November 2012 Archives

Kevin O - Project Proposal

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Walker Gallery Guest Video Self Portrait Series

Self-Regard will give participants an opportunity to "curate" their own self-portrait in the galleries of the Walker, by volunteering to wear a small camera for a short gallery visit.

After being fitted with the camera, participants will be invited to wander wherever they like within the permitted galleries, choosing which works of art to look at. The camera will record a medium close-up of their face, continuously and unobtrusively, so within a few minutes their self-consciousness about being recorded will likely fade.

They will be instructed to spend time with the art that speaks to them the most, and at the end of their 20-30 minute visit, the footage will be edited so that only the moments in which they were physically standing still will be retained.

The result will be a unique and intimate glimpse of the participant, "alone" in the galleries, in the quiet moments of contemplating art - moments that all museum-goers have (hopefully) experienced at one time or another, but that have been thus far impossible to capture or share.

They will be asked for their name and an email address, and once the footage is compiled, their self-portrait will be made available to them as a quicktime movie. Additionally I would like to discuss the possibility of showing the portraits as an installation loop, on some of the many large LCD screens mounted in the lobbies. If possible, this public showing will complete the participatory experience, allowing participants to engage with the museum as curators, artists, and subjects of art on the walls, all at once.

The self-recording apparatus has already been constructed, and test footage can be seen here: So, practically speaking, all that remains is to set the parameters of the project, the where and when, with the Walker staff, and to extend the invitation to participate at the specified dates and times.

I would love to have a broad range of participants, and would include museum staff, personal friends, and the general public in the invitation. I would set up a table in the lobby with appropriate signage, and schedule appointments with volunteer participants during the allotted times. Space would also be left in the schedule for "walk-up" volunteers. I think the ideal scheduling for this project would be during low-traffic times at the museum - but of course I'm open to museum preference on scheduling.

Post-production on the project would be relatively straightforward, and once the video loop has been constructed and formatted, I would need to be in contact with technical staff at the Walker about display on the lobby screens.

Kevin Obsatz - Self Portrait Apparatus - Test Footage

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hmm... if this link doesn't work for you, feel free to go here:

... control-click on the file, select "Save Link As," let it download to your desktop...

Sorry for the many steps - the internet may be confused by the exotic video dimensions...

Reading Week 12: Interventionist Manual

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Reading Week 12: The Art of Participation

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Reading Week 12: Susan Sontag Happenings

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Reading Week 12: Shannon Jackson, Social Works

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Reading Week 12:Claire Doherty Participation

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Beth, Week 11, Proposal

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Underlying concept
I will make guides to non-exhibition spaces within the Walker Art Center:

This will be a 4-part set of guides to corners. These will each include a small photograph of the corner, along with text that invites the viewer to participate in a verbal deconstruction of the space. These will include:
1. Musings on a local apparatus of utility, such as a smoke detector or hygrometer
2. A description of shadows cast in the corner, as if they were intentional and well-considered
3. A chatty description about how a forgotten corner might be activated.
4. A guide to things the viewer can see in their peripheral vision while facing the corner.

This will be a self-guided tour of one of the gallery ceilings. Visitors will be invited to lie on the floor in the far corner of the carpeted gallery in the Midnight Party exhibition. When they lie on their backs with their legs up in the air, they will be able to pretend to ramble over the ceiling surface. This tour will begin with a brief reference to the fly Rene Descartes watched move across his ceiling when he invented the coordinate system. Objects and obstacles on this ceiling will be plotted by rough coordinates.

If there is time to do this properly, I will also make a star chart of the Skyline Room ceiling. The Skyline Room on the 5th floor of the addition is made of triangular facets that are studded with small inset lights. This would be a map that gathers ceiling lights into constellations that refer to figures in art history who are represented by the Walker's permanent collection. There's only a small chance I will include this piece in my project.

How it relates to the Walker site
These guides will directly relate to the physical structure of the museum.

Why I'm doing this project
I tend to notice things I'm expected to overlook. This project is an invitation for visitors to share in my explorations of the museum's not-so-hidden surfaces, expanding the areas we normally see. I have always noticed what I'm not expected to see. My photographs have addressed marginal landscapes, tiny signs of disruption and disorder in careful landscapes, and sloppy historical references. I see these Walker guides as continuing this focus. The "prizes" will also use my skills in book making and design.

The tools and tactics I'll employ
I will use simple images and text.

Intended form
Corner Guides: These will be small printed sheets that include a photograph of the corner along with text that addresses an aspect of that specific corner. These will be small signs that function as interpretive labels. These labels will resemble the signs that offer instructions for the use of the wheelchair elevators within the galleries.

Ceiling Guide: This will be a printed sheet that has the instructions for the ceiling tour.

Why this might interest someone
Corner Guides: These are meant to function more as rewards for people who notice the labels. Those people may have already walked up to similarly innocuous looking labels only to discover they were lists of donors or other kinds of unsexy institutional information. These guides will reward their attention but will not solicit it.

Ceiling Tour: This is an opportunity to "move" through a space in a completely new way. When the visitor is on her back, she might be surprised at how the ceiling can offer a new, challenging terrain from which to navigate the gallery space. I chose this particular gallery because it's small and carpeted, but also because it has the Man Ray video up high on the wall near the upside-down Marlo Pascual's photograph that I adore.

Why someone might be curious about it
Corner Guides: If the signs catch their eye, they might wonder if they are real.

Ceiling Tour: If a person never did this as a child, they might wonder what it looks and feels like to stretch your feet out toward the ceiling and pretend to walk on it.

How I will extend an invitation
Corner guides: Is it bad of me to hope not many people notice these? Most people never even notice little institutional details placed around the periphery of a gallery space. I want these corner guides to function as little treats for people who, like me, do notice.

Ceiling Tour: These instructions will be on the floor in the corner. There will be a little sign saying something like "Lie down with me" or "A Walking Tour of the Ceiling" so people might be curious.

