Supplements, models, prototypes
Christopher Williams
2017
Supplements, models, prototypes
Supplements, models, prototypes
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Published on the occasion of the eponymous exhibition at Corbett vs. Dempsey, Chicago, in 2017, “Models, Supplements, Prototypes” investigates how temporary exhibition walls and spatial design influence our perception of photographic art. Developed through an ...
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Supplements, models, prototypes
Christopher Williams
2017
Chicago: Corbett vs. Dempsey
Unpaginated [66 pages]
28 × 21.7 cm
Edition of 750

Published on the occasion of the eponymous exhibition at Corbett vs. Dempsey, Chicago, in 2017, “Models, Supplements, Prototypes” investigates how temporary exhibition walls and spatial design influence our perception of photographic art. Developed through an engagement with the form of the “open letter” as a means of giving public form to private discourse, the project explores photography, exhibition architecture, and image production through collages, installations, and architectural display structures.


 


The accompanying publication opens with a letter to Marcel Raymond, in which the artist describes returning to the studio to take stock of his tools, materials, and working methods. He proposes “Program A”, a project devoted to collecting and studying images of the camera itself: gathering periodicals on photographic technology and camera collecting, then excising and reassembling images charting the development of lightweight cameras onto standard sheets using simple analogue tools: scissors, X-Acto blades, tape, pencil, acid-free paper, and cardstock. He frames this meticulous, archival activity as a means of using accumulated images and characters to develop new methods of seeing and thinking, ultimately seeking to “reclaim duration” – time for reflection that can redefine the present and enable action. The letter closes by questioning whether such a careful, twentieth-century-focused practice might amount to little more than an exercise in stylistic nostalgia.


 


The letter is followed by a critical essay by John Corbett and dozens of blank green pages, interspersed with clippings from IKEA catalogues that occasionally “furnish” the conceptual void that translates the exhibition space into a book format.


 


That same year, William’s exhibition project was adapted, with slight variations, for presentations at ETH Zurich and the Triennale di Milano.

Chicago: Corbett vs. Dempsey
Unpaginated [66 pages]
28 × 21.7 cm
Edition of 750

Published on the occasion of the eponymous exhibition at Corbett vs. Dempsey, Chicago, in 2017, “Models, Supplements, Prototypes” investigates how temporary exhibition walls and spatial design influence our perception of photographic art. Developed through an engagement with the form of the “open letter” as a means of giving public form to private discourse, the project explores photography, exhibition architecture, and image production through collages, installations, and architectural display structures.

 

The accompanying publication opens with a letter to Marcel Raymond, in which the artist describes returning to the studio to take stock of his tools, materials, and working methods. He proposes “Program A”, a project devoted to collecting and studying images of the camera itself: gathering periodicals on photographic technology and camera collecting, then excising and reassembling images charting the development of lightweight cameras onto standard sheets using simple analogue tools: scissors, X-Acto blades, tape, pencil, acid-free paper, and cardstock. He frames this meticulous, archival activity as a means of using accumulated images and characters to develop new methods of seeing and thinking, ultimately seeking to “reclaim duration” – time for reflection that can redefine the present and enable action. The letter closes by questioning whether such a careful, twentieth-century-focused practice might amount to little more than an exercise in stylistic nostalgia.

 

The letter is followed by a critical essay by John Corbett and dozens of blank green pages, interspersed with clippings from IKEA catalogues that occasionally “furnish” the conceptual void that translates the exhibition space into a book format.

 

That same year, William’s exhibition project was adapted, with slight variations, for presentations at ETH Zurich and the Triennale di Milano.

DESCRIPTION

Published on the occasion of the eponymous exhibition at Corbett vs. Dempsey, Chicago, in 2017, “Models, Supplements, Prototypes” investigates how temporary exhibition walls and spatial design influence our perception of photographic art. Developed through an engagement with the form of the “open letter” as a means of giving public form to private discourse, the project explores photography, exhibition architecture, and image production through collages, installations, and architectural display structures.

