Carolyn Lazard

João Mourão and Luís Silva

Walker Art Center, Minneapolis

Walker Art Center

An installation view of a large, dim gallery with reflective gray floors and painted grey walls. In the center of the room is a row of three video monitors placed on the floor. On our left, a white and brown bench faces the video monitors, and another bench sits against the far wall of the gallery. The benches are of white and pale honey toned wood. A soft taupe cushion has been added to the wood, and drapes over the back of the closest bench.

A different angle of the same gallery view. On our left the three video monitors cast white blue light onto the floor of the gallery. Facing the monitors is an empty bench of white and honey colored wood. A soft taupe cushion has been placed on the bench, and drapes over the back. On the grey wall at the back of the room long vertical panels have been hung across the wall. They are all the same size and pale gray.

An installation view of a large, dim gallery with reflective gray floors and painted grey walls. In the center of the room is a row of three video monitors placed on the floor. On our left, a bench faces the video monitors and another bench sits against the far wall of the gallery. The benches are white and pale honey toned wood. A soft taupe cushion has been added to the wood and drapes over the back of the closest bench. Two people sit on the bench to our left, and one person sits on the far bench.

Another view of the same gallery taken from the back. We see the head, shoulder and feet of the two people on the closest bench although the video monitors are hidden by the bench from this angle. The bench against the far wall has one person sitting near one end. The gallery has gray walls, gray floor, and a white ceiling. Vertical gray panels are hung on both long side walls.

An installation view of the entryway to the exhibition showing a white, institutional landing of a stairway. On our right, we can see the end of a set of stairs and a black arrow spray painted on a white speckled linoleum floor. The arrow leads to a large open doorway that is dark beyond. On our left, a grey stripe is painted on the wall. Inside the gray reads, "Carolyn Lazard: Long Take" in large white letters.

Another view of the entryway to the exhibition, this time a little tighter. The stairs are not in the image, only the sign on the wall reading "Carolyn Lazard: Long Take" in large white letters and part of an open doorway leading to a dark gray room.

An image of the wall text that begins the exhibition. The text is copied in the press release included as a PDF. The wall is dark grey, and the text is printed in white letters. On our right, a plastic shelf holds a spiral bound booklet.

Another view of the same gallery taken from the back. Almost the same angle as the fourth image but this time the gallery is empty of people. The gallery is large, with long gray side walls and a shorter back wall. The floor is reflective gray and the walls are painted dark grey. Vertical gray panels are hung on both long side walls. The video monitors seen in other images are hidden by the nearer bench from this angle. The bench against the far wall is also empty.

A tighter view of the same gallery. In the foreground, we can see the back of the closer wooden bench. The bottom of the bench is made from white painted wood, and the back or upper portion is made from a pale honey colored wood. A taupe cushion has been draped over the back of the bench. On the far wall is another empty bench covered by a taupe cushion.

A tighter view of the bench against the back wall. The photograph now shows the corner of the gray gallery. The bench is to our right and against the wall, and on the wall on our left we can see the row of vertical hanging gray panels.

A photograph taken from the landing at the top of a stairway. We look down a set of white speckled linoleum stairs to the floor below. Against the wall of the floor below is a white bench with a dark gray cushion. The stairs, hallway walls, and railings are all white. Large black arrow stickers have been placed at the top and bottom of the stairway. On our right, on the top landing, an arrow leads down the stairs. On our left, at the top of the landing, an arrow points up the stairs. On our right, on the bottom landing, an arrow points down the stairs and on our left, on the bottom landing, an arrow points up the stairs.

An image of the corner of a white room with a white and wood bench on our left against the wall. A soft gray cushion has been draped over the seat and back of the bench. A wall sign above the bench reads "Please observe physical distancing in the restrooms and coatrooms." A blurry figure walks across the room on our right.

A wider view of the same white corner. The bench is against the wall to our left, and on our right, an open corridor leads to a room with an ATM. On the other side of the open corridor, on the wall across from the bench, we can see a reflective silver trashcan against the wall.