How visitors will engage with the project
Corner Guides: These will be simple labels that offer instruction for thinking about a neglected corner in a new way. The visitor only needs to read the text and notice the shapes in the corner. Each of the 4 labels will end with a simple notice that there is a little gift for them at the visitor desk in the Bazinet area. These prizes will be a small number of 3-D pieces that model the corners. When these models have all been distributed, a piece of candy will be offered to any remaining visitors who enquire.

Ceiling Tour:
The visitor will pick up the instruction sheet and lie down on the floor in the corner to begin the tour. There will only be 2 laminated or dry-mounted instruction sheets to limit the number of people on the floor.

Plan B
I don't have a Plan B for the corner guides, but I will lie down and walk through the ceiling tour myself if it looks like no one is brave enough, or if they haven't noticed the guided tours on the floor.

Emily, Week 11: Proposal

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Final project Proposal

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Project Description:

The final project will consist of two parts.

The first part of the project will be based on three works currently showing at The Walker. The project will be based on the work Lutz Bacher, In Memory of my feelings, the Felix Gonzales Torres, Untitled and the Andrea Bowers, Letters. Small drawers will be placed somewhere delicately near the entrance by the Walker cafeteria. The drawers will contain photographs and confessions written by me. There will be text on the wall telling the public about the project and what it is expected from them. The viewer would be allowed to take the photographs, and confessions with them. The confessions will be based on works of art at The Walker, and from my own life experiences. The confessions will be intertwined with fact and fiction. The viewer will be asked to do the essentially the same. Next to the drawers, there will be a box where people can deposit their own confessions and memories mixed with any level of fiction and truth as they wish. Paper will provided where the viewer can either check "I confess...." or "I remember..." and they will fill out the rest and deposit the paper on the box. I am not sure how many people will fill these outs, but I'm hoping that my own sharing will provoke the same. I want them to take those memories and confessions from me, but I would similarly like to do the same for them.

The second part will be the "Will you dance with me?" project.
I will place myself at the entrance of the museum holding a sign that says the above. This will be done on a Thursday night in a heavy traffic day. The only plan would be to dance with no music. I will follow the lead of the person who asked me to dance. This will create a more in person, tactile experience for both the viewer and myself. Dancing is a social activity you usually do in public. The dancing with strangers is not a new thing at all, if you frequent any club. I am interested to see who asks me to dance, what kind of dancing will they choose, how long will they dance with me, and how the context of the museum affects their choices.

Together, the projects will be about intimacy, vulnerability, and bravery. These concepts relate to the work I already make.


I have spent hours looking at the work at The Walker, and trying to figure how my work could best fit the space. I have used works of art currently showing The Walker to inspire my project ideas. I am looking for work online that is confessional, also performance art that includes dancing. I am also looking for artists that have done similar projects.

How does this project address the goals of the final assignment?

The final assignment consists of doing a project using the context of The Walker. The project needs to be conceptualized around the experience of the visitors; along with combining my own practice and concepts. I believe both projects address those expectations. By using the works of art as inspiration for the project, and by using The Walker as a space for the performance and Its visitors; this uses the context of The Walker. The ideas of intimacy, vulnerability and bravery are heavily correlated to the work I already make. These same concepts are being used in this final project, thus combining my own practice and concepts to the final project.

How does this project relate to the Walker?

The project relates to The Walker in the sense that not only was the project inspired by work currently showing at The Walker, but I am using the space and the visitors that come to the museum to realize this project. I am creating a work that I feel will be of interest to the audience of The Walker. The dancing project will hopefully invite people of all ages to participate.

Plan/ Personal Time line (How are you going to make this happen):

I'm going to do the dancing performance first.
This will happen next Thursday November, 29th.
The performance will be filmed and photographed.
The memories/ confession piece will happen December 6th.
During the next two weeks, I will print photographs, I will write the confessions based on the works at The Walker. I will gather materials, such as outfits for dance performance, drawers, box for viewer's collaborations of their confessions and memories. I will figure out a finalized location for the drawers.

Intended Audience: 

The intended audience for the dancing performance is everybody. I think the participation is an open ended invitation to whoever comes through The Walker's doors. I think the most people see other people dancing, the more they will be willing to participate on the performance.

The fabricated memories piece will probably invite more people to take the photographs, but I assume less people will be willing to share their own memories and confessions. I am hoping that by explaining the mixture of truth and fiction that is in memories, it will take the pressure and vulnerability that is to share something that might be too personal to share. I am hoping that intimacy provokes intimacy. I am hoping that by keeping their confessions a secret to the rest of public, it will ignite their participation.

Chris, Week 11, Final Proposal

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Project Description:
Name options:
-International Center for Museum Divination: Divining the Extra-gallery Walker
-Divining the Extra-gallery Walker
-Divining the Walker

Divining the Extra-gallery Walker is an non-traditional exploration of the Walker. Visitors will be encouraged to wander the Walker's various public spaces and wonder outside of the galleries. Participants will be equipped with an Instrument of Divination and instructions with which they will explore the Walker's extra-gallery spaces. {see mission below}*****

Research (Please share some of the key research that is informing this project):

1. I have been evaluating the potential of the spaces available for divining (lobbies, lounges, rest/coatrooms, hallways, and corridors via maps, wandering, and conversation.
2. Various museum maps to galleries and spaces:
3. Divining resources:
the official
4. e-flux "Do it" - I am thinking my instructions will be short like many in this book...see content section for my instruction ideas.
5. Krystal Krunch- how are they phrasing their projects? presenting them? facilitating them?

How does this project address the goals of the final assignment?
-Utilizes my artistic methodology
-Engages Walker and visitors
-reflexive for participants and viewers
-explores the space, content, context of the Walker

How does this project relate to the Walker?
People will be wandering/wondering about the space of the Walker thoughtfully/playfully exploring its extra-gallery space.

Context (Please illustrate the broader context of your project):

This project uses art objects as tools in conjunction with artist instructions to engage gallery viewers in an interactive exploration of the space within a museum outside of the galleries. Participants will be prompted to explore the space in search of an array of things, words, concepts, and emotions.

