Issuu

James Casebere

The Spatial Unconscious

The Williamsburg Biannual gratefully acknowledges Sean Kelly Gallery for their support of the exhibition, James Casebere: The Spatial Unconscious.

Mission of the Williamsburg Biannual:

The Williamsburg Biannual celebrates the diversity and creativity of the artists and designers practicing in New York City through programs and exhibitions designed to make art accessible to people of all backgrounds, genders, races and socioeconomic status. Founded by creative professionals working in the arts and architecture and inspired by the city’s rich history of alternative art spaces, the Williamsburg Biannual promotes arts education and accessibility through interdisciplinary dialogue and experimentation.

Founding Board of Directors:

Goil Amornvivat

Thomas Morbitzer, Secretary + Treasurer

Irene Mei Zhi Shum, Vice President

Jorge A. Zapata, President

Art © James Casebere

Installation Photography © Andy Romer Photography

Text by Adair Lentini

Book Design by Megan O’Hare & AMMOR, LLP

James Casebere

Unconscious

Spanning five decades, and three floors, The Spatial Unconscious brings together a selection of James Casebere’s rarely seen works in various media many of which have not previously been shown in New York. Spanning from the mid-1980s to the present, the exhibition includes working Polaroids, waterless lithographs, early black-and-white and recent color photographs, as well as sculpture. Casebere has long been recognized for his innovative approach to photography, merging the sculptural and the architectural with the conceptual. As a central figure of the Pictures Generation, his practice has consistently challenged the boundaries of medium, using photography not as documentation but as the artwork itself to explore how individual and collective realities are constructed.

Casebere’s photographs address issues ranging from the psychological and personal to the social, historical, and political. Working with meticulously built models, he creates images that blur the line between fact and fiction, evoking the tension between permanence and fragility. His process - building, altering and re-imagining architectural forms - foregrounds photography as more than documentation, transforming it into a primary event that interrogates memory, truth, and power while reflecting on the shifting conditions of contemporary life.

Casebere’s sculptures extend his longstanding engagement with architecture, embracing materiality, light, and space as central concerns. His Pavilion for 2 or 3, installed at PS21 in Chatham, NY, is made of cross-laminated timber and brings this experience to the public space and natural world. His Shou Sugi Ban sculptures, featured in the exhibition, are constructed from sustainable bamboo plywood using the traditional Japanese technique after which they are titled. These large-scale geometric forms evoke both organic growth and architectural structure. Their charred surfaces embody a duality of preservation and destruction, tradition and innovation, offering an analog, sensory experience that underscores the passage of time while suggesting new possibilities for how we inhabit and imagine space.

Deeply informed by architecture, literature, politics, and cultural history, Casebere’s work reflects a persistent engagement with questions of place and identity, as well as broader social forces. From his earliest black-and-white experiments to his most recent photographs and sculptures, The Spatial Unconscious offers a rare opportunity to trace the evolution of an artist whose practice continues to mirror and question the narratives that shape both history and the present moment.

James Casebere Studio, 2023

Stairs, 2023

Drawing inspiration from Balkrishna Doshi, the photograph Stairs is based on the late Pritzker prize winning Indian architect’s drawings of his low-cost housing development, The Aranya, in Indore, India. Unlike many bleak public housing projects, Doshi’s designs were lively and intended to be modified by their inhabitants. Casebere intensified the colors to reflect and amplify the residents’ transformations.

Orange Guesthouse embodies Casebere’s vision of sanctuary within uncertainty. These flooded, geometric pavilions are not dystopian ruins but resilient spaces of adaptation, inviting viewers to reflect on beauty, ingenuity, and survival in the face of climate change.

Orange Guesthouse, 2018

Blue House on Water #2, 2018

Blue House # 2 takes inspiration from Herzog & de Meuron’s 128 House built in Leymen, France in 1996. By isolating the structure and placing it in a flooded environment, Casebere reimagines how contemporary architecture might respond to the realities of climate change and rising sea levels. At the same time, the work carries an affectionate nod to the artist’s upstate New York studio, designed by MOS Architects.

Foyer, 2017

Taken from Luis Barragán’s Prieto López House in Jardines del Pedregal, Mexico City, Foyer emphasizes the tension between the illusion of depth and the two dimensionality of the picture plane. The falling light makes a square within the larger frame and reduces that sense of depth, creating a meditative stillness.

Yellow Overhang with Patio, 2016

This work, inspired by Luis Barragán’s Gálvez House, focuses the view on the exterior architectural space to explore Barragán’s sumptuous use of color, dramatic light and simple haptic, planar surfaces. Barragan’s plan, in this case, put particular focus on the courtyard garden and walled enclosure, and with this image Casebere evokes the same serene austerity that inhabited his early series of prison interiors, but of course without the sense of forced isolation and confinement.

Studio model of Sea of Ice, 2014

Sea of Ice, 2014

With this work, Casebere reinterprets Caspar David Friedrich’s iconic painting, Wreck of Hope, 1823–24, depicting a shipwreck engulfed by polar ice. Friedrich, who had never seen the Arctic, based his image on ice formations in the Rhine and his imagination. Casebere’s version resonates powerfully today, recalling both Romantic notions of the sublime and contemporary anxieties about climate change.

Studio model of Cloudy/Sunny Skies, 2013

Cloudy/Sunny Skies, 2013

Originally shot as a cover for The New York Times Magazine in 2013, the image was overlaid with the headline “Boom or Doom,” framing two opposing economic futures debated by Republican and Democratic economists. By juxtaposing natural beauty with stark text, Casebere underscored the precariousness of prediction in uncertain times.

Stairwell, 1983-2012

Modeled on the telescoping set built for Hitchcock’s Vertigo, Stairwell reflects Casebere’s long-standing dialogue with film. The disorienting architecture echoes the psychological vertigo of both Hitchcock’s characters and Casebere’s viewers.

Luxor #1, 2007

Emerging from reflections in the aftermath of September 11, Luxor #1 signals Casebere’s engagement with the Middle East, connecting contemporary events to the enduring weight of cultural and architectural histories.

Tunnels, 1995

From Casebere’s Prison Series, Tunnels depicts an addition to the landmark Eastern State Penitentiary in Philadelphia, a prototype for 19th-century American prison architecture. The site later appeared as the mental ward in the film 12 Monkeys, linking Casebere’s modelbased photographs to a cinematic exploration of dystopia and control.

Home and Prison, 1993

These lithographs reflect Casebere’s engagement with Robert Venturi’s Complexity and Contradiction in Architecture and the emergence of Postmodernism. They extend his investigation into the Enlightenment’s cultural institutions, particularly the prison, as spaces where architecture and ideology converge.

Venice Ghetto, 1991

Based on the historic residential confinement of Jews in Venice in 1516, Venice Ghetto recalls one of the earliest “high-rise” housing projects in the West. The work underscores architecture’s role in both sheltering and segregating communities, tracing the etymology of “ghetto” to the Venetian foundry once located there.

Referencing the industrial vernacular of Williamsburg, Brooklyn, Industry is in dialogue with Casebere’s broader investigations into how architectural forms shape social space. Industry, 1990

Studio model of Arches, 1985

Arches, 1985

Created during Casebere’s years in Los Angeles, Arches reflects on the mythology of the American West, amplified by Reagan-era politics and Hollywood cinema. The image examines how pulp fiction and film shaped national identity through romanticized frontier imagery.

Storefront

, 1982

An early gelatin silver print, Storefront highlights Casebere’s engagement with vernacular architecture as a site of cultural meaning, setting the stage for later explorations of institutional power and identity.

