A concise introduction to the theatrics and rituals of the art fair
This latest book on the work of Los Angeles-born, Cologne-based photographer Christopher Williams (born 1956) explores the transparent theatricality of the modern art fair, inspired by Art Cologne 1967. Williams’ black-and-white photographs lead the viewer through clinical product shots from his Adapted for Use series paired with images of past art fairs, including the photographer’s own participation in a booth hosted by David Zwirner Gallery. The result is a stoic meditation of the object as commodity and the spaces in which these goods are purchased. This publication includes a feature essay by art historian Tom McDonough, who writes of Williams’ work: “trust in the transparency of the visual field [is] consistently and thoroughly undermined. The static set promised a totalized image and simultaneously withheld it, suspending the audience in an uncomfortable awareness of the lack inscribed in the pro-visual field.”
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
FORMAT: Pbk, 8.25 x 9 in. / 50 pgs / 45 b&w. LIST PRICE: U.S. $38.00 LIST PRICE: CANADA $55 ISBN: 9783753304571 PUBLISHER: Walther König, Köln AVAILABLE: 1/9/2024 DISTRIBUTION: D.A.P. RETAILER DISC: FLAT40 PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: NA LA ASIA AU/NZ AFR
Published by Walther König, Köln. Text by Tom McDonough.
A concise introduction to the theatrics and rituals of the art fair
This latest book on the work of Los Angeles-born, Cologne-based photographer Christopher Williams (born 1956) explores the transparent theatricality of the modern art fair, inspired by Art Cologne 1967. Williams’ black-and-white photographs lead the viewer through clinical product shots from his Adapted for Use series paired with images of past art fairs, including the photographer’s own participation in a booth hosted by David Zwirner Gallery. The result is a stoic meditation of the object as commodity and the spaces in which these goods are purchased. This publication includes a feature essay by art historian Tom McDonough, who writes of Williams’ work: “trust in the transparency of the visual field [is] consistently and thoroughly undermined. The static set promised a totalized image and simultaneously withheld it, suspending the audience in an uncomfortable awareness of the lack inscribed in the pro-visual field.”
