• Christopher Williams, "Fig. 4: Changing the shutter speed, Exakta Varex IIa, 35 mm film SLR camera, Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, German, Democratic Republic, Body serial no. 979625 (Production period: 1960 - 1963), Carl Zeiss Jena Tessar, 50mm f/2.8 lens, Manufactured by VEB Carl Zeiss Jena, Jena, German Democratic Republic, Serial no. 8034351 (Production period: 1967 - 1970), Model: Christoph Boland, Studio Thomas Borho, Oberkasseler Str. 39, Düsseldorf, Germany, June 19, 2012", 2012, Archival Pigment Print, 61 x 50.8 cm / 24 x 20 inches
  • Christopher Williams, Installation view "For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 13)", Museum Dhondt-Dhaenens, Deurle, 2011
  • Christopher Williams, "Femme, monument, 1970. Kunstgießerei, Bonvinici, Verona. Bronze, 250 x 100 x 50 cm, Museum Frieder Burda, Baden-Baden, Bronze with black patina, signed and numbered, with engraving 'Miro EA 2', June 9, 2010", 2010, Gelatin Silver Print, 60.3 x 50.5 cm / 23.7 x 19.8 inches
  • Christopher Williams, "Staatliche Kunsthalle Baden-Baden, Lichtentaler Allee 8a, Baden-Baden, Germany, June 7, 2010", 2010, Archival Pigment Print, 61.0 x 50.8 cm / 24 x 20 inches
  • Christopher Williams, Installation view "For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 11)", Kunsthalle Baden-Baden, Baden-Baden, 2010, Photo: Wolfgang Günzel
  • Christopher Williams, Installation view "For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 11)", Kunsthalle Baden-Baden, Baden-Baden, 2010, Photo: Wolfgang Günzel
  • Christopher Williams, "Cutaway of a LEICA TRI-ELMAR-M“, 28-35-50 mm f/4 ASPH., Angle of view:, Focal lenght 28 mm: 75°, 65°, 46°, Focal length 35 mm: 63°, 54°, 38°, Focal length 50 mm: 47°, 40°, 27°, Optical design: 8 elements in 6, Aperture: f/4 (largest) f/22 (smallest), Scale: combined meter/feet-increments, Leica M quick-change bayonet, Focusing range: 1m to Infinity, Smallest object field:, Focal length 28 mm: 750 x 1130 mm, Focal length 35 mm: 620 x 930 mm, Focal length 50 mm: 430 x 650 mm, Highest reproduction ratio:, Focal length 28 mm: 1:31, Focal length 35 mm: 1:26, Focal length 50 mm: 1:18, Lens produced between: 1998 and 2007, Date of the cut: unknown, Fotostudio Axel Gnad, Düsseldorf, February 13, 2009" (color), 2009 Archival Pigment Print, 50.8 x 60.8 cm / 20 x 24 inches
  • Christopher Williams, "Rittersport, Von oben nach unten / from the top to the bottom, 100 g 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 / 40004170270 09 / 050255027000 / 12, Voll Erdnuss / 4000417262202 / 10, Weisse Voll Nuss / White Whole Hazelnuts / 4000417013002 / 050255013003 / 10, Marzipan / Marzipan / 4000417025005 / 050255025006 /12, Cappuccino / Cappuccino / 40004172300 03 / 0550255230042 / 12, October 21, 2008" (No. 3), 2009, Archival Pigment Print, 50.8 x 60.8 cm / 20 x 24 inches
  • Christopher Williams, Installation view Galerie Gisela Capitain, Cologne, 2009
  • Christopher Williams, "Pacific Sea nettle, Chrysaora, Melanaster, Long Beach Aquarium of the Pacific, 100 Acquarium Way, Long Beach, California, July 9, 2008", 2009, Archival Pigment Print, 35.6 x 35.6 cm / 14 x 14 inches
  • Christopher Williams, Installation view "For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 5)", Galleria d‘Arte Moderna, Bologna, 2007
  • Christopher Williams, "Untitled (Study in Yellow/Berlin), Dirk Schaper Studio, Berlin, June 21, 2007 (No.1), 2008", 2008, Chromogenic Print, 50.8 x 40.6 cm / 20 x 16 inches

CHRISTOPHER WILLIAMS

 

Born in 1956, Los Angeles, CA

 

EDUCATION

 

1981

B.F.A. California Institute of Arts, Valencia, CA

 

1979

M.F.A. California Institute of Arts, Valencia, CA

 

Lives and works in Los Angeles, CA

 

Since 2008, Professor at Kunstakademie Düsseldorf, Germany

 

SOLO EXHIBITIONS

 

2017

Open Letter: The Family Drama Refunctioned? (From the Point of View of Production), David Zwirner, London, UK

