Installation view, Frank Walter, David Zwirner, London, 2021
Frank Walter
Art is a festival in which a narrative is told.
It makes its drama constantly; and speaks
In human flesh, the actor ever bold,
On canvas, wood or paper, an audience it seeks.
—Frank Walter, from the poem ‘What Art Is’
David Zwirner is pleased to present an exhibition of work by Antiguan artist, writer, and polymath Frank Walter (1926–2009) at the gallery’s London location. Organised in collaboration with the artist’s family, the exhibition will mark the first solo presentation of Walter’s work in London. Building upon his recent, celebrated retrospective at the Museum für Moderne Kunst, Frankfurt, the presentation will showcase the immense depth of Walter’s intellect and creativity and his prolific artistic output. It will include several works that have never been exhibited before.
Over the course of six decades, Walter, a descendant of enslaved persons and plantation owners, created a vast body of work that encompasses a variety of media, styles, and formats. His paintings range from highly individualistic, vividly coloured landscapes that evoke the Romantic spirit of William Blake and Caspar David Friedrich to formally inventive and probing portraits, many of which reflect the complexities of racial identity, to systematic, abstract compositions reminiscent of the paintings of Hilma af Klint, all rendered in the artist’s own absorbing palette and distinctive visual style.
Describing the breadth of Walter’s art and his innately creative spirit, Susanne Pfeffer, director of the Museum für Moderne Kunst, writes, ‘The complexity of Walter’s subject matter is matched by the great variety of his materials. He created works on wood, Masonite, cardboard, paper, linoleum, and the backs of photographs, and he painted and drew with oil paint, tempera, watercolour, crayon, pencil, shellac, and glitter. When he was not painting, he wrote; when he was not writing, he made sound recordings. Walter’s creativity had an unbelievable intensity, which one can see, feel, and sense in his work.’1
To schedule your visit, please click here.
The gallery is open to the public with a limited number of visitors allowed into the exhibition spaces at a time, in accordance with city guidelines.
Image: Frank Walter, Untitled (Airplanes over boats in harbor), n.d. (detail)
1 Susanne Pfeffer, ‘Seeing Frank Walter’, in Frank Walter: A Retrospective. Exh. cat. (Frankfurt: Museum für Moderne Kunst, 2020), p. 359.
The work of Antiguan artist Frank Walter first came to international attention at the Venice Biennale in 2017, when Frank Walter: The Last Universal Man, 1926–2009 was presented in the inaugural Antiguan and Barbuda national pavilion. This acclaimed exhibition was followed by a retrospective at the Museum für Moderne Kunst in Frankfurt in 2020.
A prolific polymath, Walter produced paintings, sculptures, drawings, photographs, sound recordings, and writings, ranging from poetry and autobiography to genealogical research and philosophy.
Hilton Als, writer and curator, on Untitled (Single palm with black mountains and ocean behind), n.d.
“A large portion of one’s daily life in the Caribbean is lived outside. Many things and many activities are built around the sun. Marketing, sports, tourism—all is built around the sun, and the promise of more. To make art, or the kind of art that Frank Walter produced—paintings, drawings, photographs, furniture—one works primarily indoors, in the plein air of one’s mind. Walter’s genius was to live in contradiction to this while living deeply in the natural world that makes Antigua Antigua; in looking at his home, he was looking at himself, lush and distant and like no other place or person on earth.”
Installation view, Frank Walter, David Zwirner, London, 2021
Installation view, Frank Walter, David Zwirner, London, 2021
Dr. Zoé Whitley, director, Chisenhale Gallery, on Untitled (Mountain, sea, and white lines of sunshine), n.d.
“Encountering Frank Walter’s landscapes feels like time travel. I’m immediately transported back to where I first saw the works at the Venice Biennale. Small in scale but almost impossibly capacious in content, Walter’s landscapes, such as Untitled (Mountain, sea, and white lines of sunshine), draw us in with an invitation to dwell there a long while. The richness, depth, and variety of his palette means he conveys in concise, assured brushstrokes the warm caress of the wind, the chill of the water, the rustle of palm fronds, or the frisson of an oncoming storm.”
Installation view, Frank Walter, David Zwirner, London, 2021
Installation view, Frank Walter, David Zwirner, London, 2021
Installation view, Frank Walter, David Zwirner, London, 2021
Professor Barbara Paca, Ph.D., on Untitled (McAlister Coat-of-Arms), n.d.
“His masterpieces anchored Antiguans to their British fatherland and to a greater international context. In a vivid oil painting, Untitled (McAlister Coat of Arms), one sees the strong red, black, gold, and blue of the Antiguan flag.”
Dr. Nicholas Cullinan, director, National Portrait Gallery, London on Untitled (Heraldic Beast (Griffin), n.d.
“Heraldry: an emblem of origins, both real and imaginary. A hybrid of inherited identity and invented insignia. Frank Walter’s armorial designs and their conflation of fact, fiction, and fabulation seem to function exactly this way, albeit vastly complicated by the diaspora. As the artist said: ‘It is not that I am European in the family sense. But How I Became European.… Since I could not change myself. Since I could not turn myself into some other family. I had to live with it.’ I think that was the realization of seeing Walter’s extraordinary work: that ideas (if not the harsh reality) of center and periphery—artistic, historical, geographical, or political—are so dependent on perspective as to be almost a mirage.”
“Much of Walter’s life was spent grappling with his mixed-race heritage.… When he was a child, his grandmother narrated romanticized stories of his aristocratic German heritage—emphasizing his noble white birth and claiming their dark skin was simply a consequence of being ‘kissed by the sun.’ … Where he viewed himself as a white man, others saw a black man—creating a rupture between reality and fantasy that affected all areas of his life.”
—Professor Nina Khrushcheva, Ph.D., in Frank Walter: The Last Universal Man, 1926–2009, 2017
Prof. Susanne Pfeffer, director, Museum für Moderne Kunst, Frankfurt
“There is no typical Frank Walter. His range as a painter is extensive and unfettered. His perspective is all his own. His oeuvre seems to stand in opposition to the permanent ascriptions he was subjected to throughout his lifetime. His cosmological paintings have a transcendental glow, his abstract works are systematic, the individuality of his figurative paintings is captivating, and his landscapes gain strength through their clear abstractions.”
Installation view, Frank Walter, David Zwirner, London, 2021
“We are all connoisseurs of art, at any stage.… Art is a teacher, adding much to knowledge. The comforter of the soul, when life grows cold. Religious or secular, moral and kind, art is a talent bestowed by providence. Surely by divine providence it is a human design to pursue art for delight, more than opulence.”
—Frank Walter, from the poem “What Art Is”