Christopher Williams’ Retrospective The Production Line of Happiness at MoMA

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Christopher Williams (American, born 1956). Bergische Bauernscheune, Junkersholz / Leichlingen, September 29th, 2009. 2010. Pigmented inkjet print. Paper: 20 x 24″ (50.8 x 61 cm); framed: 32 7/8 x 37 1/16″ (83.5 x 94.1 cm). The Museum of Modern Art, New York. Committee on Photography Fund. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne © Christopher Williams

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Christopher Williams (American, born 1956). 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 / EV2-18 (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 × 3.38 × 2.13 in. (135 × 86 × 54 mm), 16.2 oz (460g) / Photography by the Douglas M. Parker Studio, Glendale, California / September 9, 2007– September 13, 2007. 2008. Chromogenic color print. Paper: 20 x 24″ (50 .8 x 61 cm), framed: 29 15/16 x 37 3/16″ (76 x 94.5 cm). The Museum of Modern Art, New York. Acquired through the generosity of Helen Kornblum in honor of Roxana Marcoci and Committee on Photography Fund. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne © Christopher Williams

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Christopher Williams (American, born 1956). Kodak Three Point Reflection Guide / © 1968, Eastman Kodak Company, 1968 / (Meiko laughing) / Vancouver, B.C. / April 6, 2005. 2005. Chromogenic color print. Paper: 20 x 24″ (50.8 x 61 cm); framed: 34 x 37 3/4″ (86.4 x 95.9 cm). Glenstone. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne © Christopher Williams

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Christopher Williams (American, born 1956). Bouquet for Bas Jan Ader and Christopher D’Arcangelo. 1991. Archival corrugated board, archival photo corners, compound, 4-ply Conservamat, 8-ply Conservamat, drywall, dye transfer print, glass, lacquer-based finish, linen tape, nails, Northern maple, plastic setback strips, primer, screws, seaming tape, paint, and wood. Overall: 120 x 180 x 6 3/4″ (304.8 x 457.2 x 17.1 cm). Lorrin and Deane Wong Family Trust, Los Angeles © Christopher Williams

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Christopher Williams (American, born 1956). Model: 1964 Renault Dauphine-Four, R-1095 / Body Type & Seating: 4-dr-sedan–4 to 5 persons / Engine Type: 14/52 Weight: 1397 lbs. Price: $1,495.00 USD (original) / ENGINE DATA: / Base Four: inline, overhead-valve four-cylinder / Cast iron block and aluminum head. W/removable cylinder sleeves. / Displacement : 51.5 cu. in. (845 oc.) / Bore and Stroke: 2.23 × 3.14 in. (58 × 80 mm) / Compression ratio: 7.25:1 Brake Horsepower: 32 (SAE) at 4200 rpm / Torque: 50 lbs. at 2000 rpm. Three main bearings. Solid valve lifters. / Single downdraft carburetor / CHASSIS DATA: / Wheelbase 89 in. Overall length, 155 in. Height: 57 in. / Width: 60 in. Front thread: 49 in. Rear thread: 48 in. / Standard Tires: 5.50 × 15 TECHNICAL: / Layout: rear engine, rear drive. Transmission: four speed manual / Steering: rack and pinion. Suspension (front): independent coil springs. / Suspension (back): independent with swing axles and coil springs. Brakes: / front/rear disc. Body construction: steel unibody. / PRODUCTION DATA: / Sales 18,432 sold in U.S. in 1964 (all types) / Manufacturer: Régie Nationale des Usines Renault; Billancourt, France / Distributor: Renault Inc., New York, NY., U.S.A. / Serial number: R-10950059799 / Engine Number: Type 670-05 # 191563 / California License Plate number: UOU 087 / Vehicle ID number: 0059799 (For R.R.V.) / Los Angeles, California / January 15, 2000 (No. 6). 2000. Gelatin silver print. Paper: 11 x 14″ (28 x 35.6 cm); framed: 26 × 30″ (66 × 76.2 cm). The Art Institute of Chicago, Emilie L. Wild Fund, 2004.21 © Christopher Williams

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Christopher Williams (American, born 1956). RITTERSPORT / Von oben nach unten/from top to bottom / 100g Tafeln/100 g Bars / Offizieller Produktname/Official Product Name/Ean Code Bar/ / UPC Code for Case/Bars per Case / Voll Nuss/ Whole Hazelnuts/4000417019004/050255013005/10 / Joghurt/Yogurt/4004170270 09/ 0525502700/12 / Voll Erdnuss/4000417266202/…/10 / Weisse Voll Nuss/ White Whole Hazelnuts/4000417013002/ / 050255013003/10 / Marzipan/Marzipan/40041725005/050255025006/12 / Cappucino/Cappuccino/40004172300 03/0550255230042/12 / Fotostudio Axel Gnad, Düsseldorf / October 21, 2008 (No. 1). 2009. Pigmented inkjet print. Paper: 20 x 24″ (50.8 x 61 cm); framed: 33 5/8 x 37 1/8″ (85.4 x 94.3 cm). Collection of Liz and Eric Lefkofsky © Christopher Williams

Through Nov. 2, visitors to the Museum of Modern Art (MoMA) in New York City may view The Production Line of Happiness, the first-ever retrospective of photographer and CalArts alumnus Christopher Williams’s (Art MFA 81) oeuvre, spanning his 35-year career.

The exhibit’s title is a nod to the subject of a 1976 Jean-Luc Godard documentary, a factory worker and amateur filmmaker who describes his filmmaking hobby as “the production line of happiness.” “In Williams’s hands,” says a press release, “the phrase appears to refer broadly to the function of much photography in today’s consumer culture, in which it not only pictures but also produces so many experiences and objects to be consumed.”

Peter Schjeldahl, The New Yorker’s art critic, writes:

One immediately compelling aspect of Williams’s process is his mastery of the forms and protocols of display. The exactingly considered, quite beautiful arrangements of walls and works in the show sparkle with wit…. An only mildly curious ten-minute tour will refresh your eye and spatial sense, as a car wash does a car. The most viable alternative approach requires hours of study.

The exhibit gathers not only Williams’s photography, which includes work from his magnum series For Example: Die Welt ist schön (The world is beautiful), but also his little-seen Super-8 film shorts, produced while a student at CalArts. Also present are extensive vinyl “supergraphics” and interventions with display architecture, including sections of walls cut out and transported from museums where Williams has previously shown.

In addition, Williams will organize a two-week experimental film program from Sept. 17–23, as part of MoMA’s Carte Blanche film series. On Sept. 15, as part of the museum’s Modern Mondays series, the artist will discuss his Super-8 films with Chief Curator of Media and Performance Art Stuart Comer.

Above are selected works from The Production Line of Happiness.