Artist page 
Christopher Williams
Jump into the future – Art from the 90’s and 2000’s. The Borgmann Donation
November 2017
The Stedlijk Museum, Amsterdam
Christopher Williams
Angola to Vietnam*, 1989 (1989)

November 26, 2017 – March 4, 2018

Four works—Supplement* 1990 (1989—a portfolio containing eight works), Angola to Vietnam*, 1989 (1989), Figure I-III, Accretions (1992), and Brasil, 1989 (1988)—as well as two catalogues by Christopher Williams are included in the exhibition Jump into the future – Art from the 90’s and 2000’s. The Borgmann Donation at the Stedelijk Museum. The exhibition is a group presentation of works dating from the 1990s and early 2000s from the collection of Thomas Borgmann. The exhibition’s title aims to reflect Borgmann's prescience in acquiring works by a new generation of artists.

Jump into the future follows Borgmann's donation to the Stedelijk of more than 600 works in 2016, which also included work by fellow gallery artists Isa Genzken and Wolfgang Tillmans. "I have closely followed the Stedelijk ever since my first visit in the 1960s," Borgmann, who is German, said in a statement following the announcement of the donation, "This museum felt like a natural home for these works." Williams's Angola to Vietnam (1989) is highlighted in news of the donation published in Artnet.

la > x
September 2017
FAHRBEREITSCHAFT, Haubrok Foundation, Berlin

September 15  – December 2, 2017

Works by Christopher Williams feature in la > x, an exhibition and film festival at the Haubrok Foundation's FAHRBEREITSCHAFT project space to mark the 50th anniversary of the city partnership between Berlin and Los Angeles.

The exhibition includes ephemera such as invitations, texts, publications, and posters pertaining to Williams's work.

You Are Looking at Something That Never Occurred
2017
Group exhibition at the Zabludowicz Collection in London
Christopher Williams
Model: 1964 Renault
Dauphine-Four (Car#1)
, 2000

March 30 – July 9

Three works were included in You Are Looking at Something That Never Occurred, a group exhibition exploring how artists have used the camera to blur boundaries between past and present, fact and fiction. The exhibition also featured works by fellow gallery artists Thomas Ruff and Wolfgang Tillmans.

The title of the exhibition was taken from a conversation between the artists Jeff Wall and Lucas Blalock in which they argue for art that is experimental and mysterious. Drawn exclusively from the Zabludowicz Collection, the works in the exhibition spanned 1977 to the present day.

You Are Looking at Something That Never Occurred was accompanied by a fully illustrated publication with texts by Paul Luckraft and David Campany and a round-table discussion moderated by Chris Wiley featuring Lucas Blalock, Sara Cwynar, and Erin Shirreff. Published by the Zabludowicz Collection

Read more: reviews of the exhibition in Elephant Magazine, Wallpaper, and Time Out London, which gave it four stars.

 

Christopher Williams. Supplements, Models, Prototypes
2017
Solo exhibition as part of the Visiting Artist program at ETH Zurich
Christopher Williams
Installation view of Christopher Williams. Supplements, Models, Prototypes at ETH Zurich (2017)

March 1 – June 12

Christopher Williams. Supplements, Models, Prototypes presented recent work by the artist, who is the first participant in the new Visiting Artist program at ETH Zurich University's Department of Architecture.                     

Supplements, Models, Prototypes was the first exhibition to focus exclusively on exhibition walls, which are a central element of Williams's work. The exhibition presented a group of five walls drawn from prior exhibitions including Christopher Williams: The Production Line of Happiness, the artist's first major museum survey which travelled from The Art Institute of Chicago to The Museum of Modern Art in New York and London's Whitechapel Gallery in 2014-2015.

Williams often intervenes with the architecture of his exhibition spaces. His first installation of a temporary wall was for his 1991 solo exhibition at Galerie Max Hetzler in Cologne, where he had a new wall built directly in front of an existing one.