Plan/ Personal Timeline (How are you going to make this happen):
Week 11/18-24: Develop tools and supporting materials. Clarify logistical goals/possibilities
Week 11/25-12/1: Finish tools and supporting materials. Establish/verify logistics.
Week 12/2-12/8: Finishing touches/Carry out project/documentation.
Week 12/9-12/14: Finalize presentation of project.

Intended Audience:
Any willing WAC goers! Possibly...probably Thursday Nighters.

- What is your underlying concept?

The application of a non-traditional exploration of space within an art institution.
Participants will use the tools I made to seek.: (below are instructions for cards)
seek space
seek energy
seek meaning
seek searching
seek wonder
seek wander
seek conflict
seek wealth
seek emotion
seek space
seek curiosity
seek laughter
seek sadness
seek intellect
seek comfort
seek humor
seek wishes
seek fear
seek excitement
seek red
seek white
seek blue
seek yellow
seek gold
seek black
seek hope
seek love
seek desire
seek corners
seek questions
seek answers
seek transit
seek hate
seek peace
seek piece
seek peas
seek wall
seek floor
seek ceiling
seek this
seek that
seek there
seek here
seek up
seek down
seek north
seek south
seek west
seek east
seek under
seek over
seek ...

- How does it relate to the specific site of the Walker?

"The Walker Art Center is a catalyst for the creative expression of artists and the active engagement of audiences. Focusing on the visual, performing, and media arts of our time, the Walker takes a global, multidisciplinary, and diverse approach to the creation, presentation, interpretation, collection, and preservation of art. Walker programs examine the questions that shape and inspire us as individuals, cultures, and communities."
-Walker's Mission

"Divining the Extra-gallery Walker is a catalyst for the creative expression of artists/participants/viewers and the active engagement of the audience. Focusing on visual and performance elements, Divining the Extra-gallery Walker takes a multidisciplinary, and collective approach to explore the Walker's creation, presentation, interpretation, collection and preservation of the space which encompasses a contemporary art gallery. Divining the Extra-gallery Walker examines the questions that shape and inspire us as individuals, cultures, and communities."
- Divining the Extra-gallery Walker's Mission*****

- Why are you doing this project? (i.e., how does it speak to your practice and interests?)

I made, cast, forged, fabricated, and modeled art objects to be used for exploring an art museum. Art demands something from viewers and this piece is the most demanding piece I have yet to make. It is an extension and exploration into a more performative and engaging environment/context. I am building this concept because I have found myself in a mirror museum and have been offered this opportunity to explore a process unfamiliar to me. That can be exciting.

- what are the tools/tactics you'll employ?

Divining rods and pendulums.
Instruction cards.
persuasion/begging/guilt tripping.

- In what form(s) will your project manifest?

Art objects on display
Art objects in conjunction with visitor performance
Cards with text (commands/instructions)

Engagement and distribution:
- Why would someone walking into the Walker be 1) curious about your project, and 2) interested in participating/engaging with it? What will be your invitation?

want to play with art?
want to perform with art?
want to explore with art?
assuming they are in the Walker to explore contemporary art and space and energy. this is that.

- How do you anticipate visitors will engage with your project? Note--if your project is leaning towards relying on participation, think specifically about how you'll successfully solicit participation. What will be your Plan B if you don't solicit participation?

Option 1. Lovely Walker employees offer divination tool checkout at desk(could be before/after?) This will include instruction.

Option 2. Me offer checkout or guided tour - "Hi, I am with the International Center for Museum Divination. Would you like to take part in a non-traditional exploration of the extra-gallery space of the Walker? I will let you choose which Instrument of Divination you prefer and then provide you with instruction. *must be 42" or taller to ride." [This would be great if I did it on a Thursday]

Option 3. Free For All table with instructions, instruction cards, and Instruments of Divination

Option 99. Explain I am a desperate grad student in need of help...

- How will your project circulate, at the Walker and otherwise?

ICMD pamphlets
Walker Website
Walker Employees
Word of mouth

Will Lakey - Final Project Proposal

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Mara Final Project Proposal

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Project Description: Field Notes for Midnight Party

"Midnight Party is an exhibition exploring the subconscious, dreams, and myth"
• I plan on creating a "field notes" of sorts for the exhibition Midnight Party.
• In line with the themes of subconscious, dreams, and myth I will be creating a more subjective variation of field notes
• Using the influences present in the exhibition I will be introducing my own web of references, form text, artists, theories, etc. to create a manual that maps connections between works in the exhibit but also outside connections to other art makers.
• The idea is to hone in on specific aspects of the show and create little manual/ zines about each of these areas. Some examples are...
o The Alcoves of Midnight Party
• Exploring the connection between all of the little offset rooms in the exhibit. Artists such as; Von Bruenchenhein, Robert Gober, Kiki Smith, Marsden Hartley, Matthew Barney, etc....
o The Videos: Joseph Cornell's Midnight Party and Easter Morning by Bruce Conner
• There is a different sort of subconscious reached with the use of moving images and so I want to explore the ideas each video conveys and what connections can be made between them and other parts of the exhibit
o The Space of Midnight Party
• Thinking about how the gallery space is charged by the connections and subject matter present in each of the works, there is a sense of constant discovery as one moves throughout the gallery and how can this be understood.
o Wunderkammer
• The constellation of objects all brought together is a chance to experience each item in relation to other items, it is their strangeness and unexpectedness that bring them together
These are some of the themes the field notes will be based on. This is part journal, part instruction manual. I hope to bring together two modes of thinking into one manuscript for viewers to consider.

