Franz Erhard Walther Work as Action October 2, 201 0-February 13, 2012

Dia:Beacon Riggio Galleries 3 Beekman Street Beacon New York 12508 845 440 0100 www.diaart .org

his undertaking is guided by a des

rests with us, the beholders, and o uncertain terrain.

to spectators to engage tactically with the object, by placing their hands inside pockets in the case of the former and by resting their heads with in the frame of

acquired for Dia's collection in 1978.

the latter. These early invitations would expand through 1969 into a repertoire of fabric forms, which together make up 1. Werksatz (First Work Set), a vast work

being activated-a modest proposa

ness to participate. In Zwei Ovale mit Taschen (Two Ovals with Pockets) and Zwei Stoffrahmen, plastisch (Two Fabric Frames, Sculptural, both 1963), he appealed

Nordhorn, 1999), pp. 22-23.

2. Franz Erhard Walther (1998), "Resume o Origin-Sites of Influence, Exhibitions 19

1. Franz Erhard Walther, interview by Georg

notes

Yasmil Raymond, Curator, Dia Art F

his "instruments for processes"; h

Walther delineates action through

passivity of the viewer; he has defined his practice instead in terms of chance, since the work is dependent on the curiosity of the beholders and their willing-

consequences not only within art

consequences and dimensions of

In looking and using the works in

out of an act."2

the weight of his hands to sculpt and to imprint the surfaces of paper-that is, he enlisted the specific physical attributes of a body part in the creation of a mark. From early 1963 onward, Walther advanced through his work process an aesthetic discourse that resists the sole authority of the artist and the contemp lative

historically defined status of the b with the experience. In contrast, I

materials. An exemplary early work is Vier Faltdeckel (Four Pieces to Be Folded

In, 1962/1963), one among a series of formal inquiries for which he turned to

about. I can provoke myself conce

to involve first hands and later the whole body in a series of activities, such as pressing, folding and unfolding, wrapping, gluing, cutting, and tearing malleable

contract that a work is an object p

early undertaking of seeking to st

work, in effect to produce new an

pieces, known as Handlungsstucke (Action Pieces) from the early 1960s and

among others-who call on viewer

Kippenberger, John Bock, Christia

ing his students at the Hochschule

examples of his Werkstucke (Work Pieces), in which he initially deployed physical action as a sculptural principle. Focusing on the activity of "doing," he began

The presentation "Work as Action" at Dia:Beacon features over two dozen works, including, in addition to various experiments on paper, Walther's first sewn muslin

acts of doing have been foundatio

Walther's provocative meditations

demonstration situations. Practice

subject-led him to conceiving objects and images that challenged the beholder to act. In acknowledging the impact of viewers' presence and actions in real time and space, Walther attempts to suspend the sense of isolation and selfabsorption that is often associated with viewing art.

work generates refer to the rehear trying to show that what I was offe

problems visual artists traditionally face-those of form, materials, space, and

conceptual and formal circle of im ephemeral event. Beyond simple t

opment of post-World War II avant-garde practice, as he radically abandoned conventional modes of painting and sculpture in order to examine the process of art rather than its product. Walther's distinctive approach to thinking through the

and object-and to engage in actio

De Maria, Richard Serra, and Blinky Palermo. Since his first experiments during the early 1960s, Walther's work has occupied a unique position in the devel-

volunteer in a two-fold activity, to

cisely outlined in their individual titl

Each of First Work Set's fifty-eight are intended to be unfolded and u

Franz Erhard Walther is internationally recognized for his five-decade-long investigation into the spatial, sensorial, and temporal dimensions of formspreoccupations he shares with such contemporaries as Donald Judd, Walter

Franz Erhard Walther: Work as Action

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Zwei rotbraune Samtkissen (gefi.ill (Two Reddish Brown Velvet Cushio Fabric, velvet Courtesy Galerie Jocelyn Wolff , Paris

Zwei Nesselpackungen, zwei Papi (Two Pedestals for Hands [paper/ Cardboard, paper Franz Erhard W alther Foundation

14 1. Werksatz (First Work Set), 1963Mixed media ; Edition 10/10 Dia Art Foundation

13 Drei weiche rosa Lacktafeln (Three Cardboard , glue , foam , muslin, Maso Franz Erhard Walth er Foundation

12 Zwei Stapel, 182 Teile (Two Stacks Envelopes, paper , paste, metal, impri Franz Erhard Walther Foundation

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1o Zwei kleine Quader - Gewichtung Cardboard , canvas, glue , adhesive ta Franz Erhard Walth er Foundation