Supplements, Models, Prototypes, Corbett vs. Dempsey, Chicago, IL

Supplements, Models, Prototypes, ETH Zürich, Institute gta, Zürich, Switzerland

 

2016

Open Letter to Model No. 1740, Capitain Petzel, Berlin, Germany

 

2015       

In Light of 25 Years, Witte de With, Rotterdam, The Netherlands

The Production Line of Happiness, Whitechapel Gallery, London, UK

The Production Line of Happiness, Galerie Mezzanin Karin Handlbauer, Geneva, Switzerland

 

2014

For Example: Dix-Huit Leçons Sur La Société Industrielle  (Revision 19), David Zwirner, New York, NY

The Production Line of Happiness, The Art Institute of Chicago, Chicago, IL (travelling to: The Museum of Modern Art, New York, NY; Whitechapel Gallery, London, UK; MAMCO, Geneva, Switzerland)

 

2013

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 18), David Zwirner, London, UK

Volker Bradtke, Düsseldorf, Germany

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 17), Galerie Gisela Capitain, Cologne, Germany

The Production Line of Happiness, Galerie Gisela Capitain, Cologne, Germany

 

2012

The Production Line of Happiness, Kabinett für aktuelle Kunst, Bremerhaven, Germany

Rochade. Christopher Williams au Paris Bar, Paris Bar, Berlin, Germany (organized by Haubrokshows)

 

2011

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 15), Museum Morsbroich, Leverkusen, Germany

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 14), House of Art, Budweis, Czech Republic

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 13), Museum Dhondt-Dhaenens, Deurle, Belgium

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 12), David Zwirner, New York, NY

 

2010

Andrea Fraser and Christopher Williams, Galerie Christian Nagel, Antwerp, Belgium

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 11), Kunsthalle Baden-Baden-Baden-Baden, Germany

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 10), Bergen Kunsthall, Bergen, Germany

 

2009

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 9), Galerie Gisela Capitain, Cologne, Germany

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 8), Capitain Petzel, Berlin, Germany

Mathias Poledna  / Christopher Williams, Kunstverein Bonn, Bonn, Germany

 

2008

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 7), David Zwirner, New York, NY

 

2007

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 6), Kunsthalle Zürich, Zurich, Switzerland

Christopher Williams, Haubrokshows, Axel Haubrok Collection, Berlin, Germany

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 5), Galleria d’Arte Moderna, Bologna, Italy

 

2006

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 4), Museu Serralves, Porto, Portugal

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 3), Galerie David Zwirner, New York, NY

 

2005

Christopher Williams. De Rijke / De Rooij, Wiener Secession, Vienna, Austria

For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 2), Galerie Gisela Capitain, Cologne, Germany

For Example: Dix-Huit Leçons Sur La Société Industrielle(Revision I), Kunstverein

Braunschweig, Braunschweig, Germany

For Example: Dix-Huit Leçons Sur La Société Industrielle (Draft 2), Contemporary Art Gallery, Vancouver, Canada

Christopher Williams Supplement 04 332’17”, DVD (2004), Paula Cooper Gallery, New York

 

2004

332 Min 17 Sec, Galerie Gisela Capitain, Cologne, Germany

 

2003

Wako Works of Art, Tokyo, Japan

 

2002

Christopher Williams Théâtre-Vérité, Galerie David Zwirner, New York, NY

Galerie Gisela Capitain, Cologne, Germany

 

2001

For Example: Die Welt ist schön (Revision 24), Couleur Européene, Couleur Soviétique, Couleur Chinoise, Govett-Brewater Art Gallery, New Plymouth, New Zealand

 

2000

For Example: Die Welt ist schön (Revision 23), Couleur Européene, Couleur Soviétique, Couleur Chinoise, Wako Works of Art, Tokyo, Japan

For Example: Die Welt ist schön (Revision 22), Couleur Européene, Couleur Soviétique, Couleur Chinoise, Museum Haus Lange – Haus Esthers, Krefeld, Germany

For Example: Die Welt ist schön (Revision 21), Couleur Européene, Couleur Soviétique, Couleur 

Chinoise, Galerie Gisela Capitain, Cologne, Germany

For Example: Die Welt ist schön (Revision 20), Le Magasin, Centre National díart contemporain, Grenoble, France

For Example: Die Welt ist schön (Revision 19), Couleur Européene, Couleur Soviétique, Couleur 

Chinoise, Galerie Kienzle & Gmeiner, Berlin, Germany

For Example: Die Welt ist schön (Revision 18), Couleur Européene, Couleur Soviétique, Couleur 

Chinoise, Galerie Ester Freund, Vienna, Austria

For Example: Die Welt ist schön (Revision 17), Couleur Européene, Couleur Soviétique, Couleur 