In preparation of this idea I have been reading articles about note taking and some of it's historical background. I am interested in understanding the impulse of note taking, the desire to capture as much information about a single moment or collection of ideas that leads people to carry around notebooks in anticipation of note taking. This relates in a way to exhibition catalogs, there is something about having a catalog as an object that has all sorts of facts, ideas, and consideration about the art and the artist.
Having visited Midnight Party on several occasions the last visit I had I lingered for the longest amount of time, experiencing each piece seeing where I am pulled. It was this last visit that I truly had a sense of the feeling of whimsy or "private visions."
For the field notes I plan to start in some instances with the quotes found on the walls throughout the gallery; Thomas Campion, Funk and Wagnall's New Standard Encyclopedia, etc.
The basic formula I hope to follow is to layer fact with my own commentary. This commentary on how to experience art, interpret art, and make observations about art, while they will be my own they will be informed by my research on how these concepts interact and come together. This research will consists of articles, theoretical concepts, artist's interviews, exhibition catalogs, and quotes. Starting from the more broad ideas of the exhibit and using some of the available references I hope to spread out through looking at related text, etc.
This formula comes from reading Jen Bervin's Nets, Bervin takes Shakespeare sonnets and creates erasure poems within them, the "nets" still fit within the context of the original sonnet creating this layer of interpretation and meaning shows the connections are not arbitrary but are truly connected to the text itself. This is my goal, creating layers of observation, interpretation, and understanding.

Goals of the Final Assignment
• Apply your own artist tactics to the site of the museum.
• Experiment with tropes of the museum in constructing meaning for an audience.
This project will be on a larger scale the way I work in my studio and approach my artistic practice. Through the use of base text I cross-reference and cross reference, building up a visual and verbal library around certain ideas relevant to my work. I plan to use this process and way of working in the context of constructing alternate meanings and understandings of Midnight Party for the viewer to consider.

Relation to the Walker
This project is surrounding an exhibit at the walker that is constantly changing and being switched out, the context and content of the exhibition is in constant state of influx creating a unique situation to allows various and continual connections to be made between more stationary works and works that will be more brief. The type of analysis I am conducting is indefinite and can continue on infinitely, there are connections to be made with in the exhibit, between other exhibits, within the museum itself, and with the outside world.
The broader context of this project is to illustrate for visitors of the walker the ways artist make work, are influenced by outside sources, the way connections are made for analysis, how to go about looking at art. This field guide will be produced in multiples and placed outside of the exhibit so that viewers can have it.

November 19 - November 30 (collecting information for content (notes, quotes, mapping, photographs, etc., more not taking at the Walker, make a more concrete layout of information to be included in guide)

December 1- December 14, 2012 (Finalizing choices for form and begin production. Printing and assembling and make finishing touches with hand done techniques, drawing, screen printing, etc.

Josh, Proposal

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Project Description
The use of ambient noise, subliminal messaging, and sleep osmosis will aid the viewing public to further understand the subject of the Walker Art Center's collection as a whole and specific examples, Matthew Barney's Drawing Restraint 7 and Kiki Smith's Kitchen. Through an interactive experience within the Walker and gallery spaces of Drawing Restraint 7 and Kitchen, the public will be invited to participate by laying in designated areas and listen to headphones. The headphones will be playing an ambient creation of layered dialogue about the above-mentioned topics. There will be three separate tracks being played in each of its specified locations. Equipped with sleeping mat, sleeping mask, and headphones, the viewer will be subjected to the audio in an attempt to provide a quick informational injection that provides a fundamental overview of the walker and the two specific examples within the Walker collection.
One arrangement will consist of five sleeping bags and pillows lain out in a public space of the Walker. The audio in this context will consist of readings from Bits & Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections.
The arrangement inside Matthew Barney's Drawing Restraint 7 will be one cot and pillow. The audio designed for this samples readings from texts on and audio from interviews with Matthew Barney.
The third station will be inside the Kiki Smith Kitchen installation. There will be crocheted blankets on the floor to create a sleeping arrangement for a couple people.
All the stations will have headphones, floor padding, pillow, and sleeping mask. I will also be around the stations to aid in the participation of guests to the Walker.

It is shown that ambient noise at about 70 decibels influences creative thinking. "An increased level of distraction makes you think outside-of-the-box" (
). I am combining this with the principles of subliminal messaging through sleep hypnosis. Subliminal messaging is best in short phrases at a low volume. Layering these messages with a backing tone of some sort helps ease the mind. All of this information will help me design a track to assist the viewer in understanding the Walker collection.

Relation to the Walker
This project involves the Walker by picking directly from its collection and focusing on its collection as a whole. There is also an emphasis on selecting texts for direct sampling for the audio from publications connected to the Walker. The use of a Walker program, free Thursday nights, also examines a diversified demographic that is isolated to this one night a week. It also questions the museum behavior by inviting the viewer to sleep in the gallery space.
The broader context of this project involves the relationship between the museum and the viewer in contemporary art. I aim to bridge a gap between the complexities of contemporary artists and the viewer through a swift, soothing injection of contemporary knowledge that aids the participant's understanding.

Personal Timeline:
Sleeping Bags: Acquired
Sleeping Mats: Acquired
Pillows: Acquired
Sleeping Masks: Acquired
Cot: Acquired
Crocheted Blankets: Acquired
Audio Devices:
Books - Located
a) Make selections and record voice
b) Edit Audio (Most time consuming venture!)

Erin Paradis: Week 11; Comments on Readings

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Svetlana Alpers:
I think it's quite interesting the type of museum that she is discussing in this reading that came prior to the more contemporary museum. She discusses the contents as being artifacts which are/were more generally "craft" items. I wonder if this type of institution and the way that museums were established has influenced how people view craft arts presently. There is definitely a distinct difference between a contemporary art museum today and what a museum was 75 years ago.

Richard Sennett:
It was nice to read descriptions of something different than art and hear a different way of describing a situation. I think it's helpful to see how to write about something from this perspective. There's a certain way that people talk about art and I think we can get stuck in that language sometimes. This was a great example of metaphors and describing the same scenario in different ways.