9 Papierskulptur (Paper Sculpture), Paper Gisbert Seng Collection

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7 Drei breite Bander (Three Broad B Cotton, nails Collection Alastair Cookson

6 Zweiseitig: Bild und Material (Doub Paper, paste , glue Gisbert Seng Collection

5 Zwei Nesselkasten (Two Muslin B Cardboard, glue, muslin Collection Suzanne Walth er

Cardboard , muslin, lacquer Courtesy Galerie Jocelyn Wolff , Paris

4 Versiegelter rosa Lackkarton (Seal

3 Zwei Ovale mit Taschen (Two Oval Muslin , satin, foam Gisbert Seng Collection

2 Zwei Stoffrahmen, plastisch (Two Muslin , shredded fabric Franz Erhard W alther Foundation

Fi.infkissenform mit vier Bandern ( Muslin, fabri c Gisbert Seng Collection

checklist of works

I and II), 1962

1962

26 Selection of 58 Werkzeichnungen (work drawings) corresponding to the elements of 1. Werksatz (First Work Set) , 1963-69 Variable media Courtesy Peter Freeman, Inc., New York; G alerie Joce lyn W olff, Paris; and Franz Erhard W alther Foundation

25 Nesselkiste (Muslin Box), 1963 Corrugated board, glue strip , glue, untreated canvas Private co llection

24 Handbrett I (Handboard I), 1962 / 1963 cardb oard, glu e, muslin Collection Suzanne W alther

23 Zwei Glaser mit Reis (Two Jars with Rice), 1963 Glass, metal lid, varnish, rice Court esy Galerie Jocelyn W olff, Paris

22 Zwei Papprohren (Verlegenheitsstuck) (Two Cardboard Rolls [Piece to Overcome Embarrassment]), Cardb oard, paper, glue Court esy Peter Freeman, Inc., New York

21 8 Nesselplatten (Eight Muslin Plates), 1963 Muslin, foam, resin Franz Erhard W alther Foundation

20 Papierfaltung I and II (Paperfolding Paper Franz Erhard W alther Foundation

19 Wand-Ecken II (Wall Corner II), 1963 Muslin, fabric Coll ection of the artist

18 Vier Faltdeckel (Four Pieces to Be Folded In), 1962 / 1963 Paper, cardboard, glue, tape Franz Erhard W alther Foundati on

17 Karton II (Cardboard II), 1963 Cardb oard Franz Erhard W alther Foundation

16 Karton I (Cardboard I), 1963 Cardb oard Franz Erhard W alther Foundation

15 New Yorker Buch (New York Book), 1967-73 Paper, hardb oard, cardboard , linen st rips, glue Artn ow International

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4. Beinshick (Leg Piece), 1964

3. Ummantelung (Covering), 1964

2. Gehshick Sockel (Walking Piece, Plinth), 1 963/1964

1. Stirnshick (Forehead Piece), 1963

1. Werksatz (First Work Set) , 1963-69/201 A gallery att endant wi ll be present to assist w in orange. Titles in gray are not available for

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16. Mit Richtung (Sechs) (With Direction [Six]), 1966

15. Sammler , Masse und Verteilung (Collector , Mass and Distribution) , 1966

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20. Versammlung (Gathering), 1966

19. Vorhang (Curtain), 1966

18. Weg innen auBen (Way Inside Outside), 1 966

14. Sackform und Kappe (Sack and Hood), 1966

10. Partitur (Score), 1 965

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17. Stoffrohre (Cloth Tube) , 1966

13. Funf (Five) , 1966

9. Fur Hugel und Berge (For Hills and Mountains), 1965

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33. Plastik-5 Stufen (Sculpture5 States), 1 967