Sutpen’s Cave, 1982

Referencing William Faulkner’s Absalom, Absalom!, this work explores the intersections of race, class, and history in the American South. Architecture here becomes both metaphor and sign system, evoking the entangled legacies of slavery, poverty, and social hierarchy.

Boats, 1980

Boats highlights the dynamic between the individual and the collective. The empty rowboat in the foreground is where Casebere figuratively places the viewer, confronted by larger, looming boats in the background that read almost as buildings — embodiments of social forces. The work also nods to Hitchcock’s extraordinary film Lifeboat, situating the viewer in a precarious position, caught between solitude and the weight of surrounding social structures.

Finding a Shiny New Copy, 1976-77

The earliest and smallest black-and-white images in the exhibition, located in the back room on the second floor, point to some of the central subjects Casebere’s work addressed from the very beginning. The first, Finding a Shiny New Copy, was based on a dream and represents one major theme — the personal and psychological.

Before digital photography, Casebere used large-format Polaroids as test images to refine his models. These experiments capture the iterative process behind his meticulously constructed photographs. These Polaroids reveal Casebere’s working method: iterative, experimental, and rooted in material process. They chart the development of ideas later realized in large-scale photographs, offering rare insight into his practice.

Biography

James Casebere was born in 1953, in East Lansing, Michigan. He attended Michigan State University and the Minneapolis College of Art and Design, from which he graduated in 1976 with a BFA. In the fall of 1977, he attended the Whitney Independent Study Program in New York and received an MFA from Cal Arts in 1979.

Casebere’s pioneering work has established him at the forefront of artists working with constructed photography. For the last thirty years, Casebere has devised increasingly complex models that are subsequently photographed in his studio. Based on architectural, art historical and cinematic sources, his table-sized constructions are made of simple materials, pared down to essential forms. Casebere’s abandoned spaces are hauntingly evocative and oftentimes suggestive of prior events, encouraging the viewer to reconstitute a narrative or symbolic reading of his work.

While earlier bodies of work focused on American mythologies such as the genre of the western and suburban home, in the early 1990s, Casebere turned his attention to institutional buildings. In more recent years, his subject matter focused on various institutional spaces and the relationship between social control, social structure and the mythologies that surround particular institutions, as well as the broader implications of dominant systems such as commerce, labor, religion and law.

Casebere was the winner of the American Academy in Rome Abigail Cohen Rome Prize Fellowship for 2019-20 and has been the recipient of numerous fellowships, including three from the National Endowment for the Arts, three from the New York Foundation for the Arts and one from the John Simon Guggenheim Memorial Foundation. His work is collected by museums worldwide, including the Whitney Museum of American Art, New York; the Solomon R. Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; the Walker Art Center, Minneapolis; the Los Angeles Museum of Contemporary Art; the Los Angeles County Museum of Art; and the Victoria and Albert Museum, London, England, among many others. In 2016, Casebere was a New York Foundation for the Arts Hall of Fame Honoree and the subject of important survey exhibitions: Fugitive at the Haus der Kunst in Munich, curated by Okwui Enwezor; Immersion at Espace Images Vevey in Switzerland; After Scale Model: Dwelling in the Work of James Casebere, at the BOZAR/Centre for Fine Arts in Brussels, Belgium; and The Spatial Unconscious at The Williamsburg Biannual in Brooklyn, New York.

Exhibition Checklist

MAIN LEVEL

Gathering Area

Yellow Overhang with Patio, 2016 signed by the artist on label, verso framed archival pigment print mounted to dibond paper: 44 3/8 x 66 1/2 inches (112.7 x 168.9 cm)

framed: 47 x 69 3/16 x 2 1/4 inches (119.4 x 175.7 x 5.7 cm) edition of 5 with 2 APs (#2/5) (JC-253.2)

Orange Guesthouse, 2018 signed by the artist on label, verso framed archival pigment print mounted to dibond paper: 66 3/4 x 44 15/16 inches (169.5 x 114.1 cm)

framed: 69 5/8 x 47 13/16 x 2 1/4 inches (176.8 x 121.4 x 5.7 cm) edition of 5 with 2 APs (#1/5) (JC-271.1)

Gallery

Sea of Ice, 2014 signed by artist on label, verso framed archival pigment print mounted to dibond paper: 37 3/4 x 49 3/4 inches (95.9 x 126.4 cm) framed: 41 3/8 x 52 3/8 x 2 1/4 inches (105.1 x 133 x 5.7 cm) edition of 5 with 2 APs (#AP1/2) (JC-246.M.AP1)

Shou Sugi Ban #2, 2023 Burned bamboo plywood 5’H x 6’L x 4’ W

Shou Sugi Ban #3, 2023 Burned bamboo plywood 4.5’H x 6’L x 4’W

Tunnels, 1995 framed: 26 ¾ x 33 ¼ inches (JC-300.AP2)

Home and Prison, 1993

signed by the artist, verso 2 waterless lithographs paper: 18 3/4 x 22 inches (47.6 x 55.9 cm) each framed: 41 5/8 x 26 1/4 inches (105.7 x 66.7 cm) edition of 24 with 3 APs (AP3) (JC-218.AP3)

LOWER LEVEL:

Stairs, 2023

signed by the artist on label, verso UV print mounted to 3mm Dibond in float frame artwork: 72 x 84 3/16 inches (182.9 x 213.8 cm)

framed: 74 3/4 x 86 15/16 x 2 1/4 inches (189.9 x 220.8 x 5.7 cm)

edition of 3 with 1 AP (#1/3) (JC-290.L.1)

Blue House on Water #2, 2018

signed by the artist on label, verso framed archival pigment print mounted to dibond paper: 60 1/2 x 46 3/4 inches (153.7 x 118.7 cm)

framed: 63 3/8 x 49 5/8 x 2 1/4 inches (161 x 126 x 5.7 cm) edition of 5 with 2 APs (#3/5) (JC-274.3)

Foyer, 2017

signed by the artist on label, verso framed archival pigment print mounted to dibond paper: 47 3/8 x 44 3/8 inches (120.3 x 112.7 cm)

framed: 50 x 47 x 2 1/4 inches (127 x 119.4 x 5.7 cm) edition of 5 with 2 APs

Industry, 1990

signed, titled, numbered and dated by artist, verso gelatin silver print image: 28 x 35 inches (71.1 x 88.9 cm) paper: 30 x 40 inches (76.2 x 101.6 cm)

framed: 42 1/2 x 46 3/4 inches (108 x 118.7 cm) edition of 7 with 2 APs (#5/7) (JC-38.5)

Shou Sugi Ban #1, 2023

Burned bamboo plywood

3 1⁄2’ H x 11 1⁄2’ L x 6’ W

Tower, 2023

Burned bamboo plywood

8’H x 26”L x 26”W

Shou Sugi Ban #2, 2023

Burned bamboo plywood

5’H x 6’L x 4’ W

Storefront, 1982

signed and numbered, recto vintage gelatin silver print print: 28 3/16 x 37 1/16 inches (71.6 x 94.1 cm)

framed: 39 1/8 x 48 x 1 1/4 inches (99.4 x 121.9 x 3.2 cm) edition of 7 with 2 APs

UPPER LEVEL

Gallery 1

Arches, 1985

signed, numbered and dated, verso silver gelatin print image: 29 x 36.69 inches

framed: 40 x 47.69 x 1.25 inches edition of 7 with 2 Aps (JC-7.AP1)

Venice Ghetto, 1991

signed and numbered, recto vintage gelatin silver print print: 37 3/4 x 30 inches (95.9 x 76.2 cm)

framed: 49 7/8 x 41 x 1 1/4 inches (126.7 x 104.1 x 3.2 cm) edition of 10 with 2 aps (JC-94.AP2)