 

The accompanying publication opens with a letter to Marcel Raymond, in which the artist describes returning to the studio to take stock of his tools, materials, and working methods. He proposes “Program A”, a project devoted to collecting and studying images of the camera itself: gathering periodicals on photographic technology and camera collecting, then excising and reassembling images charting the development of lightweight cameras onto standard sheets using simple analogue tools: scissors, X-Acto blades, tape, pencil, acid-free paper, and cardstock. He frames this meticulous, archival activity as a means of using accumulated images and characters to develop new methods of seeing and thinking, ultimately seeking to “reclaim duration” – time for reflection that can redefine the present and enable action. The letter closes by questioning whether such a careful, twentieth-century-focused practice might amount to little more than an exercise in stylistic nostalgia.

 

The letter is followed by a critical essay by John Corbett and dozens of blank green pages, interspersed with clippings from IKEA catalogues that occasionally “furnish” the conceptual void that translates the exhibition space into a book format.

 

That same year, William’s exhibition project was adapted, with slight variations, for presentations at ETH Zurich and the Triennale di Milano.

Chicago: Corbett vs. Dempsey
Unpaginated [66 pages]
28 × 21.7 cm
Edition of 750

Published on the occasion of the eponymous exhibition at Corbett vs. Dempsey, Chicago, in 2017, “Models, Supplements, Prototypes” investigates how temporary exhibition walls and spatial design influence our perception of photographic art. Developed through an engagement with the form of the “open letter” as a means of giving public form to private discourse, the project explores photography, exhibition architecture, and image production through collages, installations, and architectural display structures.

 

The accompanying publication opens with a letter to Marcel Raymond, in which the artist describes returning to the studio to take stock of his tools, materials, and working methods. He proposes “Program A”, a project devoted to collecting and studying images of the camera itself: gathering periodicals on photographic technology and camera collecting, then excising and reassembling images charting the development of lightweight cameras onto standard sheets using simple analogue tools: scissors, X-Acto blades, tape, pencil, acid-free paper, and cardstock. He frames this meticulous, archival activity as a means of using accumulated images and characters to develop new methods of seeing and thinking, ultimately seeking to “reclaim duration” – time for reflection that can redefine the present and enable action. The letter closes by questioning whether such a careful, twentieth-century-focused practice might amount to little more than an exercise in stylistic nostalgia.

 

The letter is followed by a critical essay by John Corbett and dozens of blank green pages, interspersed with clippings from IKEA catalogues that occasionally “furnish” the conceptual void that translates the exhibition space into a book format.

 

That same year, William’s exhibition project was adapted, with slight variations, for presentations at ETH Zurich and the Triennale di Milano.

MORE BOOKS

Published on the occasion of the eponymous exhibition at Corbett vs. Dempsey, Chicago, in 2017, “Models, Supplements, Prototypes” investigates how temporary exhibition walls and spatial design influence our perception of photographic art. Developed through an engagement with the form of the “open letter” as a means of giving public form to private discourse, the project explores photography, exhibition architecture, and image production through collages, installations, and architectural display structures.

 

The accompanying publication opens with a letter to Marcel Raymond, in which the artist describes returning to the studio to take stock of his tools, materials, and working methods. He proposes “Program A”, a project devoted to collecting and studying images of the camera itself: gathering periodicals on photographic technology and camera collecting, then excising and reassembling images charting the development of lightweight cameras onto standard sheets using simple analogue tools: scissors, X-Acto blades, tape, pencil, acid-free paper, and cardstock. He frames this meticulous, archival activity as a means of using accumulated images and characters to develop new methods of seeing and thinking, ultimately seeking to “reclaim duration” – time for reflection that can redefine the present and enable action. The letter closes by questioning whether such a careful, twentieth-century-focused practice might amount to little more than an exercise in stylistic nostalgia.

 

The letter is followed by a critical essay by John Corbett and dozens of blank green pages, interspersed with clippings from IKEA catalogues that occasionally “furnish” the conceptual void that translates the exhibition space into a book format.

 

That same year, William’s exhibition project was adapted, with slight variations, for presentations at ETH Zurich and the Triennale di Milano.

MORE BOOKS