp
📷: @kylemurphyofficial
📷: @h_florell

Summer mode: activated 😎

📷: @unapologetically_coco @jillian_blanc
📷: @scott_bryant_7
📷: @novemberprojectmsp
📷: @kylemurphyofficial
📷: @h_florell

Summer mode: activated 😎

📷: @unapologetically_coco @jillian_blanc
📷: @scott_bryant_7
📷: @novemberprojectmsp
📷: @kylemurphyofficial
📷: @h_florell

Summer mode: activated 😎

📷: @unapologetically_coco @jillian_blanc
📷: @scott_bryant_7
📷: @novemberprojectmsp
📷: @kylemurphyofficial
📷: @h_florell

A new hole just landed at Skyline Mini Golf 🌙

Designed by Ifrah Mansour, the installation is composed of four handcrafted sculptural moon forms, each representing a phase of the lunar cycle: crescent, half, gibbous, and full. As sunlight shifts throughout the day, the moons cast overlapping shadows that merge, separate, and reappear.

Experience it on our rooftop course, Wednesday–Sunday. ⛳️

Kara Walker uncovers the complicated narratives embedded within public monuments. From the “aha” moment through the development of large-scale sculptures like “Fons Americanus” and “A Subtlety or the Marvelous Sugar Baby,” her recent Mack Lecture offers meaningful insight into her process.

Follow the link in bio for the full lecture.

“For me, it’s political to make an artwork about peace and beauty. I wanted people, especially Black people, to see the beauty. People need beauty.” —Suzanne Jackson

In this monumental triptych, painter Suzanne Jackson set out to make a statement about Black beauty and love from the perspective of a Black woman. Birds, plants, and figures created using loose washes of acrylic paint reach across three panels. Swipe for a closer look at the full piece.

Experience the work on view in “Suzanne Jackson: What Is Love.” Gallery admission is free during Free Thursday Nights and Free First Saturdays.

Suzanne Jackson, “In A Black Man’s Garden” (1973).

“For me, it’s political to make an artwork about peace and beauty. I wanted people, especially Black people, to see the beauty. People need beauty.” —Suzanne Jackson

In this monumental triptych, painter Suzanne Jackson set out to make a statement about Black beauty and love from the perspective of a Black woman. Birds, plants, and figures created using loose washes of acrylic paint reach across three panels. Swipe for a closer look at the full piece.

Experience the work on view in “Suzanne Jackson: What Is Love.” Gallery admission is free during Free Thursday Nights and Free First Saturdays.

Suzanne Jackson, “In A Black Man’s Garden” (1973).

“For me, it’s political to make an artwork about peace and beauty. I wanted people, especially Black people, to see the beauty. People need beauty.” —Suzanne Jackson

In this monumental triptych, painter Suzanne Jackson set out to make a statement about Black beauty and love from the perspective of a Black woman. Birds, plants, and figures created using loose washes of acrylic paint reach across three panels. Swipe for a closer look at the full piece.

Experience the work on view in “Suzanne Jackson: What Is Love.” Gallery admission is free during Free Thursday Nights and Free First Saturdays.

Suzanne Jackson, “In A Black Man’s Garden” (1973).

“For me, it’s political to make an artwork about peace and beauty. I wanted people, especially Black people, to see the beauty. People need beauty.” —Suzanne Jackson

In this monumental triptych, painter Suzanne Jackson set out to make a statement about Black beauty and love from the perspective of a Black woman. Birds, plants, and figures created using loose washes of acrylic paint reach across three panels. Swipe for a closer look at the full piece.

Experience the work on view in “Suzanne Jackson: What Is Love.” Gallery admission is free during Free Thursday Nights and Free First Saturdays.

Suzanne Jackson, “In A Black Man’s Garden” (1973).

“For me, it’s political to make an artwork about peace and beauty. I wanted people, especially Black people, to see the beauty. People need beauty.” —Suzanne Jackson

In this monumental triptych, painter Suzanne Jackson set out to make a statement about Black beauty and love from the perspective of a Black woman. Birds, plants, and figures created using loose washes of acrylic paint reach across three panels. Swipe for a closer look at the full piece.

Experience the work on view in “Suzanne Jackson: What Is Love.” Gallery admission is free during Free Thursday Nights and Free First Saturdays.

Suzanne Jackson, “In A Black Man’s Garden” (1973).