Stage Play
2017
The artist's first theater production presented at Miller's Theatre Zurich
Christopher Williams
Stage Play poster

May 22 – 24

The shop window occupies its own genre in photography, from Eugène Atget to Zoe Leonard. In Williams's new theater production Stage Play, the shop window and the storefront are the primary characters. Set in the streets of postwar Düsseldorf, this tense drama deals with the accumulation of contingent material suggestive of the quiet persistence of war.

This was the last in a series of shows by Williams since January 2017 that have engaged different aspects of his work, including collage, architecture, photography, publications, sculpture, and now theater.

Stage Play, Williams's first theater production, was created in dialogue with the artist's concurrent exhibition at gta exhibitions, ETH Zurich.

Christopher Williams: Models, Open Letters, Prototypes, Supplements
2017
La Triennale di Milano
Christopher Williams
Fig. 8: Pulling the film cutter
Exakta Varex IIa
35 mm film SLR camera
Manufactured by Ihagee Kamerawerk Steenbergen & Co,
Dresden, German Democratic Republic?Body serial no.
979625 (Production period: 1960 - 1963)
Carl Zeiss Jena Tessar
50mm f/2.8 lens
Manufactured by VEB Carl Zeiss Jena, Jena, German
Democratic Republic Serial no. 8034351 (Production period: 1967 - 1970)
Model: Christoph Boland
Studio Thomas Borho, Oberkasseler Str. 39, Düsseldorf,
Germany
June 22nd, 2012
, 2012
Inkjet print on cotton rag paper
20 x 24 inches (50.8 x 61 cm)

April 28 – June 25

Christopher Williams:  Models, Open Letters, Prototypes, Supplements presented the artist's work as part of La Triennale di Milano. The exhibition featured photographs combined with staging elements that were used in his recent exhibitions, and explored how these are interconnected within his practice.

Williams's critically-acclaimed 2014-2015 retrospective, The Production Line of Happiness, was exhibited at The Art Institute of Chicago, The Museum of Modern Art in New York, and the Whitechapel Gallery in London.

Recent publications include Christopher Williams: Printed in Germany, and Christopher Williams: The Production Line of Happiness.

 

The Absent Museum
2017
Group exhibition at WIELS Contemporary Art Center, Brussels
Christopher Williams
Bergische Bauernscheune, Junkersholz 
Leichlingen, September 29, 2009
, 2010
Archival pigment print on cotton rag paper
17 1/4 x 22 inches (43.8 x 55.9 cm)

April 20 – August 13

The Absent Museum looked back over the history of WIELS and towards its future development in honor of the art center's 10th anniversary. Included were works by gallery artists Francis Alÿs, Marlene Dumas, Isa Genzken, Oscar Murillo, Wolfgang Tillmans, Luc Tuymans, and Christopher Williams.

Christopher Williams: The Production Line of Happiness
2014-2015
The artist’s first major museum survey spanned 35 years of his practice
Christopher Williams
Standardpose [Standard Pose]
1,0 Zwerg-Brabanter, silber, Düsseldorf 2013 (Vera Spix, Elsdorf)
Ring number: EE-D13 13-901, green
Studio Rhein Verlag, Düsseldorf
November 21, 2013
, 2014

The Production Line of Happiness, the major survey of work by Christopher Williams, travelled from The Art Institute of Chicago to The Museum of Modern Art in New York and London's Whitechapel Gallery in 2014 – 2015.

The exhibition’s title is borrowed from a 1967 documentary by French director Jean-Luc Godard, in which an amateur filmmaker describes the process of editing his films of the Swiss countryside as "the production line of happiness." In Williams's work, "production" applies not only to the creation of images, but also to how images produce the experiences and objects that are consumed as part of a materialist society. As he explained in an interview with dis magazine during the MoMA exhibition, "An idea that is very interesting to me right now is to adopt a model and stay as closely as possible to that model  . . . to inhabit a way of seeing."

In William’s critique, the visual conventions that surround us are co-opted, and often undercut with a vague sense of humor or nostalgia. The Production Line of Happiness included photographs of a bouquet of flowers, a stack of unwrapped Ritter Sport chocolate bars, a dishwasher, dewy red apples, and a model wearing a glib smile and a towel as if fresh from the shower. In the last of these, a Kodak color chart appears on the left of the image as if to expose its workings. In her review for The New York Times, Roberta Smith wrote that the exhibition "conveys the complexity of Mr. Williams's achievement and of art making itself with a wondrous lucidity."