Luxor #1, 2007

framed digital chromogenic print mounted to Dibond paper: 58 1/2 x 46 1/2 inches (148.6 x 118.1 cm)

framed: 61 1/2 x 49 1/2 x 2 inches (156.2 x 125.7 x 5.1 cm) edition of 5 with 2 APs

Stairwell, 1983-2012

signed, titled, dated and numbered on verso gelatin silver print image: 29 1/2 x 37 5/8 inches (74.9 x 95.6 cm)

framed: 37 5/8 x 46 1/8 inches (95.6 x 117.2 cm)

edition of 10 with 2 APS (#1/10) (JC-238.1)

Gallery 2

Two Beds polaroid

framed: 13 1/4 x 11 3/4 x 1 inches (33.7 x 29.8 x 2.5 cm) (JC-314)

Home two polaroids framed: 17 1/4 x 11 7/8 x 1 5/16 inches (43.8 x 30.2 x 3.3 cm) (JC-312)

Kitchen Table six polaroids framed: 23 7/8 x 20 x 1 5/16 inches (60.6 x 50.8 x 3.3 cm) (JC-303)

Typewriter three polaroids framed: 11 3/4 x 23 x 1 5/16 inches (29.8 x 58.4 x 3.3 cm) (JC-311)

Boats six polaroids framed: 17 5/16 x 28 1/16 x 1 5/16 inches (44 x 71.3 x 3.3 cm) (JC-305)

Covered Wagons four polaroids framed: 20 7/16 x 16 13/16 x 1 5/16 inches (51.9 x 42.7 x 3.3 cm) (JC-309)

Street with Pots four polaroids framed: 19 5/16 x 16 13/16 x 1 5/16 inches (49.1 x 42.7 x 3.3 cm) (JC-308)

Arches six polaroids framed: 23 7/8 x 20 x 1 5/16 inches (60.6 x 50.8 x 3.3 cm) (JC-304)

Panopticon three polaroids

framed: 12 5/16 x 23 3/8 x 1 5/16 inches (31.3 x 59.4 x 3.3 cm) (JC-310)

Georgian Jail Cages four polaroids

framed: 17 5/16 x 20 x 1 5/16 inches (44 x 50.8 x 3.3 cm) (JC-307)

Prison after Piranesi four polaroids framed: 20 1/2 x 16 13/16 x 1 5/16 inches (52.1 x 42.7 x 3.3 cm) (JC-306)

Finding a Shiny New Copy, 1976-77 silver gelatin print (vintage) sheet: 16 x 20 inches edition of 10, framed (#3/10) (JC-29.3)

Sutpen’s Cave, 1982 silver gelatin print sheet: 16 x 20 inches framed: 25 5/8 x 29 5/8 inches edition of 7 with 2 APs (#6/7) (JC-48.6)

Boats, 1980 signed, numbered and dated, verso vintage gelatin silver print paper: 16 x 20 inches (40.6 x 50.8 cm) framed: 25 5/8 x 29 5/8 inches (65.1 x 75.2 cm) edition of 7 with 2 APs (AP1/2) (JC-13.AP1/2)

Office / Reading Area

Cloudy/Sunny Skies, 2013 signed by artist on label, verso framed fine art pigment print mounted to Dibond paper: 40 x 32 7/8 inches (101.6 x 83.5 cm) framed: 42 1/4 x 35 1/8 x 2 inches (107.3 x 89.2 x 5.1 cm) edition of 5 with 2 APs (AP1) (JC-241.M.AP1)

Curriculum Vitae

Born in Lansing, Michigan in 1953

Lives and works in New York

EDUCATION

1979 M.F.A., California Institute of Arts, California

1977 Whitney Independent Study Program, New York

1976 B.F.A., Minneapolis College of Art and Design, Minnesota

1971–73 Michigan State University, Michigan

SELECTED SOLO EXHIBITIONS

2025

The Spatial Unconscious, The Williamsburg Biannual, Brooklyn, New York

The Poetic Dimension, Sean Kelly, Los Angeles, California

2024

Seeds of Time, Sean Kelly Gallery, New York

James Casebere, Synthesis of the Arts 2024, T Space, Rhinebeck, New York

2021

Home & Prison, ARCHIVE PROJECT SPACE, Pittsfield, Massachusetts

Solo Pavilion for Two or Three, PS21, Chatham, New York

2020

On the Water’s Edge, Galerie Templon, Paris, France

On the Water’s Edge, Galería Helga de Alvear, Madrid, Spain

2019

Built Images, Sean Kelly Asia, Taipei, Taiwan On the Water’s Edge, Sean Kelly, New York

2018

James Casebere: Emotional Architecture, Daniel Templon Gallery, Brussels, Belgium

2017

AWARDS AND HONORS

2019-2020 Abigail Cohen Rome Prize Fellowship, The American Academy in Rome

2016 New York Foundation for the Arts Hall of Fame Inductee

2014 Civitella Ranieri Fellow

1999 Shortlisted for the Citibank Private Bank Photography Prize

1995 John Simon Guggenheim Memorial Foundation Grant

1994 New York Foundation for the Arts Fellowship

1990 National Endowment for the Arts, Visual Arts Fellowship

1989 New York Foundation for the Arts Fellowship

1986 National Endowment for the Arts, Visual Arts Fellowship

1985 New York Foundation for the Arts Fellowship

1982 National Endowment for the Arts, Visual Arts Fellowship

1982 New York State Council on the Arts: Visual Artists Sponsored Project Grant

Emotional Architecture, Sean Kelly Gallery, New York

James Casebere: Emotional Architecture, Helga de Alvear Gallery, Madrid, Spain

2016

After Scale Model: Dwelling in the Work of James Casebere, BOZAR Centre for Fine Arts, Brussels, Belgium

Immersion, Images Vevey, Switzerland

James Casebere: Fugitive, Haus der Kunst, Munich, Germany

2015

James Casebere, Lisson Gallery, Milan, Italy

2014

James Casebere, Jensen Gallery, Sydney, Australia

James Casebere: New Works, Galerie Daniel Templon, Brussels, Belgium

James Casebere: Scales and Dimensions, Cornell University College of Art and Architecture, Ithaca, New York

2013

James Casebere: Selected Works, 1995-2000, Sean Kelly Gallery, New York

2012

Home, and Other Fictions, Stills Gallery, Edinburgh James Casebere, Abbaye de Montmajour, Arles, France

2011

Credit, Faith, Trust, Lisson Gallery, London, United Kingdom

House, Galerie Templon, Paris, France

James Casebere: Photographies, Collégiale Notre Dame de Riberac, Riberac, France

James Casebere: Enter Into, Galerie Pfriem, Lacoste, France; Savannah College of Art and Design, Georgia Tunnels, Galleria Marabini, Bologna, Italy

2010

House, Sean Kelly Gallery, New York

James Casebere, Galeria Helga de Alvear, Madrid, Spain

2008

James Casebere, Gallery IHN, Seoul, Korea (with catalogue)

James Casebere, Andrew Jensen Gallery, Auckland, New Zealand

James Casebere, Daniel Templon Gallery, Paris, France

James Casebere, Galleria Marabini, Bologna, Italy

2007

James Casebere; The Levant, Galleria Marabini, Bologna, Italy

James Casebere: The Levant, Sean Kelly Gallery, New York

2005

James Casebere, Daniel Templon Gallery, Paris, France

James Casebere, Galeria Helga de Alvear, Madrid, Spain

2004

James Casebere, New Works, Mark Selwyn Fine Art, New York

2003

James Casebere: mutable, Sean Kelly Gallery, New York

James Casebere, Lisson Gallery, London, United Kingdom

James Casebere, SECCA, Winston Salem, North Carolina; Cleveland Center for Contemporary Art, Cleveland, Ohio; Musée d’Art Contemporain, Montreal, Quebec, Canada; Indianapolis Museum of Art, Indianapolis, Indiana