A wide view of a corridor with reflective tan floor, leading to a set of double glass doors to the left. On our right, a long brick wall runs along the corridor. The ceiling is white with lighting forming three rows all the way to the doorway at the back of the corridor. A dark doorway interrupts the brick wall about half way down. A green exit sign hangs over the doorway.

Another view of the same corridor, this time showing the wall opposite to the brick wall. The wall is white and has large vertical posters or flush monitor screens that advertise shows at the Walker Center.

A tighter view of the ceiling of the long corridor. What had appeared to be light sconces forming three rows across the ceiling are seen in detail, and the objects are not lights but tan cylinders closer to smoke detectors but with white and black designs that look a bit like single matches.

A wider view of the same corridor showing the lit monitors advertising shows at the Walker Center. The light from the monitors are reflected in the floor.

Another view of the cylindrical objects attached to the ceiling that resemble smoke detectors. On the tan cylindrical objects, we can see markings across the sides that look like images of single diagonal matches.

An image of an almost completely dark gallery. A black stripe on the grey floor travels to the back of the room. The profile of two benches are barely visible. The glow of the monitors on the floor just give them an outline.

A tighter view of the dark gallery taken low so as to see the black line or seam connecting sections of dark gray mat covering the floor. The profile of two benches is just visible in the blue glow of the three monitors beyond the benches.

Another view of the same dark gallery taken from a low perspective to show the two black seams connecting sections of grey matting on the floor. The profile of a dark bench is seen in the glowing light from video monitors.

Another view of the same dark gallery. A person is just visible sitting on the bench. Their pale hands, the shoulder of their dark shirt and their hair slightly catch the light from three monitors. The only light from the monitors comes from the bottom edge of the screens and look like subtitles of bright white/blue letters. The remainder of the room is totally dark.

A tighter view of the three monitors in a dark gallery. The monitors are all dark except for some white words across the bottom of the screen. The first monitor reads, "Expand volume." The second monitor reads "[floor creak]". The third monitor reads, "Steps on tip toes."

A view of a bench taken from a low angle. The bench is against a dark gray wall and the cushion on the bench blends almost exactly with the grey wall and floor. The height of the bench has been raised by the addition of two wooden blocks. The white frame of the bench sits on two wooden, honey colored blocks. They appear to raise the bench seat height by 2-3 or inches.

Another view of the bench against the wall from a side angle. The wooden blocks raising the height of the bench extend slightly beyond the original white base of the bench. The gallery is dark although the gray vertical panels against the far wall can be seen against the darker grey wall.

Another long view of the large dark gallery. Almost nothing is visible except the dark stripe of tape in two rows on the floor connection sections of floor matting. A pale line from video monitors is seen at the end of the image and the structure and shadows cast by support beams on the ceiling.

A very dark image of the gallery. A power cord runs from the ceiling to the floor, in places blending into the walls and general dark. The white frame of two benches are the only clearly decipherable objects.

A photograph taken from the landing at the top of a stairway. We look down a set of white speckled linoleum stairs to the floor below. Against the wall of the floor below is a white bench with a gray cushion. The stairs and hallway walls and railings are all white. Large black arrow stickers have been placed at the top and bottom of the stairway. On our right, on the bottom landing, an arrow points down the stairs and on our left, on the bottom landing, an arrow points up the stairs.

A wider view of the space at the bottom of the stairway. The bench is against the wall to our left, and to the right of the wall, there is an open corridor leading to a room with lockers. Two small signs are above the entry to the room. One has an image of a coat hanger and the other an image of a toilet.

Side view of the bench at the bottom of the stairs. The height of the bench has been raised by adding wood blocks to the base of the bench. A wooden back has also been added and a dark gray cushion has been draped over the bench.

Carolyn LazardLong TakeWalker Art Center, Minneapolis

Exhibition Images

Carolyn LazardLong Take
Walker Art Center, Minneapolis