The exhibition was accompanied by two conceptual publications created in collaboration with the artist. The first, entitled The Production Line of Happiness, is equal parts artist's book and exhibition publication, and includes texts by the curators Mark Godfrey, Roxana Marcoci, and Matthew S. Witkovsky. The second, Printed in Germany, is an artist's book extending Williams's ideas into published form. Williams was the first artist to receive the Photography Catalogue of the Year, presented by the Paris Photo–Aperture Foundation PhotoBook Awards, for these publications.

The Production Line of Happiness and Printed in Germany
2014
Artist publications accompanying Williams’s first major museum survey
Christopher Williams
The Production Line of Happiness

In 2014, Christopher Williams collaborated on the production of publications in conjunction with his first major museum survey, The Production Line of Happiness. This critically acclaimed exhibition traveled from The Art Institute of Chicago to The Museum of Modern Art in New York and the Whitechapel Gallery in London in 2014 – 2015.

Entitled The Production Line of Happiness, the first volume is equal parts artist's book and exhibition publication. Made in cooperation with the museums, the book features texts by the curators Mark Godfrey, Roxana Marcoci, and Matthew S. Witkovsky exploring Williams's engagement with his artistic peers and predecessors, with cinema, and with models of display and publicity in the art world. Also included is the transcript of a talk Williams delivered on the work of John Chamberlain. These more conventional contributions are "interrupted" by additional historical and contemporary materials which were selected by Williams himself and are sometimes presented in facsimile form. An exhibition history, bibliography, and illustrated list of works complete the publication, which has been produced in three colors—yellow, red, and green. Co-published by the Art Institute of Chicago, Museum of Modern Art, and Whitechapel Gallery

Following the exhibition publication which relies more heavily on text than image, Printed in Germany is an artist's book conceived as a stand-alone visual object that extends Williams's conceptual and aesthetic ideas into book form. The publication reproduces a selection of Williams's photographs and features striking graphic design, with no essay, captions, or even a title page. Like The Production Line of Happiness, Printed in Germany has been produced in yellow, red, and green versions. Published by Walther König, Cologne

Williams was the first artist to receive the Photography Catalogue of the Year, presented by the Paris Photo–Aperture Foundation PhotoBook Awards, for The Production Line of Happiness and Printed in Germany.

WILCH0431

Availability 
None
Dimensions 
Overall: 62 1/2 x 90 inches (158.8 x 228.6 cm)
Materials 
Full color offset prints and adhesive tape on paper 45 collages
Images format 
Thumbnail
Images display 
Grey display
Front title 

Supplement '14 (Mixed Typologies) #6

Year 
2014

WILCH0416

Availability 
None
Dimensions 
20 x 25 inches (50.8 x 63.5 cm)
Materials 
Inkjet print on cotton rag paper
Images format 
Artwork
Images display 
Grey display
Front title 

Untitled (Study in Gray)
1967 Citroen DS
Serial number: DS851360a
Color code: AC 138
Color name: gris dandy
Color year: 1966
Studio Rhein Verlag, Düsseldorf
November 7, 2013

Year 
2014

WILCH0426

Availability 
None
Dimensions 
26 x 33 inches (66 x 83.8 cm)
Materials 
Inkjet print on cotton rag paper
Images format 
Artwork
Images display 
Grey display
Front title 

Standardpose [Standard Pose]
1,0 Zwerg-Brabanter, silber, Düsseldorf 2013 (Vera Spix, Elsdorf)
Ring number: EE-D13 13-901, green
Studio Rhein Verlag, Düsseldorf
November 21, 2013

Year 
2014

Born in Los Angeles in 1956, Christopher Williams has been represented by David Zwirner since 2000. Open Letter: The Family Drama Refunctioned? (From the Point of View of Production) is his eighth solo exhibition with the gallery, and his second presentation at the London location. It marks his first exhibition in the city since his major retrospective at the Whitechapel Gallery in 2015, The Production Line of Happiness, which was first on view at the Art Institute of Chicago in 2014, followed by The Museum of Modern Art, New York. Currently on view at Institute gta at ETH Zurich is Christopher Williams. Supplements, Models, Prototypes (through June 2). The artist lives and works in Chicago, Cologne, and Los Angeles.