2002

James Casebere, Bernier Eliades Gallery, Athens, Greece

James Casebere, Grant Selwyn Gallery, Los Angeles, California

Picture Show – James Casebere, Museum of Contemporary Art, Cleveland, Ohio

2001

The Architectural Unconscious: James Casebere and Glen Seator, Institute of Contemporary Arts, Philadelphia, Pennsylvania

Gallerie Tanit, Munich, Germany

James Casebere, Sean Kelly Gallery, New York (with monograph co-published by Charta and Sean Kelly Gallery, New York)

2000

The Architectural Unconscious: James Casebere and Glen Seator, Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts

James Casebere, Grant Selwyn, Beverly Hills, California Lisson Gallery, London, United Kingdom

Prison/Dormitory/Dayroom: a collaborative project with students of S.M.U. at the Mac, Museum of Contemporary Art, Dallas, Texas

1999

Asylum, Museum of Modern Art, Oxford, United Kingdom; Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain; Centre for Photography, Norwich, United Kingdom

James Casebere: New Photographs, Windows Gallery, Brussels, Belgium

James Casebere: Self Constructed Realities: 1975–1990, Sean Kelly Gallery, New York

1998

Galerie Tanit, Munich, Germany

James Casebere: New Works, Hosfelt Gallery, San Francisco, California

1997

Angel Ho, New York

Jean Bernier, Athens, Greece

Site Gallery, Sheffield, United Kingdom

Windows Gallery, Brussels, Belgium

Williams College Museum of Art, Williamstown, Massachusetts

1996

Galleria Galliani, Genoa, Italy

James Casebere: Model Culture, Photographs, 1975–1996, The Ansel Adams Center for Photography, San Francisco, California

Lisson Gallery, London, United Kingdom

S.L. Simpson Gallery, Toronto, Canada

1995

Michael Klein Gallery, New York

1994

Galleria Galliani, Genoa, Italy

Richard Levy Gallery, Albuquerque, New Mexico

1993

Michael Klein Gallery, New York

1991

Model Fictions: The Photographs of James Casebere, Birmingham Museum of Art, Birmingham, Alabama

Gallerij Bruges La Morte, Bruges, Belgium

James Hockey Gallery, WSCAD, Farnham, United Kingdom

Michael Klein Gallery, New York

James Casebere and Tony Oursler collaboration, Kunststichting

Kanaal, Kortrijk, Belgium Photographic Resource Center, Boston University, Boston, Massachusetts; The University of Iowa Museum of Art, Iowa City, Iowa

1990

Galleria Facsimilie, Milan, Italy

Museum of Photographic Arts, San Diego, California

Urbi et Orbi, Paris, France

Vrej Baghoomian Gallery, New York

1989

Galerie De Lege Ruimte, Bruges, Belgium

Neuberger Museum, State University of New York at Purchase, Purchase, New York

The University of South Florida Art Museum, Tampa, Florida

1988

Kuhlenschmidt/Simon Gallery, Los Angeles, California

Pennsylvania Station, New York

1987

303 Gallery, New York

Kuhlenschmidt/Simon Gallery, Los Angeles, California

Michael Klein Gallery, New York

1985

Kuhlenschmidt/Simon Gallery, Los Angeles, California

Minneapolis College of Art and Design, Minneapolis, Minnesota

1984

Diane Brown Gallery, New York Sonnabend Gallery, New York

1983

St. George Ferry Terminal, Staten Island, New York

1982

EPA Gallery, Buffalo, New York Sonnabend Gallery, New York

1981

Franklin Furnace, New York

1979

Artists’ Space, New York

SELECTED GROUP EXHIBITIONS

2025

As Above, So Below, The Flag Art Foundation, New York Faktura / Tektonika, Sean Kelly, New York

Memento, Huis Marseille, Museum for Photography, Amsterdam, The Netherlands

Second Nature: Photography in the Age of the Anthropocene, Cantor Arts Center, Stanford University, Stanford, California; Anchorage Museum, Anchorage, Alaska

2024

SI PUDIERA ELEGIR MI PAISAJE, Centre del Carme Cultura Contemporània, Valencia, Spain

Photography is ____., Purchase College, Purchase, New York

Contemporary Voices: Celebrating 40 years of Acquisition Trust, Orlando Museum of Art, Orlando, Florida

Of the Times, Hanes Gallery, Wake Forest University, WinstonSalem, North Carolina Second Nature: Photography in the Age of the Anthropocene, Nasher Museum of Art at Duke University, Durham, North Carolina Unsettled Eye, Ruby City, San Antonio, Texas

2023

50th Anniversary: Selections from Light Work Collection, Everson Museum of Art, Syracuse, New York

Boil, Toil + Trouble, Art In Common, Chicago, Illinois; Los Angeles,

California; Miami, Florida Contours du Réel, Topographie de l’art, Paris, France

The Nature of Art, Museum of Fine Arts, St. Petersburg, Florida

The Summer Disaster Show, Private Public Gallery, Hudson, New York

2022

Architectures Impossibles, Musée des Beaux-Arts de Nancy, Nancy, France

Boil, Toil + Trouble, Miami Design District, Miami, Florida Exodes, Saint Raphaël, France

Model Behavior, Cooper Union, New York

MORE THAN WORDS CAN SAY, Jeff Gallery, Marfa, Texas

Photography from the Collection, Sheldon Art Museum, Lincoln, Nebraska

2021

Helga de Alvear Collection, Helga de Alvear Contemporary Art Museum, Cáceres, Spain

Space Oddity, Fondazione Sandretto Re Rebaudengo, Turin, Italy

2020

About this, Daejeon Museum of Art, Daejeon, South Korea

Blue., Nassau County Museum of Art, Roslyn Harbor, New York

Fact and Fiction in Contemporary Photography, Joslyn Art Museum, Omaha, Nebraska

Paradise Lost, JUT Museum, Taipei, Taiwan

2019

Castles in the Sky: Fantasy Architecture in Contemporary Art, Coral Gables Museum, Florida

Fiction & Fabrication: Architectural Photography after the Digital Revolution, MAAT- Museum of Art, Architecture and Technology, Lisbon, Portugal

La stanza analoga, Organized by Fondazione Sandretto Re Rebaudengo, Palazzo Biscari, Catani, Italy

Model natures in contemporary photography, Kallmann Museum, Ismaning, Germany Paradise Lost – Gazing at Contemporary Urban Civilization and its Metaphor, Ludwig

Galerie Saarlouis, Saarland, Germany

Tableau and Transformation: Photography from the Permanent Collection, Tampa Museum of Art, Tampa, Florida

2018

Analog Culture: Printer’s Proofs from the Schneider/Erdman Photography Lab, 1981- 2001, Harvard Art Museums, Cambridge, Massachusetts

Castles in the Sky: Fantasy Architecture in Contemporary Art, Lehman College Art Gallery, New York

EDIFICE, COMPLEX, VISIONARY, STRUCTURE, Sean Kelly Gallery, New York

Image Building: How Photography Transforms Architecture, Parrish Art Museum, Water Mill, New York; Frist Center for the Visual Arts, Nashville, Tennessee VIEWING DEPOT EXH#01, Vanhaerents Art Collection, Brussels, Belgium Ways of Seeing, NYU Abu Dhabi, Abu Dhabi, United Arab Emirates

