谢邀，身在纽约，看的展确实不算多，比较惭愧。
THE NEW YORK FESTIVAL LIGHT 2014
纽约灯光节，非常酷炫的一个展
由大量灯光设计师、装置艺术家组成的灯光盛宴
纽约地铁110周年
还有一个很有意思的活动，纽约地铁为庆祝110周年，拿出了几十年前的老地铁供人们乘坐感受……
注意是真的和别的地铁一样在地铁里开的！顿时就穿越回去了……
Christopher Williams: The Production Line of Happiness 幸福生产线
最后再说一个正儿八经的展吧……这个展让我难忘是因为我看完写了好久论文……
MoMA顶楼的展，展了三个多月之久。搞艺术搞摄影的应该都知道Christopher Williams吧，一个特立独行让人摸不着头脑的摄影艺术家。
引一段展的介绍。
Christopher Williams: The Production Line of Happiness—the first retrospective ever mounted of Christopher Williams (American, b. 1956)—spans the impressive 35-year career of one of the most influential cinephilic artists working in photography. Williams studied at the California Institute of the Arts in the mid to late 1970s under the first wave of West Coast Conceptual artists, including John Baldessari, Douglas Huebler, and Michael Asher, only to become his generation’s leading Conceptualist and art professor; he is currently professor of photography at the Kunstakademie Düsseldorf. Deeply invested in the histories of photography and film, architecture and design, Williams has produced a concise oeuvre that furthers a critique of late capitalist society in which images typically function as agents of spectacle.
For the title of this exhibition, Williams has taken a line from a documentary by French director Jean-Luc Godard, in which an amateur filmmaker compares his daily job as a factory worker with his hobby of editing his films of the Swiss countryside as “the production line of happiness.” In Williams’s hands the phrase appears to refer broadly to the function of much photography in today’s consumer culture, in which it not only pictures but also produces so many experiences and objects to be consumed.
展览厅内。
这个展最大的特点就是基本上所有去看的人出来的时候都是一头雾水，不知道他想说什么……因为这个展厅里没有任何注释和介绍，只有一幅幅诡异的摄影作品。另外Christopher的展惯例都会用活动墙来自由地搭建一个空间。
展出的作品是这样的：
Christopher Williams (American, born 1956). Kodak Three Point Reflection Guide / © 1968, Eastman Kodak Company, 1968/(Meiko laughing)/Vancouver, B.C./April 6, 2005. 2005. Chromogenic color print, paper: 20 x 24″ (50.8 x 61 cm); framed: 34 x 37 3/4″ (86.4 x 95.9 cm). Glenstone. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne. © Christopher Williams
Christopher Williams (American, b. 1956). 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. Pigmented inkjet print, paper: 24 x 20″ (61 x 50.8 cm), framed: 37 3/8 x 33 3/8″ (94.8 x 84.7 cm). Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne. © Christopher Williams
Christopher Williams (American, b. 1956). Cutaway model Nikon EM. Shutter:/Electronically governed Seiko metal blade shutter vertical travel with speeds from 1/1000 to 1 second with a manual speed of 1/90th./Meter: Center-weighted Silicon Photo Diode, ASA 25-1600/EV2-18 (with ASA film and 1.8 lens)/Aperture Priority automatic exposure/Lens Mount: Nikon F mount, AI coupling (and later) only/Flash: Synchronization at 1/90 via hot shoe/Flash automation with Nikon SB-E or SB-10 flash units/Focusing: K type focusing screen, not user interchangeable, with 3mm diagonal split image rangefinder/Batteries: Two PX-76 or equivalent/Dimensions: 5.3 × 3.38 × 2.13 in. (135 × 86 × 54 mm), 16.2 oz (460g)/Photography by the Douglas M. Parker Studio, Glendale, California/September 9, 2007– September 13, 2007. 2008. Chromogenic color print, paper: 20 x 24″ (50 .8 x 61 cm), framed: 29 15/16 x 37 3/16″ (76 x 94.5 cm). The Museum of Modern Art, New York. Acquired through the generosity of Helen Kornblum in honor of Roxana Marcoci and Committee on Photography Fund. © 2013 Christopher Williams
这些注释是需要在这个展厅门口放的介绍页或者在旁边卖的书里找的……
那本书的封面是这样的：
封面上什么内容都没有，全是这本书的技术规格和ISBN码的介绍……
为什么要提注释的事呢？因为他作品的注释其实是他作品不可或缺的一部分，包括这本书的封面。全是一些档案式的多到有点神经病的技术信息，这也是他想表达的主题之一。
我就不在这写论文了，想了解这个展的推荐一篇比较全面的文章：
刘张铂泷：“幸福生产线”/ Christopher Williams. The Production Line of Happiness in MoMA
就这么多吧~
来源：知乎 www.zhihu.com
作者：陈八冬
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