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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' "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."
Buchkauf
Christopher Williams. Kölnische Dramaturgie, Christopher Williams
- Sprache
- Erscheinungsdatum
- 2023
- product-detail.submit-box.info.binding
- (Paperback)
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- Titel
- Christopher Williams. Kölnische Dramaturgie
- Sprache
- Englisch
- Autor*innen
- Christopher Williams
- Verlag
- König, Walther
- Erscheinungsdatum
- 2023
- Einband
- Paperback
- Seitenzahl
- 49
- ISBN10
- 3753304573
- ISBN13
- 9783753304571
- Reihe
- Schlagwörter
- Sachbücher, Kunst & Kultur, Fotografie
- Beschreibung
- 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' "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."