Erin Paradis: Week 11; Final Project Proposal

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Project Description

this will include:
-history on the Walker building and its architecture (conducted in the Walker archives and library)
-history on museum lobby spaces possibly
-color theory/ psychology of color
-how to make a pamphlet
-onsite drawings and writings of the lobby space outside of the Target gallery

How does this project address the goals of the final assignment?

I will be addressing the ideas of space, history, and color, which are central themes in my work. It will give me the opportunity to move at a quicker pace in my process, using drawing, collaging, and simple construction techniques. This exercise will help me practice these kinds of preliminary studies that I've been meaning to do more quickly and more often in my own practice.

The research involved will get me thinking about the story of the space and the building which is what emanates with me when I explore spaces to be investigated in my own practice. In a way I will be mapping the story of the Walker through the pamphlet and the drawings that will be available.

How does this project relate to the Walker?

Space and architecture are very important in my practice. I think there are some beautiful spaces that radiated with me in my investigation of the museum that can be explored further. In this case, I will be able to (hopefully) integrate my work with the space that I am so intrigued with. This type of dialogue that is created is something I've never been able to explore before. I think the conversation that happens with the work and the space that the work is about will be interesting to see.


This includes the influence of time or history on my practice. What kind of stories are related to the image or space? Where has it been? How does it influence my life? And how does that translate into my work? The idea of the difference between "place" and "space" (this idea is related to the reading we read last week by Michael de Certeau).

Plan/ Personal Timeline (How are you going to make this happen):

-preliminary research on color theory (research in Wilson Library
-preliminary research in the Walker archives and library for history of the Walker and architectural plans of the space

-start gathering drawn material from the space
-record the steps I took through the space (get an overview map of the space or draw one)
-do writings on the drawings and investigate them with the research of the history of the building and color in mind
-more gatherings of drawings if necessary
-use gathered material to start 3 or so collages of the space. Make some painted cardboard constructions
-start planning out the pamphlet; what should be in it, how does it relate specifically with the collage pieces I create, where does the map fit in for viewers to follow.

Intended Audience:

Passer-bys, people in between shows, people that are curious about the space of the architecture, people that wouldn't have been curious about the space until seeing my piece.

Candice Methe- Final Project week 11

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My plan has changed a bit from Smash Pile ( I know you all could hardly wait). The new plan is...

I will create five ceramics vases/pieces to be place adjacent to five works of art within the walker galleries. These pieces which will made by me will be decorated with a fictitious narrative/text/commentary that is directly related to the original work. I am thinking Grayson Perryish types of work There will be no obvious link between the two pieces other than proximity. My works are meant to create an element of surprise and humor.
The Art works that my work will interact with are:

Thomas Hirschhorn-Necklace CNN- the living years
Matthew Barney_Drawing Restraint 7 -Midnight Party
Robert Gober-Door and Door Frame-Midnight Party
Bharti Kher- Some Days its Easy- Midnight Party
Cindy Sherman

There is enough room next to these pieces to squeeze in a pedestal with a vase on it and with a small ambiguous signage. Im playing with the idea of an open form and guests of the walker are encouraged to leave their own thoughts on the original works within the piece. A sort of tell-me-what-you-really-think/confessional element.
The idea behind the project is to get visitors thinking about the works in another way. By having another component directly related to the work it creates a new dialog. It will appear to be another work of art but when the connection is made it will perhaps create a new reality around the original piece.
My further research will include:
Making the ceramics pieces
Spending time at the Walker with the works that I mentioned and getting a real sense of what they are trying to convey and my sincere or gut reactions to them
Then transcribing a narrative to my ceramic pieces.
The reason I am choosing this piece is my relationship to ceramics as art and also utilizing it's function. I am also incorporating my relationships to reactions that I have experienced while encountering these particular pieces at the walker.
I will need 5 pedestals for the work to be displayed and 5 additional pedestals for the note paper and golf pencils.
I am anticipating that my work will be ready to be displayed by December 14th.

Emily, Week 9: Project Proposal

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Gong for Garage

Thumbnail image for Thumbnail image for Gong.jpg

A steel gong is placed in the parking garage, between the two entrances into the museum. The hammered reflective surface reveals a distorted image of the visitor against a background of the garage, and the hanging mallet invites them to play. Though hitting the instrument will be a solitary act, the echo creates a different way of experiencing and understanding the nature of the underground space.

Kevin O Week 10 Final Project Proposal

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Hello everybody! I missed you on Friday. I was on a panel for the State Arts Board Media Arts grants - and I'd love to tell you about it. It was a pretty fascinating experience.

The working title for my final project is:

The Walker Community Contemplates Contemporary Art: Gallery Guest Self-Portrait Series

...and the idea hasn't changed much since I presented it last week. I would be constructing this video apparatus that museum visitors will self-select to wear as they navigate the galleries - then, I will put together a max patch that automatically edits the footage to select moments when, say 95% of the video frame is static - indicating that the visitor was standing still & looking at something for an extended moment.

I'm excited about the idea of accumulating an archive of these portraits that can be compiled either in a single-channel looping video, or in a video collage to be viewed simultaneously. They could be presented in a gallery but I also think it would be cool to have them appear on the many flat-panel displays around the building.

This project is a way for members and visitors to participate in the museum not just as audience, but also as both makers and subjects of artworks that will appear on the walls, which is exciting to me - and it's a visual manifestation of the Walker community and expresses the relationship between the people and the art they are experiencing. Under the gaze of the video camera, they get to "curate" their own portrait by deciding where they go in the museum and what they look at.

It furthers my personal interest in video portraiture, and the most challenging part for me is that I'm a pre-beginner at Max programming so it will force me to get my hands dirty to create the auto-editing software patch.

Mara Week 10 Final Project

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So I'm having a hard time thinking of concrete ideas
Here are some more ideas (I'm still thinking about the previous ideas I posted)
I know I want something that involves text, I was thinking of making some sort of artist book/zine that could be available in the bookstore. This could be result of several little interactions that end up being a book.

