Joel Snyder

  • View of “Christopher Williams: The Production Line of Happiness,” 2014, Art Institute of Chicago.

    Christopher Williams

    “THE PRODUCTION LINE OF HAPPINESS,” Christopher Williams’s first retrospective, made its debut as a three-part installation mounted in discrete, noncontiguous spaces within the Art Institute of Chicago’s complex of exhibition areas: the lower level of the stately Allerton Building that fronts on Michigan Avenue, the capacious ground floor of Renzo Piano’s nearby Modern Wing, and that wing’s second floor. Approaching each of these separate and separated spaces, visitors were addressed by large vinyl wall coverings displaying supersize reproductions of pages from the show’s catalogue. These

  • “Josef Koudelka: Nationality Doubtful”

    Josef Koudelka is often called a “street photographer,” a designation that, in light of his variform lifetime production, suggests the limitations and, perhaps, the final exhaustion of the old categories of photographic criticism. The 162 photos in this show, which will include many “vintage” exhibition and work prints, range from 1958 through the present and are drawn primarily from Koudelka’s personal archive. The images encompass several examples of the Czech-born French photographer’s important early work documenting the Prague theater scene, Gypsy encampments,