A special look at “Sculpture Court” with Chief Curator Henriette Huldisch and Curatorial Fellow Laurel Rand-Lewis. As a contemporary take on the long tradition of sculpture courts, the exhibition highlights the provocative ways today’s artists approach the human form.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

A special look at “Sculpture Court” with Chief Curator Henriette Huldisch and Curatorial Fellow Laurel Rand-Lewis. As a contemporary take on the long tradition of sculpture courts, the exhibition highlights the provocative ways today’s artists approach the human form.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

A special look at “Sculpture Court” with Chief Curator Henriette Huldisch and Curatorial Fellow Laurel Rand-Lewis. As a contemporary take on the long tradition of sculpture courts, the exhibition highlights the provocative ways today’s artists approach the human form.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

A special look at “Sculpture Court” with Chief Curator Henriette Huldisch and Curatorial Fellow Laurel Rand-Lewis. As a contemporary take on the long tradition of sculpture courts, the exhibition highlights the provocative ways today’s artists approach the human form.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

A special look at “Sculpture Court” with Chief Curator Henriette Huldisch and Curatorial Fellow Laurel Rand-Lewis. As a contemporary take on the long tradition of sculpture courts, the exhibition highlights the provocative ways today’s artists approach the human form.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

A special look at “Sculpture Court” with Chief Curator Henriette Huldisch and Curatorial Fellow Laurel Rand-Lewis. As a contemporary take on the long tradition of sculpture courts, the exhibition highlights the provocative ways today’s artists approach the human form.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

A special look at “Sculpture Court” with Chief Curator Henriette Huldisch and Curatorial Fellow Laurel Rand-Lewis. As a contemporary take on the long tradition of sculpture courts, the exhibition highlights the provocative ways today’s artists approach the human form.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

A special look at “Sculpture Court” with Chief Curator Henriette Huldisch and Curatorial Fellow Laurel Rand-Lewis. As a contemporary take on the long tradition of sculpture courts, the exhibition highlights the provocative ways today’s artists approach the human form.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

A special look at “Sculpture Court” with Chief Curator Henriette Huldisch and Curatorial Fellow Laurel Rand-Lewis. As a contemporary take on the long tradition of sculpture courts, the exhibition highlights the provocative ways today’s artists approach the human form.

Experience the exhibition for free during Free Thursday Nights and Free First Saturdays.

A dance work, installation, and community engagement project in one.

We recently had the honor of sharing “A:gajë:gwah dësa’nigöëwë:nye:’ (i hope it will stir your mind),” created by lead artist Rosy Simas (Seneca Nation of Indians, Heron clan). It’s a work in which every stitch of the set, movement, and sound is imbued with a peacemaking state of being.

Experience the related exhibition by the same name on view through July 5. Gallery admission is free every Thursday night, the First Saturday of the month, and always free for citizens and members of Tribal Nations.

A dance work, installation, and community engagement project in one.

We recently had the honor of sharing “A:gajë:gwah dësa’nigöëwë:nye:’ (i hope it will stir your mind),” created by lead artist Rosy Simas (Seneca Nation of Indians, Heron clan). It’s a work in which every stitch of the set, movement, and sound is imbued with a peacemaking state of being.

Experience the related exhibition by the same name on view through July 5. Gallery admission is free every Thursday night, the First Saturday of the month, and always free for citizens and members of Tribal Nations.

A dance work, installation, and community engagement project in one.

We recently had the honor of sharing “A:gajë:gwah dësa’nigöëwë:nye:’ (i hope it will stir your mind),” created by lead artist Rosy Simas (Seneca Nation of Indians, Heron clan). It’s a work in which every stitch of the set, movement, and sound is imbued with a peacemaking state of being.

Experience the related exhibition by the same name on view through July 5. Gallery admission is free every Thursday night, the First Saturday of the month, and always free for citizens and members of Tribal Nations.

Language, sound, and image meet in Christine Sun Kim’s practice. Through ASL, written English, musical notation, and spatial forms, she examines the political dimensions of sound.

In an interview with the Walker Reader published alongside her current exhibition “All Day All Night,” Kim reflected on communication across cultures and the ways composition and collaboration shape her work and thinking.

The full conversation is available to read, listen to, or download in braille at the 🔗 in bio.

Language, sound, and image meet in Christine Sun Kim’s practice. Through ASL, written English, musical notation, and spatial forms, she examines the political dimensions of sound.

In an interview with the Walker Reader published alongside her current exhibition “All Day All Night,” Kim reflected on communication across cultures and the ways composition and collaboration shape her work and thinking.

The full conversation is available to read, listen to, or download in braille at the 🔗 in bio.

Language, sound, and image meet in Christine Sun Kim’s practice. Through ASL, written English, musical notation, and spatial forms, she examines the political dimensions of sound.