Creating a field notes of one the galleries (Midnight Party)
Or have people create their own museum guide, instant cameras that they can photograph the way they move through the galleries and which pieces they find the most important ("guest curators")

Having guest check out an Ipod with instrumental playlist to see how listening to music while viewing the art changes the experience

Josh, Week 10?, Project Ideas

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I would like to record the sound or invite the viewer to record their thoughts, interpretations, or reactions to whichever artworks I choose. I would do this probably in one night (A thursday night or some other time with good traffic). I would then take all the audio and layer it onto each other to create a ambient sound that I would then play in those spaces that the audio was recorded from. I would like to find several (or maybe just one) dancer to then dance to this interpretive music of the pieces.

Erin Paradis: Week 10, Final Project ideas

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Scavenger Hunt/ Field Guide/ Artist Book

1/2 of these variations on looking into the life an "object" may have had

1. I will be doing some archival research on the history of the Walker and finding out more on the development and life of the building itself. I will be exploring different spaces in the museum (preferably the lobby outside the Target Gallery with the large windows), and then choosing one that I will then do some quick, timed line drawings, paintings, and writings of, then creating a collage with these pieces. I will be asking questions that are similar to questions I have in my own practice.
Does it relate to industry?
What kind of story can I make from the space?
What kind of story came before it?
How did this place become a space for me and/or for other people?
I will do some color studies to see what color fits the space best and include this in with the extra pamphlet that shows my research and writings as well. The physical renderings will sit in that space accompanied with the extra materials.

Other Ideas that could go along with this plan:

-People will be invited to write their own story of the space (maybe?)
-People will be directed to retrace my steps I took when exploring the space to see my experience I had.

2. I will find 2/3/4 objects or pieces of art work and re-imagine what kind of life they will have in the future having gone through the transformation of time and my own input. Each object will have a story written about it, colors assigned to it, and then a rendering or an object of the re-imagination of the piece. These pieces will be in one space in the museum (preferably a space with large windows) all together. They will be accompanied by a pamphlet or worksheet of a scavenger hunt they can take, finding the original piece the new re-imagined piece came from. The pieces will be picked based on the idea of a "future life" or "past life" that I'm intrigued by. (for example the Craigie Horsfield photo in the Living Years exhibit would be one I would base a new piece off of.)

Both of these ideas would involve research on color, the space of the Walker, and the idea of objects having a past or future life.

Chris, Week 10, Final Project (con't)

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Divining/Dowsing Rods-
A pamphlet will be available for museum guests to explore the theory of using an Art Divining Rod(s). This will be paired with simple instructions on how to use the rod(s) to navigate the space. Accompanying the the pamphlet will be a museum map upon which viewers can record their findings, most likely with a "golf pencil". I am moving away from a DIY divining rod and towards a rental or honor system through which they can use rods I have fabricated. I am uncertain as to whether I would go with the "X" or "Y" version yet (there is also a pendulum version-often plumb-bob-esque). Most likely I would end up with a series of various styles.

I am doing some research into digital museum guides and virtual museum tours in order to find a possible antithesis of my navigating a museum via a divining rod (a stick). As I reflect on my "homework" I realize I should have done a divining rod tour of my own. I guess I know what is to come in the next few days...

Here are a few digi tours I am navigating:

here are some other findings---

courtesy of my favorite DIY site:

the official

"Rebus" Art On Call - Mix and mash the "Art On Call" audio files. The plan could be to completely bait and switch the files, or to offer alternative narrations to the existing files. These files could be from the existing collection of AOC or could be freshly recorded by myself and other gallery goers. These narrations may have relative content to the proximate artwork or it may be seemingly random. I called it Rebus in reference to an Artists Choice exhibition I saw at MOMA. Here is a description of the show from the MOMA:

Vik Muniz (Brazilian, b. 1961) is the ninth artist to participate in Artist's Choice, a series of exhibitions in which an artist serves as curator, selecting works from MoMA's vast collection to create an exhibition. In his work, Muniz inventively questions the function and traditions of visual representation by using unlikely materials to render the subjects in his photographs. For this exhibition, Muniz has chosen a rebus--a combination of unrelated visual and linguistic elements to create a larger deductive meaning--as the organizing principle of his presentation. The exhibition will feature approximately 80 works of sculpture, photography, painting, prints, drawings, video, and design objects selected and installed by the artist in a narrative sequence to create surprising juxtapositions and new meanings. Among the artists whose work will be on view are John Baldessari, Gordon Matta-Clark, Nan Goldin, Marcel Duchamp, Pablo Picasso, Eugène Atget, and Rachel Whiteread. Design objects will range from a wooden pencil to a kitchen pail to a Rubik's Cube to finally, an Exit sign.

Discussing this idea with Mr. Will Lakey, he mentioned the prospects of QR codes. This could be a great way to get more information to viewers easily, however, it strays from a likeness of the Walker's existing system of art on call. Playing around on the AOC website I think a combination of methods could be useful. I am sure the current technological state of AOC will not last long, but to be sure I will have to probe. After listening to a handful of AOC files (artist comments, curator comments, visual descriptions, tourguide comments, ect) I think it is time I take a crack at a few. Some will be traditional, but then I should problably begin to rebus and see what happens.

Some of the AOC's are almost funny to listen to:

other ideas-

I like the ideas of highlighting the empty architectural spaces, electrical features, and negative spaces within the gallery. It would be fun to mold and cast the negative space of cracks within the galleries.

Still love the idea of black soled shoes marking viewers paths throughout the space.

Giving the viewers critique cards and possibly gold stars.

Fortune teller toss/phrenology of a museum via a gallery map hack.

Will Lakey - Week Ten - Final Project addendum

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I am still interested in my idea of creating a set of transparencies to offer new ways of looking at the gallery, however through further thought and in discussion with Jim my thoughts have expanded.

Additional ideas for inclusion in the new perspectives gallery guide.

Views beyond the walls - Create transparencies that when held up over specific artworks show the view beyond that wall. Breaking out of the "white cube".

sub-idea, Gallery guide time machine, similar to above but showing the view in previous eras.