2017

11 artists through time, Lisson Gallery, London, United Kingdom

Artists and Architecture: Projection/Convergence/Intersection, Moss Arts Center, Virginia Tech, Blacksburg, Virginia

Paris Photo, Galerie Daniel Templon, Grand Palais, Paris, France

Selected, Sean Kelly Gallery, New York

Ways of Seeing, Arter, Istanbul, Turkey; Villa Empain, Brussels, Belgium

Window to Wall: Art from Architecture, Albright-Knox Art Gallery, Buffalo, New York

2016

Built, World, SCAD Museum of Art, Savannah, Georgia

Still/Moving: Photographs and Video Art from the DeWoody Collection, Norton Museum of Art, West Palm Beach, Florida With Open Eyes, The Southeastern Center for Contemporary Art, Winston-Salem, North Carolina

2015

By the Book, Sean Kelly Gallery, New York

David Adjaye: Form, Heft, Material, Haus Der Kunst, Munich, Germany

2014

Disturbing Innocence, FLAG Art Foundation (curated by Eric Fischl), New York

Homeland [In]security: Vanishing Dreams, Dorsky Gallery, Long Island City, New York Lifelike, Phoenix Museum of Art, Phoenix, Arizona

No Place (Like Home), The University of Queensland Museum of Art, Brisbane, Australia Stanze/Rooms. Works from the Sandretto Re Rebaudengo Collection, Me Collectors room, Stiftung Olbricht, Berlin, Germany

2013

Lifelike, New Orleans Museum of Art, New Orleans, Louisiana; Museum of Contemporary

Art San Diego, San Diego, California; Blanton Museum of Art, The University of Texas at Austin, Austin, Texas

2012

20 in 2011, Richard Levy Gallery, Albuquerque, New Mexico

Fragments d’un discours onirique, Domaine National de Chambord, Chambord, France Lifelike, Walker Art Center, Minneapolis, Minnesota

Now’s the Time: Recent Acquisitions, Solomon R. Guggenheim Museum, New York Room in My Head: Staging Psychological Spaces, SCAD Museum of Art, Savannah, Georgia

Signs of a Struggle: Photography in the Wake of Postmodernism, Victoria and Albert Museum, London, United Kingdom

2011

After the Gold Rush: Contemporary Photographs from the Collection, Metropolitan Museum of Art, New York Conversations, John Berggruen Gallery, San Francisco, California Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, The Morgan Library & Museum, New York

Open Frame, Centre Regional d’Art Contemporain, Sète, France

Otherwordly, Museum of Arts & Design, New York

2010

Atopia: Art and the City in the 21st Century, CCCB, Barcelona, Spain

Artpark 1974–1984, UB Art Galleries, University of Buffalo SUNY, Buffalo, New York

Cimmerian Shade, Jensen Gallery, Auckland, New Zealand

Counter Space, design + the modern kitchen, The Museum of Modern Art, New York

Exposició al CCCB, CCCB, Barcelona, Spain

Haunted: Contemporary Photography/Video Performance, Solomon R. Guggenheim Museum, New York

PHOTO Saint-Germain-des-Prés, Galerie Alain le Gaillard, Paris, France Visionaries—Contemporary Art from Santa Barbara’s Private Collections, Santa Barbara Contemporary Arts Forum, Santa Barbara, California Whitney Biennial 2010, Whitney Museum of American Art, New York

2009

Alternate Reality, Spencer Museum of Art, University of Kansas, Lawrence, Kansas

Into the Sunset: Photography’s Image of the American West, The Museum of Modern Art, New York

Paesagi dell’Invisibile, Galleria Traghetto, Rome, Italy

The Pictures Generation, The Metropolitan Museum of Art, New York

Vague Terrain: Analogues of Place in Contemporary Photography, FLAG Art Foundation, New York

2008

Academia: Qui es-tu?, La Chapelle de l’Ecole Nationale Superieure des Beaux-Arts, Paris, France

Aspects of Contemporary Color Photography, Weber Fine Art, Scarsdale, New York

Depletion: Works from the Doron Sebbag Art Collection, ORS Ltd, Tel Aviv Museum of Art, Tel Aviv, Israel

Espèces d’espace, Le Magasin Centre National d’Art Contemporain, Grenoble, France

Extraordinary Rendition, Galería Helga de Alvear, Madrid, Spain

Invisible Rays: The Surrealism Legacy, The Rose Art Museum, Brandeis University, Waltham, Massachusetts

Reality Check: Truth and Illusion in Contemporary Photography, The Metropolitan Museum of Art, New York

Signs of the Time, Whitney Museum of American Art, New York

2007

Façade, Architecture, Space, Cook Fine Art, New York

Imagination becomes Reality, Goetz Collection, Munich, Germany

Art in the USA: 300 Years of Innovation, Guggenheim, Bilbao, Spain

2006

Extra-Ordinary: The Everyday Object in American Art, Frist Center for the Visual Arts, Nashville, Tennessee

Second International Biennial of Contemporary Art of Seville, Seville, Spain

Before the Camera, Norton Museum of Art, West Palm Beach, Florida

Helga de Alvear – Concepts for A Collection, Exhibition Centre of Centro Cultural de Belém, Brazil

New York, New York: Fifty Years of Art, Architecture, Photography, Film and Video, Grimaldi Forum, Monaco

Sublime Embrace: Experiencing Consciousness in Contemporary Art, Art Gallery of Hamilton, Hamilton, Canada

Suspension, Dunn and Brown Contemporary, Dallas, Texas

2005

Bidibidobidiboo: Works from Collezione Sandretto Re Rebaudengo, Fondazione Sandretto Re Rebaudengo, Turin, Italy

Damage Done, Prefix Institute of Contemporary Art, Toronto, Canada

Lux, Jensen Gallery, Auckland, New Zealand

Melancholia, Jensen Gallery, Auckland, New Zealand

Minimal in Architectural [sic]: Photography from the Origins to Present Day, Galerie 54, Paris, France

Miradas Y Conceptos En La Collección Helga de Alvear, Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC), Badajoz, Spain

Mixed Meanings, Hidden Messages: Selections from the Wake Forest University Art Collections, Charlotte & Philip Hanes Art Gallery, Wake Forest University, Winston-Salem, North Carolina Pictures, Gallery Hyundai, Seoul, South Korea

2004

Architecture&Arts 1900-2000, Palazzo Ducale, Genoa, Italy

Architecture Untethered, Numark Gallery, Washington, D.C. Democratic Victory, 2004, Phillips, New York DreamWeavers, Yancey Richardson Gallery, New York

For Presentation and Display: Some Art of the 80s, Princeton University Museum, Princeton, New Jersey

Light and Atmosphere, Miami Art Museum, Miami, Florida

Photography: Candida Höfer, Elger Esser, James Casebere, Baltimore, Maryland Sets + Situations, Memphis College of Art, Memphis, Tennessee

2003

Arquitecturas Excéntricas, Koldo Mitxelena Kulturunea, San Sebastian, Spain Bewitched, Bothered and Bewildered–Spatial Emotion in Art and Architecture, Migros Museum für Gegenwartskunst, Zurich, Switzerland

Constructed Realities, Orlando Museum of Art, Orlando, Florida Faking Real, Leroy Neiman Gallery, Columbia University, New York

Palazzo delle liberta, Palazzo delle Papesse Centro Arte Contemporanea, Siena, Italy upon reflection...., Sean Kelly Gallery, New York Whiteness, a Wayward Construction, Laguna Art Museum, Laguna Beach, California

