Like his professor at the California Institute of the Arts (CalArts) Michael Asher, Williams makes subtle interventions into the existing order of things, revealing the hidden machinery of power behind that which is seemingly transparent and neutral. The Kafkaesque comment seen here was included in Williams's 1997 project For Example: The World Is Beautiful; the title refers to the German photographer Albert Renger-Patzsch's 1928 volume Die Welt Ist Schön-a classic of modernism in which nature and technology are submitted to the cool, distancing eye of the camera lens. Williams intended this entry as a gloss on the wildly popular "sports" picture featured in magazines of the 1920s such as Der Querschnitt and made possible by then-new high-speed instruments such as the Leica.
[David Zwirner, New York]
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 37".
The Metropolitan Museum of Art. "After the Gold Rush: Contemporary Photographs from the Collection," March 22, 2011–January 2, 2012.
Art Institute of Chicago. "Christopher Williams: The Production Line of Happiness," January 22, 2014–May 25, 2014.
Museum of Modern Art, New York. "Christopher Williams: The Production Line of Happiness," July 23, 2014–November 2, 2014.
Williams, Christopher, and Mark Godfrey. Christopher Williams: The Production Line of Happiness. 1st ed. Chicago: Art Institute of Chicago, 2014. pp. 138, 167, 172.