Chinoise, David Zwirner Gallery, New York, NY

 

1999

For Example: Die Welt ist schön (Revision 16), Archéologie, Beaux-Arts, Ethnographie, Théâtre-Vérité, variété, Couleur Européene, Couleur Soviétique, Couleur Chinoise, Galerie Marian Goodman, Paris,

France

 

1998

For Example: Die Welt ist schön (Revision 15), Transform the world! Poetry must be made by all, Margo Leavin Gallery, Los Angeles, CA

For Example: Die Welt ist schön (Revision 14), Transform the world! Poetry must be made by all, Galerie Gisela Capitain, Cologne, Germany

For Example: Die Welt ist schön (Revision 13), Luhring Augustine Gallery, New York, NY

 

1997

For Example: Die Welt ist schön (Revision 12), A retrospective from first draft to final draft, Kunstverein Hamburg, Hamburg, Germany

For Example: Die Welt ist schön (Revision 11), Galleria Lia Rumma, Naples, Italy

For Example: Die Welt ist schön (Revision 10), A retrospective from first draft to final draft, Kunsthalle Basel, Basel, Switzerland

For Example: Die Welt ist schön (Revision 9), A retrospective from first draft to final draft, Museum Boijmans Van Beuningen, Netherlands

 

1996

For Example: Die Welt ist schön (Revision 8), Galerie Gisela Capitain, Cologne, Germany

For Example: Die Welt ist schön (Revision 7), Margo Leavin Gallery, Los Angeles, CA

For Example: Die Welt ist schön (Revision 6), Painter Editions, Vancouver, Canada

 

1995

Oehlen Williams 95 (with Albert Oehlen)/For Example: Die Welt ist schön (Revision 5), Wexner

Center for the Arts, Ohio, Columbus, OH

Film Screening by Christopher Williams, The Museum of Modern Art Syros, Syros, Greece

 

1994

For Example: Die Welt ist schön (Revision 4), Galerie Borgmann Capitain, Cologne, Germany

For Example: Die Welt ist schön (Revision 3), Margo Leavin Gallery, Los Angeles, CA

 

1993

Person’s Weekend Museum, Tokyo, Japan

Room Tomoyo Kawai, Room 401, Casa de Verde, Tokyo, Japan

For Example: Die Welt ist schön (Revision 2), Luhring Augustine Gallery, New York, NY

For Example: Die Welt ist schön (First Draft), Kunstverein München, Munich, Germany

 

1992

Archäologie, Beaux Arts, Ethnographie, Varietes, Galerie Gisela Capitain, Cologne, Germany

Luhring Augustine, New York, NY (with Sophie Calle)

Two Evenings of Film, Film Festival Cologne, Cologne, Germany (with Albert Oehlen)

Felix Gonzales-Torres and Albert Oehlen, Margo Leavin Gallery, New York, NY (curated by Christopher Williams)

Luhring Augustine (Viewing Room), New York, NY

 

1991

Galerie Max Hetzler, Cologne, Germany

Galerie Crousel-Robelin/BAMA, Paris, France

 

1991

Galerie Nelson, Lyon, France

 

1990

Luhring Augustine Hetzler, Santa Monica, CA

 

1989

Christopher Williams, Shedhalle Zürich, Zurich, Switzerland

Galerie Crousel-Robelin/BAMA, Paris, France

Luhring Augustine, New York, NY

 

1985

Selections from ADWEEK: Western Advertising News, Vol XXXIV, No. 20, April 30, 1984, Beyond Baroque Literary Arts Center, Venice, CA (Programmed with Herbert Gold)

 

1982

Christopher Williams, Jancar/Kuhlenschmidt Gallery, Los Angeles, CA

Source: The Photographic Archive, John F. Kennedy Library, Jancar/Kuhlenschmidt Gallery, Los Angeles, CA

 

1981

M.F.A. Exhibition, California Institute of the Arts, Valencia, CA

 

1980

Mezzanine Gallery, California Institue of the Arts, Valencia, CA

 

1979

One Film (Approximately 3,5 minutes in length) will be shown, rewound, and shown again, Bijou Theatre, California Institute of the Arts, Valencia, CA

3 Films, California Institute of the Arts, Valencia, CA

 

GROUP EXHIBITIONS

 

2017

The Absent Museum, WIELS, Contemporary Art Centre, Brussels, Belgium

You Are Looking At Something That Never Occurred, Zabludowicz Collection, London, UK

 

2016

Albert Oehlen, The Cleveland Museum of Art, Cleveland, OH

California and the West: Photography from the Campaign for Art, San Francisco Museum of

Modern Art, San Francisco, CA

L’image Volée/The Stolen Picture, Fondazione Prada, Milan, Italy

Mit anderen Augen/With Other Eyes, Kunstmuseum Bonn, Bonn, Germany; Kunsthalle Nürnberg, Nuremberg, Germany

