My work of the 1970s treated the photographic paper print as an object. In Twice Folded, 1971, I photographed a folded sheet of paper then folded the photograph creating the illusion of two folds. In most works, I enlarged each image to the scale of the objects in the image. In my Landscape series from 1972, I photographed building exteriors where windows reflected distant mountains, then covered the images of the reflective glass surfaces with sheet glass cut to the window frames’ perspectival shapes. In this way I framed the landscape in the image while doubling the photographed reflection with the viewer’s actual reflection. In two large photographic installations (Elevations, Levitations and the Twist, 1973 and Casino Royale 1974), I mounted table-top images on plywood and attached dowel legs to the mount, making each image into a free-standing table. In these two installations, I laid out a narrative about my family’s 19th-Century westward migration to central California where I was born.
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Landscape # 4, 1973, 4×20 feet (1.2 x 6.1 m.), silver prints with cut window glass. Installation view Trajectories ’73, Musée d’Art Moderne, Paris.
The Merchant of Venice, 1973, silver prints mounted on wood, shelf brackets, 6×40 ft, 1.89 x 12.192 meters Click on grid above for slide show
Elevations, Levitations and the Twist, 1974 Click on grid above for slide show
Elevations, Levitations and the Twist, 1974, mural silver prints mounted on wood table tops with color photographic overlays, 4 x 44 ft. (1.3 x 13.5 m)
Invitation image for Casino Royale, A Space, Toronto, 1975.
Casino Royale, 1975 Click on grid above for slide show
Bill Jones | studio 