34. Armstiick (Arm Piece), 1 967

35. 28 Standstellen (28 Pocket Segments), 1967

36. Kreuz Verbindungsform (Cross Connecting Form), 1967

29. Form fur Kerper (Form for Body), 1967

30. Niihe (Closeness), 1967

31. Fur Zwei (For Two), 1967

32. Kurz var der Diimmerung (Short Before Twilight), 1 967

25. Ober Arm (Via Arm), 1967

26. Kopf Leib Glieder (Head Body Limbs), 1967

27. Vier Seiten Vier Felder (Four Sides Four Fields), 1967

28. Gegeniiber (Opposite), 1967

49. Sockel, vier Bereiche (Plinth , Four Sections), 1969

50. Hiille anfiillen (Case to Be Filled U 1969

51. Ausgangspunkt und Wege (Starting Point and Paths), 1 969

52. Plastisch (Two Sculptures), 1 969

45. 50 x 50 m Kreuz (50 x 50 m Cross), 1968

46. Sehkanal (Channel of Sight), 1968

47. Anniiherung Schritte seitwiirts (Approach Steps Sideways), 1968

48. Ki:irpergewichte (Body Weights), 1969

41. Streik (Strike), 1967

42. Vier Ki:irpergewichte (Four Body Weights) , 1968

43. Proportionen und Zeit (Proportions and Time), 1 968

44. Strecke Gewicht Form (Distance Weight Form), 1968

58. Zeit Stelle Dauer Richtung Bezug (Time Place Duration Direction Relation), 1 969

museum show in the United States since 1990.

in Hamburg from 1971 until 2009, where he taught Martin Kippenberger, John Bock, Jonathan Meese, among others. Dia's exhibition marks Walther's first solo

mounted in 2010. He was a full professor at the Hochschule fur bildende Klinste

Kunsthalle; Kunstmuseum Bonn; Staatsgalerie Stuttgart; and Mamco, Musee d'art moderne et contemporain, Geneva, where a major retrospective of his work was

Rennes, France (1999). Walther's work is on permanent view at the Hamburger

( 1977), 7 ( 1982), and 8 ( 1987), and has had solo shows at Secession, Vienna (1989); Stedelijk Van Abbemuseum, Eindhoven (1993); and FRAC Bretagne,

Become Form" at Kunsthalle Bern. He participated in Documentas 5 (1972), 6

presentation at the Museum of Modern Art, New York, in 1969 and 1970, and his work was included in the landmark 1969 exhibition "When Attitudes

when he moved to New York, residing there until 1973. Since then, Walther has exhibited extensively worldwide. He demonstrated 1. Werksatz in a four-month

lmi Knoebel, and Blinky Palermo. Walther remained in Dlisseldorf until 1967,

to 1964, Walther attended the Kunstakademie Dlisseldorf, where he became acquainted with Joseph Beuys and befriended fellow students Gerhard Richter,

Main (Stadelschule), studying there until his expulsion in 1961. From 1962

enrolled in the Werkkunstschule Offenbach, where he first exhibited his work. In 1959 he transferred to the Hochschule fur Bildende Klinste, Frankfurt am

Franz Erhard Walther was born in 1939 in Fulda, Germany. In 1957, he

57. Zehn Sockel (Ort Distanz Richtung) (Ten Pedestals [Place Distance Direction]), 1 969

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Cover: Work demonstration of 1. Werksatz (First Work

Bild-Kun st, Bonn

Work s by Franz Erhard Walther© Artists Ri

© 2010 Dia Art Foundation

Photos: © Timm Rautert

Council, and the New York State Council on

This exhibition is supported in part by Dia's

Weiss, Kirsten. Dependent Objects. Cambrid

Reiter Raabe, Andreas. "Portrait Franz Erhar

In Franz Erhard Walther, pp. 5-23. Middleto University, 1988.

Morgan, Robert C. "Franz Erhard Walther an

Licht, Jennifer. Spaces. New York: Museum

Werksatz (1963-1969) von Franz Erhard Moderne Kunst, 1991.

Lange, Susanne. "Franz Erhard Walther's Fi

Jappe, Georg. "Franz Erhard Walther." Studi

Halley, Peter. Work Needs the Body-A

Franz Erhard Walther: Works 1963-86. Ne Rainer Crone, Joseph Kosuth, and Franz Er

Ed. Roland Nachtigii.ller and Suzanne Walth Nordhorn, 2000.

Franz Erhard Walther: Sites of Origin-Sites

Texts by Klaus-D. Pohl, Simone Twiehaus ,

Franz Erhard Walther: der Kopf zeichnet, die

Internacional, 1977. Texts by

Franz Erhard Walther: Arbeiten 1969-1976;

Schauberg, 1972.

Franz Erhard Walther: Arbeiten, 1955-63.

Selected Bibliography