Ordinary Pictures, Walker Art Center, Minneapolis, MN

We Call It Ludwig, Museum Ludwig, Cologne, Germany

 

2015

America Is Hard To See, Whitney Museum of American Art, New York, NY

Anatomies de l’automate, La Panacée, Montpellier, France

Chalet Dallas, Nasher Sculpture Center, Dallas, TX

Display Show, Temple Bar Gallery, Dublin, Ireland [itinerary: Eastside Projects, Birmingham, England;

Stroom Den Haag, The Netherlands]

Everything Must Go: Art and the Market, Lewis Glucksman Gallery, University College Cork,

Ireland

It’s Obvious, Collection Vanmoerkerke, Ostend, Belgium

Le Souffleur: Schürmann meets Ludwig, Ludwig Forum Aachen, Germany

Open This End: Contemporary Art from the Collection of Blake Bryne, Nasher Museum of Art at Duke University, Durham, NC (travelling to: The Ohio State University Urban Arts Space, Columbus, OH; Miriam and Ira D. Wallach Art Gallery, Columbia University, NY; Ronna and Eric Hoffman Gallery of Contemporary Art, Lewis & Clark College, Portlamd, OR)

Perfect Likeness: Photography and Composition, Hammer Museum, Los Angeles, CA

 

2014

Bringing Light into a Windowless Room, Capitain Petzel, Berlin, Germany (with Diango Hernández and Matt Mullican)

1984-1999: The Decade, Centre Pompidoi- Metz, Metz, France

Darren Bader: Photographs I Like, Andrew Kreps Gallery, New York, NY

Love Story: The Anne and Wolfagang Titze Collection, Winter Palace and 21er Haus, Belvedere, Vienna, Austria

 A Machinery for Living, Petzel Gallery, New York, NY (organized by Walead Beshty)

(Mis)Understanding Photography: Works and Manifestos, Museum Folkwang, Essen, Germany

Propaganda for Reality, Museum Morsbroich, Leverkusen, Germany

Take It or Leave it: Institution, Image, Ideology, Hammer Museum, Los Angeles, CA

To do as one would, David Zwirner, New York, NY

What is a Photograph?, International Center of Photography, New York, NY

 

2013

55th Venice Biennale: Il Palazzo Enciclopedico/The Encyclopedic Palace, Venice, Italy

The Feverish Library (continued), Capitain Petzel, Berlin Magnetic North, Ratio 3, San Francisco, CA

Life with Pop: A Reproduction of Capitalist Realism, Kunsthalle Düsseldorf, Düsseldorf, Germany

Magnetic North, Ratio 3, San Francisco, CA

Official Welcome – New works of the foundation for the acquisition of contemporary art, Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany

Tradition. A selection from the Center for Research on Old Textiles (CSROT), Marres, Maastricht, The Netherlands (travelling to Grazer Kunstverein, Graz, Austria)

 

2012

Ändere dich, Situation!, Stadtgalerie Schwaz, Schwaz, Austria A Blind Spot, Haus der Kulturen der Welt (HKW), Berlin, Germany

The Deutsche Börse Photography Prize, The Photographers’ Gallery, London, UK (travelling to Deutsche Bürse, Frankfurt; C/O Berlin)

Fremde überall/Foreigners everywhere: Contemporary Art from the Pomeranz Collection, Jewish Museum, Vienna, Austria

Ghosts in the Machine, New Museum, New York, NY

Poule!, Fundación/Colección Jumex, Ecatepec, Mexico

Stand still like the hummingbird, David Zwirner, New York, NY

This Will Have Been: Art, Love & Politics in the 1980s, Museum of Contemporary Art Chicago, Chicago, IL (travelling to: Walker Art Center, Minneapolis, Minnesota; Institute of Contemporary Art/Boston)

 

2011

PHOTOGRAPHY CALLING! Sammlung Wilhelm und Gaby Schürmann, Sprengel Museum Hannover, Hannover, Germany

thank you, haubrookshows, Berlin, Germany

Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo, Artist Space, New York, NY

Moshe Ninio, Haim Steinbach and Christopher Williams, Dvir Gallery, Tel Aviv, Israel

Under the Big Black Sun: California Art 1974-1981, The Museum of Contemporary Art, Los Angeles, CA

The boy who robbed you a few minutes before arriving at the ball, Galerie Gisela Capitain, Cologne, Germany (curated by Regina Fiorito and Kelley Walker)

Heterotopien und Wissensräume in der Kunst, Kunsthaus Graz, Graz, Austria

After images, Musee Juif De Belgique, Brussels, Belgium

Buchumschläge von Hannes Jähn, Antiquariat Buchholz, Cologne, Germany (display window arranged by Christopher Williams)