Sub-sub-idea, as above but showing the view according to different religeons, i.e. creationists (see below for mock-up, Mormons etc.

View image

Mini Plays - I record conversations in front of specific artworks, transcribe into format that will enable gallery goers to re-enact the conversation with a partner. This could be done for 2-3-or even 4 participants.

Alternate view - Give specific artworks new surroundings that change the interpretation of the image.

Visual effects,, Find a texture or pattern that could be printed on transparencies so that when held up they cause interesting visual effects to occur in conjunction with the artwork.

Possible titles for the gallery guide

Artist tinted spectacles

How to think like an artist

Out of the mouths (and minds) of babes artists

Artistic Distractions

Irrelevant Mental Meanderings

Scenes and Scattered Scribbles

Where did all the Art go?

Where didn't all the Art go?

Better Meta than Beta

Why you shouldn't let artists into Museums

Why you shouldn't let artists out of Museums

Envy Every Wednesday (this makes more sense in a rural English accent)

What else can I see?

What can't I see?

Why are they following me?

How to look at art like you made it.

Theoretical, Epithetical, and Non-Scattalogical.

Beth, Week 10, some meat for the bones

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Final project ideas
1. I'm experimenting with possible models for my Illustrated Guide to the Corners. These guides will draw the visitor's attention to unconsidered areas, treating them as intentional spaces of support, context, and transition.

2. A possible sister project is a ceiling map for one of the galleries. When I was a child I would lie on the floor, stretch my legs up toward the ceiling, and pretend to walk around the upturned room. This meant I had to step over light fixtures, etc., and the familiar rooms of the house became unrecognizable.

I have been looking at odd little documents that deal with the ordinary, unsexy workings of museums. Here are some of them:

On museum lighting

Object name thesaurus

Hierarchy Display, Art & Architecture




Cultural Distance Tours, Art Institute of Chicago
Half mile tour
One mile tour

And I posted this a little earlier, but here is an interesting piece titled "Moulding the Museum Medium" that addresses different ways of thinking about designing a museum experience. Moulding_the_Museum_Medium.pdf

Lorena: More ideas for the final project. Week 10

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I've been thinking about my fabricated memories series and how I could incorporate them into The Walker. Using two pieces that are currently showing at The Walker, the work by Lutz Bacher, In Memory of my feelings, and the Felix Gonzales Torres, Untitled. I would like to combine the two ideas for both works with my photographs. I like the idea of using the cabinets to store 100s of copies of my photographs of this series, along with writing of my own memories. The viewer would be allowed to take the photographs, and the text of the memories as they please. The viewer would literally and symbolically take my memories with them and make them their own.

Also, I still like the idea of building a fort at the Walker. I just think this is such a great idea for adults, and kids. I also think that it would go well with the Midnight party exhibition. There is a quote at the Midnight party Exhibition that says, "My eyes make pictures when my eyes are shut." The public would be invited to enter the fort and lie down, and make pictures with their eyes closed. The fort would be decorated in a magical way, with colorful Christmas lights, lots of pillows, colorful blankets, etc. Outside the fort, there would be a book where people could contribute what kind of photographs they made with their eyes closed.

I want to do some sort of witchcraft performance that would go with the Midnight party Wunderkammer exhibition, but I don't know how to do witchcraft. I can obviously fake this. I will look more into this.

Candice Methe-proposal for Smash Pile week 10

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Located outside the main doors to the Walker is where I would like to set up my smash pile. Probably for 1 day or 1 weekend. I am not sure I can find that many pots to last longer. There will be an outline of the project for participants, where they are invited to choose a ceramic object of there choice and and then write an intention or whatever they choose and it will be attached to the piece . They will hurl the piece against the wall with gusto and then they will be asked to record their intentions and thoughts or feelings after throwing the object and having it smash. It will be based around beauty, the value of an object, attachment and non-attachment.

Jim, Final Project Ideas Again

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New Ideas for final projects:

1. Collaboration with Will: Transparencies which can be held out between viewer and piece while standing in the right spot, and imagery and text on transparencies will alter or comment on work.

2. Similar to above, but static transparent images on windows in lobby areas to create appearance of different surroundings outside museum.

3. Still would like to cover an area with fog. Maybe inside the greenhouse.


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Moulding the Museum Experience

Chris, Week 9, Final Ideas

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Divining/Dowsing Rods- A pamphlet will be available for museum guests to build a simple DIY Art Divining Rod. This will be paired with simple instructions on how to use the rod to navigate space. I have considered making a sample or display of a rod. The sample could have a camera in the end with a screen nearby showing the divining rod's point of view.
"Rebus" Art On Call - Mix and mash the "Art On Call" audio files. The plan could be to completely bait and switch the files, or to offer alternative narrations to the existing files. These files could be from the existing collection of AOC or could be freshly recorded by myself and other gallery goers. These narrations may have relative content to the proximate artwork or it may be seemingly random. I called it Rebus after an Artists Choice exhibition I saw at MOMA. Here is a description of the show from the MOMA:

Vik Muniz (Brazilian, b. 1961) is the ninth artist to participate in Artist's Choice, a series of exhibitions in which an artist serves as curator, selecting works from MoMA's vast collection to create an exhibition. In his work, Muniz inventively questions the function and traditions of visual representation by using unlikely materials to render the subjects in his photographs. For this exhibition, Muniz has chosen a rebus--a combination of unrelated visual and linguistic elements to create a larger deductive meaning--as the organizing principle of his presentation. The exhibition will feature approximately 80 works of sculpture, photography, painting, prints, drawings, video, and design objects selected and installed by the artist in a narrative sequence to create surprising juxtapositions and new meanings. Among the artists whose work will be on view are John Baldessari, Gordon Matta-Clark, Nan Goldin, Marcel Duchamp, Pablo Picasso, Eugène Atget, and Rachel Whiteread. Design objects will range from a wooden pencil to a kitchen pail to a Rubik's Cube to finally, an Exit sign.

