Chris Wiley

New York

Contributing Editor at Frieze

Writer for @newyorker. Contributing editor @frieze_magazine. Artist at Nicelle Beauchene Gallery. IG: @weistwiley and @mydadsbooks

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Articles

The Man Who Captured the Unique Beauty of Snowflakes

2 months ago | newyorker.com | Chris Wiley

Snowflakes provide many of us with our earliest impressions of what it means to be unique. Even within a group—the flakes so numerous as to be seemingly uncountable—no two, we were told, are exactly alike. I remember this idea blowing my mind, though in time it became a part of my mental furniture, a tidbit so foundational that it no longer wowed.
What Is Street Photography Today?

Oct 26, 2024 | aperture.org | Chris Wiley

The street and the camera were destined to collide. In retrospect, it seems obvious that the first photographs that managed to freeze objects in motion would be taken on the bustling streets of newly industrialized nineteenth-century cities.
James Casebere’s Visions from After the Flood

Jul 26, 2024 | newyorker.com | Chris Wiley

Like all of Casebere’s photographs, “Stairs” was made without his ever leaving his studio. Since the nineteen-seventies, when he was an undergraduate at the Minneapolis College of Art and Design, he has been constructing ever more elaborate tabletop models of architecture and interior spaces which he transforms with the aid of his camera, lights, and, in the past decade or so, some digital tools.
Data Management Planning across Disciplines and Infrastructures. Introduction to the Special Collection

May 6, 2024 | fis.tu-dresden.de | Sebastian Netscher |RWTH Aachen |Chris Wiley |Daniela Hausen

The Special Collection Data Management Planning across Disciplines and Infrastructures of the Data Science Journal consists of papers describing practical experiences, concepts, and future directions on the design and deployment of effective data management plans and associated tools.
The Unseen Sides of Francesca Woodman

Apr 15, 2024 | newyorker.com | Chris Wiley

Francesca Woodman did not come by her artistic precocity by accident. Her father, George, was an abstract painter. Her mother, Betty, was a ceramicist. Both made clear to Francesca that art was worth situating at the center of life. During the summers, the family would retreat to a house in the Tuscan countryside and make trips to see the works of the Florentine masters.
Raha Raissnia’s Secrets of the Recent Past

Mar 3, 2024 | frieze.com | Chris Wiley

As we are hurled towards the future ever faster, pawing desperately at the glowing glass of our devices as we go, it feels like nothing could be more anachronistic than the analogue. For those artists like Iranian artist Raha Raissnia, whose ‘Galvanization’ is on view at Miguel Abreu in New York, it must seem like they are a part of some esoteric order, a steward of the secrets of the very recent past.
A Landmark Look at Family Dysfunction

Feb 28, 2024 | newsbreak.com | Chris Wiley

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A Landmark Look at Family Dysfunction

Feb 28, 2024 | newyorker.com | Chris Wiley

Talking to Billingham, though, I was struck by how much he spoke about the pictures in “Ray’s a Laugh” in purely formal terms. “When a photographer makes a picture, they’re looking through the frame and they’re trying to get everything to balance,” he told me. “I’m not even looking at facial expressions and things that much. So the narrative context—maybe that’s subconscious?” He said that taking photos had helped him to step back from the fray of family life.
Cindy Sherman’s Grotesque Digital Creations

Feb 20, 2024 | newyorker.com | Chris Wiley

This kind of heavy digital intervention is a first for Sherman in a gallery context, but for years she has maintained what amounts to a digital sketchbook on her Instagram account, where, to some four hundred thousand followers, she shares pictures of her face that have been mangled and distorted with various filters and A.I. algorithms.
A Pioneering Wizard of West Coast Photo-Conceptualism

Feb 8, 2024 | newyorker.com | Chris Wiley

Cumming released his first self-published book of photographs, “Picture Fictions,” in 1971. On its cover was a work that would become one of his most famous, “Watermelon/Bread.” In it, the titular fruit rests on a patterned plate in a cluttered kitchen. The scene would be ordinary enough if not for the flank of the watermelon, into which Cumming has nestled a slice of store-bought white bread like some absurdist domestic Excalibur.