 

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For more information about available works contact inquiries@davidzwirner.com

Layout 
Christopher Williams
Untitled
Focal length: 210mm
Aperture: f/11
Image ratio: 2.41:1
Distance lens to focal plane: 29.7cm
Distance film layer to focal plane: 101cm
Bellows extension: 50.6cm
Depth of field: 1.289mm
Studio Rhein Verlag, Düsseldorf,
November 20, 2016
, 2016
Selenium toned silver gelatin print
22 x 18 inches (55.9 x 45.7 cm)
Christopher Williams
Model-Nr.: 1421, Model-Nr.: 2401, Model-Nr. 92173, Model-Nr. 92182
(Discussion)
Studio Rhein Verlag, Düsseldorf,
January 21, 2017
, 2017
Archival pigment print on cotton rag paper
21 x 26 1/4 inches (53.3 x 66.7 cm)
Christopher Williams
Best.Nr.: 68011, Best.Nr.: 28856, Best.Nr.: 28856
Devoid of any creative airs and graces, well-proportioned and of recogni-
sable quality. The basic material – cold forged aluminum with high material
thickness – is not only one of the best heat conductors, but also extremely
light and therefore easy to handle. With a constant thickness, the pots’
bases ensure even heat distribution and perfect thermal absorption. Rea-
ching cooking temperature the pan fully stabilizes and adjusts itself perfect-
ly to the stove. The resilient stainless-steel tube-shaped handles reduce
heat transmission. Low maintenance and ruggedness are increased by the
ceramic-enhanced non-stick coating of the internal surfaces. Still, we re-
commend considerate handling by using proper tools. Not suitable for in-
duction hobs. All lids are interchangeable in equivalent sizes.
Material: brushed aluminum – dishwasher safe
Sauce Pan, with handle: Dimensions: Ø 20 x 8 cm / Capacity: 2.3 L /
Weight: 710g
Stew Pot: Dimensions: Ø 28 × 16.5 cm / Capacity: 9.2 L / Weight: 1.6kg
Studio Rhein Verlag, Düsseldorf
January 26, 2017
, 2017
Archival pigment print on cotton rag paper
27 x 34 1/4 inches (68.6 x 87 cm)
Christopher Williams
Untitled
Focal length: 180mm
Aperture: f/5.6
Image ratio: 2:1
Distance lens to focal plane: 27cm
Distance film layer to focal plane: 81cm
Bellows extension: 36cm
Depth of field: 1.932mm
Studio Rhein Verlag, Düsseldorf,
August 13, 2016
, 2016
Archival pigment print on cotton rag paper
25 x 25 inches (63.5 x 63.5 cm)
Christopher Williams
Untitled
Focal length: 210mm
Aperture: f/11
Image ratio: 2.41:1
Distance lens to focal plane: 29.7cm
Distance film layer to focal plane: 101cm
Bellows extension: 50.6cm
Depth of field: 1.289mm
Studio Rhein Verlag, Düsseldorf,
November 20, 2016
, 2016
Archival pigment print on cotton rag paper
31 3/4 x 25 inches (80.6 x 63.5 cm)
Christopher Williams
∆d = df - dn
(Harvest Season)
Studio Rhein Verlag, Düsseldorf,
December 17, 2016
, 2016
Archival pigment print on cotton rag paper
25 x 31 3/4 inches (63.5 x 80.6 cm)
Christopher Williams
Demountable wall panel and panel storage cart from the exhibition The Production Line of Happiness, Art Institute of Chicago, Chicago, January 24 — May 18, 2014
steel, carpet, rubber, plywood, and paint
198.8 x 215.7 x 40.8 cm
Designed by Skidmore, Owings & Merrill LLP (SOM), Chicago, 1982
Studio Rhein Verlag, Düsseldorf
October 3, 2016
(Recto)
, 2016
Archival pigment print on cotton rag paper
31 3/4 x 25 inches (80.6 x 63.5 cm)
Christopher Williams
Demountable wall panel and panel storage cart from the exhibition The Production Line of Happiness, Art Institute of Chicago, Chicago, January 24 — May 18, 2014
steel, carpet, rubber, plywood, and paint
198.8 x 215.7 x 40.8 cm
Designed by Skidmore, Owings & Merrill LLP (SOM), Chicago, 1982
Studio Rhein Verlag, Düsseldorf
October 3, 2016
(Verso)
, 2016
Archival pigment print on cotton rag paper
31 3/4 x 25 inches (80.6 x 63.5 cm)