Beth, Final project ideas

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Remote Control
Part one
I've been thinking about the idea of remote control lately, and I think it could be interesting to set all kinds of thrift store remote controls and switches throughout the galleries. These would have labels on them that look official and seem slightly plausible yet still illogical. The labels might include things like: laugh track, surveillance, speed, quality, resolution, weather, disorder, correction, opinion, agree/disagree, detail, etc.

Part two
Another possibility is to hang miscellaneous switches, with labels, in discreet corners of the museum These could be ordinary light switches or vintage appliance dials, etc. A faucet/tap would look pretty great coming out of the wall, too. I would want these to have nearly-believable labels that look like they've been there a while.

View Finders
This would involve making small tools that visitors could check out and use as their own personal view finders. These would be made of inkjet prints of different kinds of picture frames and cameras, mounted on mat board and cut out so there is a clean aperture. Picture frames would be on sticks so the view can hold them at arm's length and create temporary pictures. I would also like to make iPhones with the screens cut out. These would have the control side printed on both sides so the user would be seen on the "screen" by other people as they hold them out to capture their own views.

Erin: Week 9 Final Project ideas

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Final Project Ideas

This is a rough sketch/list of my thoughts about the project. I'm still trying to figure out specifics.

1. Take the general idea of the Living Years exhibit and apply it to my own work in progressive wall installation (kind of like my mapping my practice project). I'd continually add to the piece, document the progression, and have the pictures be part of the final viewing of the piece. Writing a list/label about each addition to the piece would accompany the process. (how would I make this interactive? Maybe make viewers write a list about each stage of the process as well and let that direct the following addition to the piece?)

2.......I'm stuck. I'll think of more ideas maybe after today's class and upload them this weekend.

Lorena: Week 9? Final Project ideas.

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For my final project, I have 3 sort of defined ideas.

1) I thinking of doing either an art confessional booth or small sanctuary cave where people can confess their art sins, e.g, " I have never liked Jackson Pollock, or "I have never understood a Mark Rothko painting" I will listen to their "sins" and either offer consolation or input and then assign them a way they can make up for their faults. Such as eat 6 pieces of candy or 5 jumping jacks. I will have candy available or things for people to do after their confessions. (This last part I am still not sure, because I just really like the part of people confessing their art sins to me)

2) Do interpretative dances to the works of art in the Walker without music. I will either be present to either teach, or guide or invite people to help me interpret the works of art with the movements of their bodies. I am also thinking of maybe have pre-recorded instructional dance moves on ipads around the works of arts and maybe have cameras set up for them to record their dance moves.

3) Build a big fort in the museum. This will be fun for kids, and for adults to relive their childhood memories under blankets and furniture.

Mara Week 9: Final Project Ideas

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➢ Placing a blank notebook in front of a certain artworks and having viewers write thoughts, ideas, impressions, etc. about the work
➢ Installation of cabinet with a camera inside and captures photos of the viewers while they look at the object
➢ Have people fill in blanks in a large paragraph of writing on a wall
➢ Collection of hand written notes: leave a note and take a note
➢ Weaving words: have people write anything they would like on thin strips of paper, stories, secrets, etc. and have them weave it onto a loom with other peoples words
➢ Writing a large phrase/question on a wall and allowing people to write something in response to that prompt

Emily, Week 9: Final Project Thoughts

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After a week of digesting the challenge, I have a few quick ideas. Though I think they could be interesting forms of engaging the museum spaces and visitors, I'm uncertain on the specific content. Perhaps being at the Walker later today will provide additional inspiration.

Form 1: Quiet WalkerShop invasion. A small handmade book (of unknown size, shape, and substance) is surreptitiously inserted into the museum's bookstore. The tag, which mimic's the shop's, states the price as "free."

Form 2: Fragments/Litter. Perhaps related to the above form, sheets of paper or leaves from a book are casually dropped in corners of the gallery or public spaces. They can be picked up by visitors and ascribed with their own meaning relative to the exhibit, or swept up at the end of the day.

Form 3: Hidden Cameras. The parts of the Walker that are referred to but rarely seen (the workshop, the vault, the restaurant's kitchen, etc.) are projected in the building's public spaces, using video or a live feed.

Jim, whatever week this is- final project ideas

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This is super rough, dudes. My original, unedited textedit file. The raw unfinished nature of this reflects the raw unfinished nature of my ideas so far. Art imitates life.


Idea 1:Historic buildings in Minneapolis - what used to be on Walker site?

I've noticed that Minneapolis is a very new city in terms of its architecture. Many of the city's historic buildings were demolished for new ones or parking lots. Research what used to be on site/vicinity of Walker. Possible form for project based on research: Images and information of past uses of site/other sites in Minneapolis. Historic exhibition.

Research: cannot find what used to be on this site yet. Walker is old, so not part of recent rebuilding of Minneapolis.

Idea 2: Museums are full of pictures and objects which visitors look for "meaning" in. PLay on emphasis and finding meaning in art - fill gallery with optical illusions, magic eye puzzles, translation keys, etc.

Candice Methe- Final project ideas week 9

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1. Im in a room that is an authentic ceramics studio. I am an making pottery. naked. It's art if your naked right?
2. I make a bunch of vases and have them placed throughout the Walker. When an area gets rather busy, the pedestal gets bumped and the vase smashes! A hit!
3.I have a little cart out side of the walker where I make a hot beverage for people to enjoy out of raw clay cups. When they are done they throw the cups in a discard pile, a way of recycling, and a piece on waste.
4. A little cart, like Emily's, but instead of the mobile kitchen, it is the mobile art studio.
5. my personal favorite! Smash pile! A visitor is welcome to choose a piece of pottery from a nearby table. Then they are asked to pitch it at a concrete wall (outside the cafe, perhaps)with intentions. It is a wonderful release and it creates a dialog about non-attachment and an opportunity to huck something!

Final Project ideas - Will Lakey

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