2002

Moving Pictures, Solomon R. Guggenheim Museum, New York; Guggenheim Bilbao, Bilbao, Spain

Cardinales, Museo de Arte Contemporaneo de Vigo, Spain

Constructed Realities, Grand Arts, Kansas City, Missouri

Doors: Image and Metaphor in Contemporary Art, New Jersey

Center for Visual Arts, Summit, New Jersey

Retrospectacle: 25 Years of Collecting Modern and Contemporary Art, Denver Art Museum, Denver, Colorado

Visions from America: Photographs from the Whitney Museum of American Art, The Whitney Museum of American Art, New York

2001

A Private Reading: The Book as Image and Object, Senior & Shopmaker Gallery, New York

Building, Dwelling, Thinking, Judy Goldman Fine Art, Boston, Massachusetts

Images au Centre 01: Trompe l’oeil, Domaine National de Chambord, Chambord, France

Photo-Synthesis; Recent Developments in Contemporary Photography, Camino Real Gallery, Boca Raton, Florida; Delaware Center for the Contemporary Arts, Wilmington, Delaware

Realidad Construida, Galeria Helga de Alvear, Madrid, Spain

Rencontres Internationales de la Photographie, Arles, France

Size Matters, Edwynn Houk Gallery, New York

2000

Architectural Constructs in Contemporary Photography, Julie Saul Gallery, New York

Art on Paper 2000, Weatherspoon Art Gallery, The University of North Carolina at Greensboro, Greensboro, North Carolina

The Constructed Real: Photographs of Non-Existent Places, Elias Fine Art, Allston, Massachusetts

Flash Back, Barbara Farber/La Serre, Trets, France

Inside Out: Reality or Fiction?, Sean Kelly Gallery, New York

Insites: Interior Space in Contemporary Art, Whitney Museum of American Art at Champion, Stamford, Connecticut

James Casebere, Anna Gaskell, Jitka Hanzlova, Tim Macmillan, Tracey Moffat, The Citibank Private Bank Photography Prize

2000, The Photographer’s Gallery, London, United Kingdom

Making Pictures: Contemporary American Photography, Asheville Art Museum, Asheville, North Carolina

Open Ends: Architecture Hot and Cold, Sets and Situations, The Museum of Modern Art, New York

Staged: Constructions of Reality in Contemporary Photography, Bonakdar Jancou Gallery, New York

Staged and Manipulated: Photographic Fictions from St Louis

Collections, St Louis Art Museum, St. Louis, Missouri

Supermodel, Massachusetts Museum of Contemporary Art, North Adams, Massachusetts

1999

Blind Spot, Robert Mann Gallery, New York

Built, Mark Moore Gallery, Santa Monica, California

Full Exposure: Contemporary Photography, New Jersey Center for Visual Arts, Summit, New Jersey

Hindsight, Whitney Museum of American Art, New York

James Casebere, Thomas Struth, Boyd Webb, George Lappas, Juan Muñoz, Thomas Schütte, Moshekwa Langa, Yan Pei-

Ming, Cordy Ryman, Bernier/Eliades, Athens, Greece

Photography: An Expanded View, Recent Acquisitions, The Solomon R. Guggenheim Museum, New York; Guggenheim Bilbao, Bilbao, Spain

Mumia 911, PPOW, New York

Nature of Light, Contemporary Art Museum, Venice, Italy

1998

Architectures en Jeux, FRAC Centre, Orleans, France

A Sense of Place, Angles Gallery, Santa Monica, California

Bathroom, Thomas Healy Gallery, New York Blade Runner, Caren

Golden Gallery, New York

Claustrophobia: Disturbing the Domestic in Contemporary Art, Ikon Gallery, Birmingham, United Kingdom; traveling exhibition

Embedded Metaphor, Independent Curators Incorporated exhibition curated by Nina Felshin, John and Mabel Ringling Museum of Art, Sarasota, Florida; Western Gallery, Western Washington University, Bellingham, Washington; Bowdoin College Museum of Art, Brunswick, Maine; Contemporary Art Center of Virginia, Virginia Beach, Virginia; and Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, Connecticut

Internality Externality, Galerie Lelong, New York

Jay Gorney Modern Art, New York

PhotoImage: Printmaking 60s to 90s, Museum of Fine Arts, Boston, Massachusetts; Des Moines Art Center, Des Moines, Iowa

Still...., Laurent Delay Gallery, London

Then and Now, Lisson Gallery, London

Utz, Lennon, Weiner Inc., New York

Where: Allegories of Site in Contemporary Art, Whitney Museum of American Art at Champion, Stamford, Connecticut

1997

Architecture as Metaphor, The Museum of Modern Art, New York

Elsewhere, The Carnegie Museum of Art, Pittsburgh, Pennsylvania

Galerie d’Art Contemporain, Geneva, Switzerland

Kjarvaisstadir, Listastasafn Reykjavikur, The Reykjavik Municipal Art Museum, Reykjavik, Iceland; Portland Museum of Art, Portland, Maine; Bayly Art Museum, University of Virginia, Charlottesville, Virginia; Bakalar Gallery, Massachusetts College of Art, Boston, Massachusetts; Emerson Gallery, Hamilton College, Clinton, New York

The Luminous Image, Alternative Museum, New York

Making it Real, Independent Curators Incorporated, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut

Photographs & Prints, Judy Ann Goldman Fine Art, Boston, Massachusetts Portraits of Interiors, Patricia Faure Gallery, Los Angeles, California, California Selections From the Permanent Collection, Whitney Museum of American Art, New York

A Summer Show, Marian Goodman Gallery, New York

Within These Walls, Kettle’s Yard, Cambridge, United Kingdom Western Gallery, Western Washington University, Bellingham, Washington

1996

After Dark: Nocturnal Images, Barbara Mathes Gallery, New York

Campo, Venice Biennale, Venice, Italy; Torino, Italy; Konstmuseum, Malmö, Sweden Galerie H.S. Steinek, Vienna, Austria

New Fall Faculty, Carpenter Center, Harvard University, Cambridge, Massachusetts

The House Transformed, Barbara Mathes Gallery, New York McDowell Exhibition, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Art Gallery at the University of New Hampshire, Durham, New Hampshire

Selections from the Niseson Collection, Los Angeles County Museum of Art, Los Angeles

This is a Set Up: Fab Photo/Fiction, Bowling Green State University, Bowling Green, Ohio

1995

4 Photographers, Rena Bransten Gallery, San Francisco, California Artistes/Architects, Institute d’Art Contemporain, Villeurbanne, France; Kunstverein Munich, Munich, Germany; Centre Culturel de Belém, Lisbon, Portugal; Kunsthalle Wien, Vienna, Austria

Prison Sentences: The Prison as Site/The Prison as Subject, Eastern State Penitentiary, Philadelphia, Pennsylvania

1994

Building Dwelling Thinking: A Group Exhibition, Lowinsky Gallery, New York Forecast: Shifts in Direction, Museum of New Mexico, Santa Fe, New Mexico House Rules, Wexner Center for the Visual Arts, Columbus, Ohio

Imagini d’Affezione, Castello Monumentali di Lerici, Lerici, Italy

Stilled Pictures-Still Life, Fine Arts Center Galleries, University of Rhode Island, Kingston, Rhode Island

The Subject is Architecture, University of New Mexico Art Museum, Albuquerque, New Mexico

1993

American Made: The New Still–Life, Isetan Museum of Art and Hokkaido Obihito Museum of Art, Japan; Royal College of Art, London, United Kingdom

Collecting for the 21st Century: Recent Acquisitions and Promised Gifts, The Jewish Museum, New York