Opening on Saturday, March 25, the gallery is pleased to announce an exhibition of new photographs by Los Angeles artist Christopher Williams. This will be the artist's first solo exhibition with the gallery. Upcoming exhibitions include For Example: Die Welt ist schön (Revision 20) Couleur Européenne, Couleur Soviétique, Couleur Chinoise at Le Magasin, in Grenoble, France.

 

For Example: Die Welt ist schön (the world is beautiful) is an ongoing project started in 1993, which repositions specific modes of photographic presentation and representation with references to the artist's interest in modernism. The phrase itself is based on the title of the famous best-selling 1928 book by German photographer Albert Renger-Patzsch.

 

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Layout 
Location 

How to start? A door opens. A cash register opens. A can of sardines is opened. A mouth opens. An unzipped zipper opens up a view. Four bottles of beer are opened, with a bottle opener…

 

That's good but it’s not our story. Let's try again.

 

How to read a tire sidewall? Ratio of height to width (aspect ratio). Width of tire in millimeters. Maximum cold inflation and load limit. Load index and speed symbol. Tire ply composition and materials used.

 

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For more information about available works contact inquiries@davidzwirner.com

Layout 
Christopher Williams
Mustafa Kinte (Gambia) Camera: Makina 67 506347 Plaubel Feinmechanik und Optik GmbH Borsigallee 37 60388 Frankfurt am Main, Germany Dirk Schaper Studio, Berlin, July 20th, 2007, 2008
Gelatin silver print
20 x 16 inches (50.8 x 40.6 cm)
Christopher Williams
Mustafa Kinte (Gambia) Camera: Makina 67 506347 Plaubel Feinmechanik und Optik GmbH Borsigallee 37 60388 Frankfurt am Main, Germany Shirt: Van Laak Shirt Kent 64 41061 Mönchengladbach, Germany Dirk Schaper Studio, Berlin, July 20th, 2007, 2008
Gelatin silver print
20 x 16 inches (50.8 x 40.6 cm)
Christopher Williams
Pacific Sea Nettle, Chrysaora Melanaster, Long Beach Aquarium of the Pacific, 100 Aquarium Way, Long Beach, California, September 5, 2007, 2008
Gelatin silver print
24 x 20 inches (61 x 50.8 cm)
Christopher Williams
Untitled (Study in Yellow and Red/Berlin) Dirk Schaper Studio, Berlin, June 21st, 2007 (No. 1), 2008
C-Print
20 x 16 inches (50.8 x 40.6 cm)
Christopher Williams
Cutaway model Nikon EM. Shutter: Electronically governed Seiko metal blade shutter, vertical travel with speeds from 1/1000 to 1 second, with a manual speed of 1/90th. Meter: Center-weighted Silicon Photo Diode, ASA 25-1600, EV 2-18 (with ASA film and 1.8 lens). Aperture Priority automatic exposure. Lens Mount: Nikon F mount, AI coupling (and later) only. Flash: Synchronization at 1/90 via hot shoe. Flash automation with Nikon SB-E or SB-10 flash units. Focusing: K type focusing screen, not user interchangeable, with 3mm diagonal split image rangefinder. Batteries: Two PX-76 or equivalent. Dimensions : 5.3" x 3.38" x 2.13" (135mm x 86mm x 54mm), 16.2 oz (460g). Photography by Douglas M. Parker Studio, Glendale, California, September 9, 2007 - September 13, 2007, 2008
C-Print
20 x 24 inches (50.8 x 61 cm)
Christopher Williams
One of 406 Ceiling Panels (23 3/4 x 23 3/4 inches each) Covered on the back with striped paper (green and white) Each Stripe is 8.7 cm. From “Frost and Defrost: A Work In Situ By Daniel Buren” Otis Art Institute Gallery, 2401 Wilshire Boulevard, Los Angeles, California January 28 – March 4, 1979 Hal Glicksman, Gallery Director; Christopher D’arcangelo, Assistant to Daniel Buren Photography by Douglas M. Parker Studio, Los Angeles, California May 4, 2006, 2006
Chromogenic Print
23 5/8 x 23 1/2 inches (60 x 59.7 cm)
Location 

