Eric C. Banks

  • Christopher Williams

    Doug Huebler, shake hands with Jean Rouch. Christopher Williams's forty-five-work survey frames the last three years of his career-spanning meta-archive—including a recent body of photographs the West Coast artist half-jokingly refers to as his “Maoist phase.” The moral center: a suite of images featuring a '64 Renault (with California plates) tumped on its side, the light just catching the smeared fingerprints on its steel body, a make-do barricade riffing on French uprisings more than two decades removed (and obliquely bowing to Rouch's 1961 Chronicle of a Summer). Hermetic, as always,