Shapes, haubrokshows, Berlin, Germany

 

2010

Atlas. How to Carry the World on One’s Back, Museo Nacional Centro de Arte Reina SofÌa, Madrid, Spain (travelling to: ZKM, Karlsruhe, Germany; Sammlung Falckenberg, Hamburg, Germany)

Picture Industry (Good Bye To All That), Regen Projects II, Los Angeles, CA (organized by Walead Beshty)

Filmschönheit, Galerie Gisela Capitain, Cologne, Germany (curated by Albert Oehlen)

Endless Bummer / Surf Elsewhere, Blum & Poe, Los Angeles, CA (curated by Drew Heitzler)

Wunschzettel, im Rahmen der Ausstellung: Nur Papier, und doch die ganze Welt, Staatsgalerie Stuttgart, Stuttgart, Germany

Swagger, Drag, Fit Together, Wallspace Gallery, New York, NY

Exhibition, Exhibition, Castello di Rivoli, Rivoli/Turin, Italy (curated by Adam Carr)

Filmschönheit, Galerie Mezzanin, Vienna, Austria (curated by Albert Oehlen)

Twenty Five, Luhring Augustine, New York, NY

Eight Gwangju Biennale, Gwangju, South Korea

 

2009

Männer und Frauen, Kunstraum Grässlin, St. Georgen, Germany

Das Gespinst, Museum Abteiberg, Mönchengladbach, Germany

Modernologies. Contemporary artists researching modernity and modernism, Museu d’Art Contemporani de Barcelona, Barcelona, Spain (curated by Sabine Breitwieser)

Then the work takes place. Zum Paradigma des Konzeptuellen in der zeitgenössischen Fotografie, Camera Austria, Kunsthaus Graz, Graz, Austria

Connected things collected, Haubrok Collection, Berlin, Germany

Walead Beshty, Kelly Walker and Christopher Williams, China Art Objects Galleries, Los Angeles, CA

An Unruly History of the Readymade, Fundación/Colección Jumex, Mexico City, Mexico

 

2008

Galerie Catherine Bastide & Dépendance, Brussels, Belgium

Choosing, Galerie Sfeir-Semler, Hamburg, Germany (curated by Robert Barry)

Quiet Politics, Zwirner & Wirth Gallery, New York, NY

Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA

Not So Subtle Subtitle, Casey Caplan, New York, NY

Re-Designed, Galleria Lia Rumma, Milan, Italy

Kavalierstart, 1978 – 1982 Aufbruch in die Kunst der 80er, Museum Morsbroich Leverkusen, Leverkusen, Germany

Photography on Photography: Reflections on the Medium since 1960, Metropolitain Museum of Art,

New York, NY

Color Chart: Reinventing Color, 1950 to Today, The Museum of Modern Art, New York, NY

15 Years, Part III, Wako Works of Art, Tokyo, Japan

 

2007

Been Up So Long it Looks Like Down to Me, Presentation House Gallery, Vancouver, Canada

Brasil: desFocos [o olho de fora], Centro Cultural Banco Do Brasil, Rio de Janeiro; Paço das Artes, São Paulo, Brasil

Yäg, La Planta, Arte Contemporáneo Omnilife, Guadalajara, Spain

Ten Years, Emily Tsingou gallery, London, UK

15 Years, Early and New Works Part XX, Wako Works of Art, Tokyo, Japan

Angelegenheiten, die sich daraus ergeben, Künstlerhaus Bremen, Bremen, Germany

L.A. Desire, Galerie Dennis Kimmerich, Düsseldorf, Germany (curated by Wilhelm Schürmann)

Conditions of Display, The Moore Space, Miami, FL

Cross-border. Fotografie und Videokunst aus dem MUMOK Wien, Kunstmuseum Stuttgart, Stuttgart, Germany

What does the jellyfish want?, Museum Ludwig, Cologne, Germany

Die Wörter, Die Dinge, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany

Les Temps moderne: Collection du Frac Bretagne, Centre d’Art Contemporain, Bignan, France

Tomorrowland: CalArts in Moving Pictures, Centre Pompidou, Paris, France

 

2006

Motore Immobile, Greene Naftali Gallery, New York, NY

Los Angeles – Paris, The Los Angeles Art Scene, 1955-1985, Centre Pompidou, Paris, France (curated by Catherine Grenier)

Whitney Biennial 2006: Day for Night, Whitney Museum of American Art, New York, NY

staged/unstaged, Emily Tsingou Gallery, London, UK

Make your own life: Artists in & out of Cologne, Institute of Contemporary Art – University of Pennsylvania, Pennsylvania, PA