In an election year, one might examine how politics can be addressed in art. Finding inspiration in the axiom that Francis Alÿs explored in his recent exhibition at David Zwirner, which posited that "sometimes doing something poetic can become political, and sometimes doing something political can become poetic," this exhibition will specifically investigate the ostensibly 'understated' politics that inform a number of artists who have found powerful ways of commenting on social and political concerns as part of a multi-layered artistic practice. 

The works in Quiet Politics are characterized by their ability to address politics in a way that reveals itself poetically–by calling attention to myriad issues (the history of art, identity politics, globalization, consumerism, violence, and social inequality, among others) through seemingly simple aesthetic or conceptual gestures. Such works carry the potential to expand the means of political expression and consciousness. 

 

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For more information about available works contact inquiries@davidzwirner.com

Layout 
Location 

Spring is here, the snow is melting ….

 

I'm going up the country, babe don’t you wanna go…..

 

LICHT, LADEN, BLITZ

 

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For more information about available works contact inquiries@davidzwirner.com

Layout 
Christopher Williams
Naturpark Schwarzwald Mitte/Nord neben
Bergach 
June 8th, 2010
, 2010
Gelatin silver print
18 1/4 x 22 1/4 inches (46.4 x 56.5 cm)
Christopher Williams
Fachhochschule Aachen 
Fachbereich Gestaltung
Studiengang: Visuelle Kommunikation 
Fotolabor für Studenten
Boxgraben 100, Aachen
November 8, 2010
, 2010
Archival pigment print on cotton rag paper
22 3/4 x 18 inches (57.8 x 45.7 cm)
Christopher Williams
Untitled (Study in Red)
Dirk Schaper Studio, Berlin
April 30, 2009
, 2009
Archival pigment print on cotton rag paper
12 1/4 x 10 inches (31.1 x 25.4 cm)
Christopher Williams
Camera: Praktika, Praktisix (1959-64), Kamera- und Kinowerke Dresden, 120 film 6x6 cm, height: 11 cm, width: 16.5 cm, depth: 12 cm, weight: 1280 g Lens: Carl-Zeiss-Jena, Tessar 1:2,8 80mm, normal lens: Biometar 80/2.8, lens mount: Praktisix Bayonet, typical serial no: 20830 November 9th, 2010, 2010
Archival pigment print on cotton rag paper
18 x 22 inches (45.7 x 55.9 cm)
Christopher Williams
Garten in Voigtmichelshof, Alpirsbach, June 7, 2010, 2010
Archival pigment print on cotton rag paper
20 x 24 inches (50.8 x 61 cm)
Christopher Williams
Window (with Window Cutaways)
Set built by Paul Persighetti, Object Design Persighetti, Leysiefen 9a, Leichlingen, Germany
Cutaways produced by Biffar Gmbh & Co. KG, In den Seewiesen, 67480 
Edenkoben, Germany 
Studio Thomas Borho, Oberkasseler Str. 39, Düsseldorf, Germany
November 16th, 2010
, 2010
Gelatin silver print
18 1/4 x 22 1/4 inches (46.4 x 56.5 cm)
Location 

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