Fabricated Realities, Museum of Fine Arts, Houston, Texas

From New York: Recent Thinking in Contemporary Photography, Donna Beam Fine Art Gallery, University of Nevada at Las Vegas, Las Vegas, Nevada

Kurswechsel, Michael Klein Gallery at Transart Exhibitions, Cologne, Germany

Sampling the Permanent Collection, Museum of Fine Arts, Boston, Massachusetts

1992

Interpreting the American Dream, Galerie Eugen Lendl, Graz, Austria; Galeri ames van Damme, Antwerp, Belgium

More Than One Photography, The Museum of Modern Art, New York

Une seconde pensée du paysage, Domaine de Kerguehennec, Centre d’Art Contemporain, Locmine, France

1991

1986-1991: 5 Jaar De Lege Ruimte, Galerie de Lege Ruimte, Bruges, Belgium

Constructing Images: Synapse Between Photography and Sculpture, Lieberman & Saul, New York; Tampa Museum of Art, Tampa, Florida; Center for Creative Photography, Tucson, Arizona; San Jose Museum of Art, San José, California Pleasures and Terrors of Domestic Comfort, The Museum of Modern Art, New York

1990

Anninovanta, Galleria Comunale d’Arte Moderna, Bologna, Italy

Abstraction in Contemporary Photography, Emerson Gallery, Hamilton College, Clinton, New York; Anderson Gallery, Virginia Commonwealth University, Richmond, Virginia

The Liberated Image: Fabricated Photography Since 1970, Tampa Museum of Art, Tampa, Florida Nightlights, APAC Centre d’Art Contemporain, Nevers, France

1989

Altered States, The Harcus Gallery, Boston, Massachusetts

Beyond Photography, Krygier Landau Contemporary Art, Santa Monica, California

New York Artists, Linda Farris Gallery, Seattle, Washington

Das Konstruierte Bild, Fotographie-Arrangiert und Inzeniert, Kunstverein München, Germany; Kunsthalle Nurnberg, Nurnberg, Germany; Forum Bottcherstrasse, Bremen, Germany; Badischer Kunstverein, Karlsruhe, Germany

Decisive Monuments, Ehlers Caudill Gallery, Chicago, Illinois

Encore II: Celebrating Fifty Years, The Contemporary Arts Center, Cincinnati, Ohio

Fauxtography, ArtCenter College of Art and Design, Pasadena, California

The Mediated Imagination, Visual Arts Gallery, State University of New York at Purchase, Purchase, New York

Parallel Views, Arti et Amicitiae, Amsterdam, Netherlands

The Photography of Invention-American Pictures of the 1980s, Smithsonian American Art Museum, Washington, D.C.; Walker Art Center, Minneapolis, Minnesota

Suburban Home Life: Plotting the American Dream, Whitney Museum of American Art, New York; The Whitney at Champion, Stamford, Connecticut

1988

Complexity and Contradiction, Scott Hanson Gallery, New York Fabrication-Staged, Altered and Appropriated Photographs, Sert Gallery, Carpenter

Center for the Visual Arts, Harvard University, Cambridge, Massachusetts

James Casebere, Stephen Prina, Christopher Wool, Robin Lockett Gallery, Chicago, Illinois

Made In Camera, VAVD Editions, Stockholm, Sweden

Plane Space: Sculptural Form and Photographic Dimensions, The Photographers’ Gallery, London, United Kingdom

Playing For Real, Toys and Talismans, Southampton City Art Gallery, Southampton, United Kingdom; Ikon Gallery, Birmingham, United Kingdom; Chapter Arts, Cardiff, United Kingdom

1987

3 Americans, 3 Austrians, Fotogalerie Wien, Vienna, Austria

This is Not a Photograph: Twenty Years of Large-Scale Photography, 1966-1986, The John and Mabel Ringling Museum of Art, Sarasota, Florida; Akron Art Museum, Akron, Ohio; The Chrysler Museum, Norfolk, Virginia

Arrangements for the Camera: A View of Contemporary Photography, The Baltimore Museum of Art, Baltimore, Maryland

Bilder 30, Fotogalerie Wien, Vienna, Austria

CalArts: Skeptical Belief(s), The Renaissance Society, University of Chicago, Chicago, Illinois; Newport Harbor Museum, Newport Beach, Virginia Cross-References: Sculpture into Photography, Walker Art Center, Minneapolis, Minnesota

Kunst Mit Photographie, Galerie Ralph Wernicke, Stuttgart, Germany

Nightfire, De Appel, Amsterdam, The Netherlands

Photography and Art: Interactions Since 1946, Los Angeles County Museum of Art, Los Angeles, California; The Fort Lauderdale Museum of Art, Fort Lauderdale, Florida; Queens Museum, New York

The Pride of Symmetry, Galerie Ralph Wernicke, Stuttgart, Germany

Small Wonders, Barry Whistler Gallery, Dallas, Texas

1986

The Fairy Tale: Politics, Desire, and Everyday Life, Artists’ Space, New York

Foto Cliche, Victoria Miro Gallery, London; Orchard Gallery, Derry, United Kingdom

James Casebere, Clegg & Guttman, Ken Lum, Galerie Bismarckstrasse, Cologne, Germany

Milano Triennale, Milan, Italy

Photographic Fictions, The Whitney at Champion, Stamford, Connecticut

Photographs, 303 Gallery, New York

Picture Perfect, Kuhlenschmidt/Simon, Los Angeles, California

The Real Big Picture, The Queens Museum, New York

Signs of the Real, White Columns, New York

Sonsbeek 86: International Sculpture Exhibition, Arnhem, Netherlands

TV Generation, L.A.C.E., Los Angeles, California

1985

Biennial Exhibition, Whitney Museum of American Art, New York

James Casebere, Jeff Koons, Larry Johnson, 303 Gallery, New York

Rounding Up the Usual Suspects, Fay Gold Gallery, Atlanta, Georgia

1984

A Decade of New Art, Artists’ Space, New York

The Success of Failure, Diane Brown Gallery, New York

1983

Art Park, Lewiston, New York

Artists Use Photography, American Grafitti Gallery, Amsterdam, The Netherlands; Marianne Deson Gallery, Chicago, Illinois

Images Fabriquées, Centre Georges Pompidou, Paris, France; Museum voor Aktuel Kunst, Hasselt, Belgium

In Plato’s Cave, Marlborough Gallery, New York

1982

The Fabricated Image, Delahanty Gallery, Dallas, Texas

Tableaux: Nine Contemporary Sculptures, The Contemporary Art Center, Cincinnati, Ohio

1981

Eight Contemporary Photographers, University of South Florida Art Museum, Tampa, Florida

Erweiterete Fotografie, Wiener International Biennale, Vienna, Austria

The Exhibition, California Institute of the Arts, Valencia, California

Photo, Metro Pictures, New York

1980

Group Show, Annina Nosei Gallery, New York The Real Estate Show, Co-Lab, New York

The Staged Shot, Delahanty Gallery, Dallas, Texas

1979

Fabricated to be Photographed, San Francisco

Museum of Modern Art, San Francisco, California; University of New Mexico, Albuquerque, New Mexico; Albright- Knox Art Gallery, Buffalo, New York; Newport Harbor Art Museum, Newport Beach, California

Southern California Invitational/Photo, University of Southern California, Los Angeles, California

PUBLIC COMMISSIONS

2004

NYC Department of Education

1993

University of Washington, Seattle, Washington. Six light-boxes installed in bus shelters, commissioned by Washington State Arts Commission

1991

Minnesota History Center, St. Paul, Minnesota. A group of brass elements installed in terrazzo floor of main hall, commissioned by Minnesota Arts Board and Minnesota Historical Society