Why Pictures Now, MUMOK Stiftung Ludwig, Vienna, Austria

The Swan is very peaceful…,Richard Telles Fine Art, Los Angeles, CA

Surprise, Surprise, ICA London, London, UK

1,82, Haubrokshows, Berlin, Germany

Make Your Own Life: Artists In & Out of Cologne, Institute of Contemporary Art, University of

Pennsylvania, Philadelphia, PA; The Power Plant, Toronto, Canada

Keep passing the open windows or Happiness, Galerie Gisela Capitain, Cologne, Germany (curated by Anke Kempkes)

Strange Drugs, Galerie Rodolphe Janssen, Brussels, Belgium

Into a Journey, Meyer-Riegger Galerie, Karlsruhe, Germany

Kunst aus Los Angeles der 60er bis 90er Jahre, Kunstverein Braunschweig, Braunschweig, Germany

 

2005

bildwechsel/01, Sammlung F.C. Gundlach, Deichtorhallen Hamburg, Hamburg, Germany

L’estasi delle cose / The Ecstasy of Things / Im Rausch der Dinge, Spazio Oberdan, Milan, Italy; Museo di Fotografia Contemporanea, Cinisello Balsamo, Italy

It takes some time to open an oyster, Centro Cultural Andraxt, Mallorca, Spain (curated by Yilmaz Dziewor)

I really should…, Lisson Gallery, London, UK (curated by Stefan Kalmár)

Roe Etheridge, Zoe Leonard, Christopher Williams, Mai 36 Galerie, Zurich, Switzerland

 

2004

Before the End, Le Consortium, Dijon, France

Playing with Nature: Flowers Observed, Flowers Transformed, Andy Warhol Museum, Pittsburg, PA

Quodlibet (Teil 1), Galerie Daniel Buchholz, Cologne, Germany

Documentary Evidence, Galerie Chez Valentin, Paris, France (curated by Sophie Berrebi)

Artists’ Favourites Act I, Institute of Contemporary Arts, London, UK

Das Kreuz der Venus- Feuer, Tod und Schönheit, Maximilianmuseum, Augsburg, Garten Eden, Germany

Galerie Bärbel Grässlin, Frankfurt. Germany (curated by Doris Kettner)

Quodlibet (Teil 2), Galerie Daniel Buchholz, Cologne, Germany

Biennial Lodz, Lodz, Poland

Last One On is a Soft Jimmy, Paula Cooper Gallery, New York, NY

100 Artists See God, The Jewish Museum of San Francisco, San Francisco, CA;

(travelling to: Contemporary Arts Center of Virginia, Virginia Beach, VA; ICA Institute of Contemporary Arts, London, UK)

Im Rausch der Dinge, Fotomuseum Winterthur, Winterthur, Switzerland

 

2003

Re-Production 2, Georg Kargl, Vienna, Austria

100 Artists See God,  Independent Curators International, New York, NY

Unreal Estate Opportunities, PKM Gallery, Seoul, Korea

Raid the Icebox, Margo Leavin Gallery, Los Angeles, CA

Society for Contemporary Art: Acquisition Selections, Art Institute of Chicago, Chicago. IL

Adorno. Die Möglichkeit des Unmöglichen, Frankfurter Kunstverein, Frankfurt, Germany

fast forward – Media Art. Sammlung Goetz, ZKM, Karlsruhe, Germany

 

2002

Prophets of boom. Werke aus der Sammlung Schürmann, Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany

Transform the World 2002, Wako Works of Art, Tokyo, Japan

Solitudes, Galerie Michel Rein, Paris, France

Rethinking Photography, Forum Stadtpark, Graz, Austria

Portrait Photography, Mai 36 Galerie, Zurich, Switzerland

La Chinoise, Baumgartner Gallery, New York, NY

ReProduktion, Galerie Bernhard Knaus, Mannheim, Germany

 

2001

Vom Eindruck zum Ausdruck. Sammlung Grässlin, Deichtorhallen Hamburg, Hamburg

“W”, Musée des Beaux Arts, Dole, France (curated by Robert Nickas)

Mezzanin, Vienna, Austria

Detourism, The Renaissance Society, University of Chicago, Chicago, IL

Take Two/Reprise, The Ottawa Art Gallery, Ottowa, Canada

In Between: Art and Architecture, MAK Center, West Hollywood, CA

Alterning Current (Teil 2), Sammlung Hauser und Wirth, St. Gallen, Switzerland

Mobile Wall Systems, Museum Boijmans Van Beuningen, Rotterdam, Netherlands

I <3 NY, David Zwirner, New York, NY

 

1999

The work shown in this space is a response to the existing conditions and/or work previously shown within the space III, neugerriemschneider, Berlin, Germany