In an interview with the Walker Reader published alongside her current exhibition “All Day All Night,” Kim reflected on communication across cultures and the ways composition and collaboration shape her work and thinking.

The full conversation is available to read, listen to, or download in braille at the 🔗 in bio.

Language, sound, and image meet in Christine Sun Kim’s practice. Through ASL, written English, musical notation, and spatial forms, she examines the political dimensions of sound.

In an interview with the Walker Reader published alongside her current exhibition “All Day All Night,” Kim reflected on communication across cultures and the ways composition and collaboration shape her work and thinking.

The full conversation is available to read, listen to, or download in braille at the 🔗 in bio.

Language, sound, and image meet in Christine Sun Kim’s practice. Through ASL, written English, musical notation, and spatial forms, she examines the political dimensions of sound.

In an interview with the Walker Reader published alongside her current exhibition “All Day All Night,” Kim reflected on communication across cultures and the ways composition and collaboration shape her work and thinking.

The full conversation is available to read, listen to, or download in braille at the 🔗 in bio.

Language, sound, and image meet in Christine Sun Kim’s practice. Through ASL, written English, musical notation, and spatial forms, she examines the political dimensions of sound.

In an interview with the Walker Reader published alongside her current exhibition “All Day All Night,” Kim reflected on communication across cultures and the ways composition and collaboration shape her work and thinking.

The full conversation is available to read, listen to, or download in braille at the 🔗 in bio.

Language, sound, and image meet in Christine Sun Kim’s practice. Through ASL, written English, musical notation, and spatial forms, she examines the political dimensions of sound.

In an interview with the Walker Reader published alongside her current exhibition “All Day All Night,” Kim reflected on communication across cultures and the ways composition and collaboration shape her work and thinking.

The full conversation is available to read, listen to, or download in braille at the 🔗 in bio.

Nam June Paik’s 1973 manifesto “Global Groove” envisions a future of video omnipresence. Simulating the barrage of imagery we consume every day, it also celebrates the artistic possibilities of the medium. Performance art, dance, music, advertising, and pop symbolism converge in a wildly colorful collage.

Watch the full work in the Bentson Mediatheque—always free and open during gallery hours.

🎥: Cropped excerpts from Nam June Paik, “Global Groove” (1973).

Nam June Paik’s 1973 manifesto “Global Groove” envisions a future of video omnipresence. Simulating the barrage of imagery we consume every day, it also celebrates the artistic possibilities of the medium. Performance art, dance, music, advertising, and pop symbolism converge in a wildly colorful collage.

Watch the full work in the Bentson Mediatheque—always free and open during gallery hours.

🎥: Cropped excerpts from Nam June Paik, “Global Groove” (1973).

Nam June Paik’s 1973 manifesto “Global Groove” envisions a future of video omnipresence. Simulating the barrage of imagery we consume every day, it also celebrates the artistic possibilities of the medium. Performance art, dance, music, advertising, and pop symbolism converge in a wildly colorful collage.

Watch the full work in the Bentson Mediatheque—always free and open during gallery hours.

🎥: Cropped excerpts from Nam June Paik, “Global Groove” (1973).

Nam June Paik’s 1973 manifesto “Global Groove” envisions a future of video omnipresence. Simulating the barrage of imagery we consume every day, it also celebrates the artistic possibilities of the medium. Performance art, dance, music, advertising, and pop symbolism converge in a wildly colorful collage.

Watch the full work in the Bentson Mediatheque—always free and open during gallery hours.

🎥: Cropped excerpts from Nam June Paik, “Global Groove” (1973).

Nam June Paik’s 1973 manifesto “Global Groove” envisions a future of video omnipresence. Simulating the barrage of imagery we consume every day, it also celebrates the artistic possibilities of the medium. Performance art, dance, music, advertising, and pop symbolism converge in a wildly colorful collage.

Watch the full work in the Bentson Mediatheque—always free and open during gallery hours.

🎥: Cropped excerpts from Nam June Paik, “Global Groove” (1973).

Anyone else feel like they need a nap in the sunshine right now? 🍒🥄🪿

Claes Oldenburg and Coosje van Bruggen, “Spoonbridge and Cherry” (1985–1988). Gift of Frederick R. Weisman in honor of his parents, William and Mary Weisman, 1988 © Claes Oldenburg and Coosje van Bruggen.

Anyone else feel like they need a nap in the sunshine right now? 🍒🥄🪿

Claes Oldenburg and Coosje van Bruggen, “Spoonbridge and Cherry” (1985–1988). Gift of Frederick R. Weisman in honor of his parents, William and Mary Weisman, 1988 © Claes Oldenburg and Coosje van Bruggen.