1990

Kortrijk Station, Kortrijk, Belgium. Light-boxes installed in collaboration with Tony Oursler, commissioned by Kunststichting Kanaal

1988

Pennsylvania Station, New York. Series of 11 light-boxes installed in station, commissioned by the Public Art Fund

1983

Staten Island Ferry Terminal, New York. A series of light-boxes installed in the terminal, sponsored by New State Council on the Arts, Artists’ Sponsored Project

Grant. Art Park, Lewiston, New York. Light-box installed in Lewiston Park, commissioned by Art Park

1980

Poster Project in Lower Manhattan, sponsored by Artists’ Space, New York

SELECTED PUBLIC AND CORPORATE COLLECTIONS

AT&T, South Plainfield, New Jersey

Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts

Peter Alger Collection, New York

Allen Memorial Art Museum, Oberlin, Ohio

American Patrons of Tate, New York

Baltimore Museum of Art, Maryland

Bank of America, Newark, New Jersey

Big Flower Press, New York

Birmingham Museum of Art, Alabama

Brooklyn Museum, New York

Buffalo AKG Museum, New York

Carnegie Museum of Art, Pittsburgh, Pennsylvania

Capital Group, Los Angeles, California

Centro Galego Arte Contemporanea, Santiago de Compostela, Spain

Chase Manhattan Bank, New York

Chazen Museum of Art, Madison, Wisconsin

Contemporary Art Museum, University of South Florida, Tampa, Florida

Dallas Museum of Art, Texas

Davis Museum and Cultural Center, Wellesley, Massachusetts

Disney Collection, New York

Emily Fisher Landau Collection, New York

Fogg Museum, Harvard University, Massachusetts

Fondazione Sandretto Rebaudengo per l’arte, Turin, Italy

Fonds National d’Art Contemporain, Paris, France

General Mills Collection, Minneapolis, Minnesota

Goetz Collection, Munich, Germany

Goldman Sachs, New York

Solomon R. Guggenheim Museum, New York

Hallmark Collection, Kansas City, Missouri

High Museum of Art, Atlanta, Georgia

Hughes and Luce, L.L.P. Collection, Dallas, Texas

Indianapolis Museum of Art, Indianapolis, Indiana

Jewish Museum, New York

Johnson & Johnson, New Brunswick, New Jersey

Los Angeles County Museum of Art, California

Metropolitan Museum of Art, New York

Miami Art Museum, Florida

Milwaukee Art Museum, Wisconsin

Mukha Museum, Antwerp, Belgium

Museum of Fine Arts, Boston, Massachusetts

Museum of Fine Arts, Houston, Texas

Museum of Modern Art, New York

Nanjing Sifang Art Museum, Nanjing, China

National Gallery of Art, Washington, DC

National Gallery of Canada, Ottawa, Ontario, Canada

Neuberger Berman LLC, New York

Neuberger Museum, State University of New York at Purchase, Purchase, New York

Neue Galerie der Stadt Linz, Linz, Austria

New Orleans Museum of Art, New Orleans, Louisiana

New School for Social Research, New York

Pacific Bell Collection, Los Angeles, California

Pepsico Collection, Purchase, New York

Phillips Collection, Washington, D.C.

Phoenix Art Museum, Phoenix, Arizona

Progressive Corporation, Cleveland, Ohio

Prudential, Newark, New Jersey

Rose Art Museum, Waltham, Massachusetts

Revco Corporation, New York

San Diego Museum of Contemporary Art, California

San Francisco Museum of Modern Art, California

Spencer Museum of Art, Lawrence, Kansas

St. Louis Art Museum, Missouri

Tampa Museum of Art, Florida

Tate Modern, London, United Kingdom

United Yarn Corporation, Wayne, New Jersey

University Art Museum, University of New Mexico, Albuquerque, New Mexico

University of Iowa Museum of Art, Iowa City, Iowa

Victoria and Albert Museum, London

Walker Art Center, Minneapolis, Minnesota

Whitney Museum of American Art, New York

Williams College Museum of Art, Williamstown, Massachusetts

Acknowledgements

The Board of Directors of the Williamsburg Biannual would like to acknowledge our friends and supporters, who helped make The Spatial Unconscious possible, especially artist James Casebere, his partner Jennifer Harrison Newman, and studio manager Kelly Kristen; and the incredible team at Sean Kelly Gallery, in particular Sean Kelly, senior partner-executive director Cecile Panzieri, Megan O’Hare, media & communications director Adair Lentini, Brandon Tho Harris, head registrar Debra Vilen, Ben Polsky, Camila Kimball, and John Haenle.

We are grateful to Willamain “Willy” Somma for planting the seed that would grow into this exhibition, as well as Mirissa Neff, whose DJ skills energized the opening, transforming a stylish reception into lively party. What a night! We would like to extend a special thanks to Roderick Cruz for event photography that captured this moment and Andy Romer Photography for the beautiful installation photography that comprise much of this catalog.

In addition, we would like to thank Archtober, Open House New York, and Sound & Vision Podcast with whom we presented related programming; as well as The Brooklyn Rail, publisher Phong Bui and editor-at-large Tom McGlynn for the in-depth conversation with James about his creative practice and the exhibition in its highlyregarded, long-running New Social Environment program. Finally, we would be remiss not to mention the Lawyers Alliance for New York for their continued legal guidance and the New York Council of Nonprofits and Gwynn V. Jones of Council Services Plus for their expertise on policy and nonprofit administration.

As we begin our second year, the Williamsburg Biannual is excited to serve New York, its creative community, and the public-at-large meaningfully advancing the arts, public discourse and the cultural life of our city. We look forward to welcoming more visitors, making new friends, presenting thoughtful programming, and strengthening our community! Thank you for your interest. We appreciate your interest and support!

About The Williamsburg Biannual

The Williamsburg Biannual is a new artist space in Williamsburg, Brooklyn that mounts two exhibitions per year, allowing exhibiting artists to show a comprehensive body of work for an extended period of time. Exhibitions are complemented by related programs – music and dance performances, screenings, readings and talks.

Located at 333 Kent Avenue, steps from the iconic Williamsburg Bridge and Domino Park, the Williamsburg Biannual’s home is an adaptive reuse and expansion of a 1920’s 10,000sf warehouse, designed by JAZ Architect.The Biannual’s premises include over 7,500sf of public gathering space, a black box event space, an informal auditorium and casual seating area, double height galleries and a private outdoor space. Of this, 4,000sf is dedicated exhibition space, spread over three levels. Natural light throughout the building creates a serene environment, an urban oasis for art viewing, contemplation, discussion, and enjoyment. For more information about The Williamsburg Biannual, visit www. williamsburgbiannaul.org.

About Sean Kelly Gallery

Since its inception in 1991, Sean Kelly Gallery has been internationally recognized for its diverse, intellectually driven program and highly regarded roster of artists. The Gallery has garnered worldwide attention for its collaborations with renowned cultural institutions, coordinating hundreds of exhibitions on behalf of its artists at an array of prestigious museums. For more than 25 years, the Gallery has become known for its high quality, thought-provoking contemporary art program and innovation. In 2018, the gallery launched the critically acclaimed Collect Wisely podcast series aimed at refocusing the discourse around collecting to return to the heart of the matter: discussing art and artists, the passion for collecting and connoisseurship. In 2023, the gallery expanded West and open a major new 10,000 square foot gallery in Los Angeles where it looks forward to building on and furthering the legacy of the gallery’s New York program. For more information about Sean Kelly Gallery, visit www.seankelly.com.