Gallery Artists Summer Show, David Zwirner, New York, NY

Summer Group Show, Margo Leavin Gallery, Los Angeles, CA

The Museum as Muse, Museum of Modern Art, New York, NY

Rotterdam Foto-Biennale, Rotterdam, Netherlands

 

1998

Places that are elsewhere, David Zwirner Gallery, New York, NY

TransFiction I: Point Blank, Charim Klocker, Vienna, Austria

Travel & Leisure, Paula Cooper Gallery, New York, NY

At the End of the Century: One Hundred Years of Contemporary Architecture, Museum of

Contemporary Art, Tokyo, Japan (travelling to Colegio de San Ildefonso, Mexico City, Mexico;

Museum Ludwig, Cologne, Germany; Museum of Contemporary Art, Los Angeles, CA)

90069, Margo Leavin Gallery, Los Angeles, CA

 

1997

Someone else with my fingerprints, Galerie David Zwirner, New York, NY (travelling to: Galerie Hauser & Wirth, Zurich, Switzerland; August Sander Archiv/SK Stiftung Kultur, Cologne, Germany; Kunstverein München, Munich, Germany; Kunsthaus Hamburg, Hamburg, Germany (curated by Wilhelm Schürmann)

Das Ende der Avantgarde: Kunst als Dienstleistung, Kunsthalle der Hypo-Kulturstiftung, Munich

Sunshine & Noir, Kunst in L.A. 1960-1997, Kunstmuseum Wolfsburg, Wolfsburg, Germany; Louisiana Museum, Humblebaek/Copenhagen, Denmark; Castello di Rivoli, Rivoli/Turin, Italy; UCLA at the Armand Hammer Museum and Cultural Center, Los Angeles, CA

Wechselstrom, Galerie Ulrich Fiedler, Cologne, Germany

At One Remove, Henry Moore Institute, Leeds, UK

Nature Redux: Photographs by Ten Artists, Harris Art Gallery, University of La Verne, La Verne, CA

 

1996

Roy Arden, Dan Graham, Edward Ruscha, Christopher Williams, Galerie Blum & Poe, Santa Monica, CA

Nobuyoshi Araki, Larry Clark, Thomas Struth, Christopher Williams, Kunsthalle Basel, Basel, Switzerland

Nature Redux: Photographs by Ten Artists, Santa Barbara Country Arts Commission at Channing

Peake Gallery, Santa Barbara, CA

 

1995

Dark Memories Hovering Below the Transparent Screen of the Present will Project Images of Reality in Sharp Silhouette to Create the Pleasurable Effect of a Double World, Marc Foxx Gallery, Santa Monica, CA

People, Stephan Balkenhol, Marlene Dumas, Thomas Ruff, Thomas Struth, Christopher Williams,

Monica de Cardenas Gallery, Milan, Italy

Untitled (Reading Room), Margo Leavin Gallery, Los Angeles, CA

Das Ende der Avantgarde, Kunst als Dienstleistung, Hypo-Kulturstiftung, Munich, Germany

 

1994

Radical Scavenger(s): The Conceptual Vernacular in Recent American Art, Museum of Contemporary Art, Chicago, IL

Die Orte der Kunst, Sprengel Museum, Hannover, Germany

In the Field. Landscape in Recent Photographie, Margo Leavin Gallery, Los Angeles, CA

notational photographs, Metro Pictures + Petzel Borgmann Gallery,  New York, NY

Temporary Translation(s). Sammlung Schürmann, Kunst der Gegenwart und Fotografie, Deichtorhallen Hamburg, Hamburg, Germany

25 years: An exhibition of Selected Works, Margo Leavin Gallery, Los Angeles, CA

The Archive, Forum Stadtpark, Graz, Austria

Labor and Leisure, John Michael Kohler Arts Center, Sheboygan, WI

Installations: Selections from the Permanent Collection Part One, The Museum of Contemporary Art, Los Angeles, CA

 

1993

A Complete Hand of One Suit, Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, NV

Fragments and Form: Selections from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA

Other Places, Margo Leavin Gallery, Los Angeles, CA

Konstruktion Zitat: Kollektive Bilder in der Fotografie, Sprengel Museum, Hannover, Germany

Utopian Art – Artificial Utopia, Friedrichshof, Austria

Kontextualismus, Neue Galerie, Graz, Austria

L.A. Stories, Jack Rutberg Fine Arts, Los Angeles, CA

 

1992

American Fine Arts, New York, NY

Various Artists, Margo Leavin Gallery, Los Angeles, CA (with Felix Gonzalez-Torres and Albert Oehlen, curated by Williams)

Knowledge: Aspects of Conceptual Art, University Art Museum, Santa Barbara; Santa Monica Art Museum, Santa Monica, CA

Dirty Data: The Collection of Wilhelm Schürmann, Ludwig Forum für Internationale Kunst, Aachen

Jack Hanley Gallery, San Francisco, CA

Hollywood, Hollywood, Alyce de Roulet Williamson Gallery, Art Center College of Design, Pasadena

Mehr Licht, Galerie Crousel-Robelin, Paris, France

Autoren von Texte zur Kunst halten Reden u. a. auf der documenta 9 (Lecture), Auditory of the Gesamthochschule Kassel, Kassel, Germany

 

1991

Vanitas, Galerie Crousel-Robelin, Paris, France

Enclosure, Los Angeles Municipal Art Gallery, Los Angeles, CA

Gulliver’s Travels, Galerie Sophia Ungers, Cologne, Germany

Rodney Graham, Stephen Prina, Christopher Williams, S.L. Simpson Gallery, Toronto, Canada

Fassbinder-Oehlen-Prina, Castello di Riviera, Turin, Italy (Slide presentation)

Facing the Finish: Some Recent California Art, San Francisco MOMA, San Francisco, CA

The Legacy of Karl Blossfeldt, Jan Turner Gallery, Los Angeles, CA

Carnegie International 1991, The Carnegie Museum of Art, Pittsburgh, PA

Lynn Cohen, Thomas Struth, Christopher Williams, Galerie Samia Samouma, Paris, France

The Museum Of Natural History, Galerie Barbara Farber, Amsterdam, Netherlands

 

1990

Prints and Multiples, Luhring Augustine Hetzler, Santa Monica, CA

Galerie Ursula Schurr, Stuttgart, Germany

Drawings, Luhring Augustine Hetzler, Santa Monica, CA

Arte domani: 1990/Point of View, Musei di Spoleto, Rome, Italy

De Afstand (Distance), Witte de With Center for Contemporary Art, Rotterdam, Netherlands

 

1989

Robin Lockett Gallery, Chicago, IL

Materiality, CEPA, Buffalo, NY

A Forest of SIGNS, The Museum of Contemporary Art, Los Angeles, CA

Schmidt/Markow Gallery 1709, St. Louis, MO

Wittgenstein and the Art of the 20th Century, Wiener Secession, Vienna; Palais des Beaux-Arts, Brussels, Belgium

Galerie Ursula Schurr, Stuttgart, Germany

Une Autre Affaire, Espace FRAC, Dijon, France

Constructing a History: A Focus on MOCA’s Permanent Collection, Museum of Contemporary Art, Los Angeles, CA

 

1988

Material Ethics, Milford Gallery, New York, NY

Galerie Crousel-Robelin Bama, Paris, France

 

1987

TV Generations, Los Angeles Contemporary Exhibitions, Los Angeles, CA

Tim Ebner, John L. Graham, Stephen Prina, Christopher Williams, Kuhlenschmidt/Simon, Los Angeles

Nothing Sacred, Margo Leavin Gallery, Los Angeles, CA

The Castle, Documenta 8, Kassel, Switzerland (curated by Group Material)

CalArts: Skeptical Belief(s), The Renaissance Society at the University of Chicago, Chicago, IL

L.A.: Hot & Cool: The Eighties, List Visual Arts Center MIT, Cambridge, MA

 

1986

Foundation De Appel, Amsterdam, Netherlands

Mandelzomm, Castello di Vulci, Rome, Italy

Rooted Rhetoric: Una Tradizione nell’ Arte Americana, Castel dell Ovo, Naples, Italy

 

1985

Prina, Stahl, Williams, Marian Goodman Gallery, New York, NY

The Art of Memory, The Loss of History, The New Museum of Contemporary Art, New York, NY

 

1984

Jenny Holzer, Stephen Prina, Mark Stahl, Christopher Williams, Galerie Crousel-Hussenot, Paris, France; (travelling to: Gewad, Ghent, Belgium; Foundation De Appel, Amsterdam, Netherlands)

 

1983

Unclaimed: 1 Pkg. Photos, 88 lbs., Identification Number 085-65950006, U.S. Customs, Terminal Island, CA (in association with Mark Stahl)

 

1982

74th American Exhibition, The Art Institute of Chicago, Chicago, IL

Jancar/Kuhlenschmidt Gallery, Los Angeles, CA

 

1981

5. International Biennale, Erweiterte Fotografie, Wiener Secession, Vienna, Austria

Public Speaking Work, California Institute of the Arts, Valencia, CA (in association with Mark Stahl)

 

1979

Addison Gallery of American Art, Phillips Academy, Andover, MA

University of Hartford, Hartford, CT

Group Exhibition of some CalArts Works and Other People Who Have Passed Through, Vancouver School of Art, Vancouver, Canada

 

1978

Approximately One-Half Hour of Dance Activity (An Unrehearsed Situation), California Institute of the Arts, Valencia, CA