James Casebere Fugitive
Since the mid-1970s, James Casebere has produced a diverse body of work involving photography, sculpture, installation, and film. Casebere gained renown as a pioneer of a type of constructed photographic tableaux which derive exclusively from meticulously planned architectural models that he conceives, fabricates, and photographs in his studio. He has thus created his own distinctive visual language through a unique cinematic and architectural approach. “I am trying to create something that embodies or dramatizes the kind of psychic space that exaggerates certain ideas and experiences,” Casebere says. In his pictorial method, the models exemplify what might be characterized as the architectural unconscious of a given spatial system.
James Casebere Fugitive
James Casebere Fugitive Edited by Okwui Enwezor With contributions by James Casebere, Okwui Enwezor, Caleb Smith, and Brian Wallis
P r e s t e l Munich · London · New York
4 – 5
41 – 56
202 – 205
Major Supporter’s Preface
List of Works
5 7 – 74
206 – 213
75 – 94
2 14 – 2 2 1
95 – 136
222 – 223
Dr. Eva-Maria Fahrner-Tutsek 6 – 8
Director’s Foreword Okwui Enwezor 10 – 21
Fugitive States James Casebere’s Political Economyof Spatial Illusion Okwui Enwezor 22 – 30
In Casebere’s Cave
137 – 160
Archaeology (Studies) 161 – 188
32 – 38
189 – 201
In a Different Light
Landscape with Houses
Classroom, Casa del Fascio (detail) 2005
Fugitive States James Casebereâ€™s Political Economy of Spatial Illusion
Over the last forty years James Casebere has produced a diverse body of work involving photography, sculpture, installation, and film. During this period he gained renown as a pioneer of a type of constructed photographic tableaux which derive exclusively from meticulously planned architectural models that he conceives, fabricates, and photographs in his studio. Even if some aspects of the work draw from existing spaces and sites, his fully realized models and the photographs generated from them are never explicitly mimetic. In fact, Casebere’s architectural models are as much replications of the real as they are detours from it. As such they can be best understood as psychological profiles and character studies of spaces, as fugitive states and affective representations, rather than reproductions of a given place, locale, or site. Constructed ex nihilo, out of completely imagined scenes, or from reconstructed setups generated from existing documents and images, the early pictures were, fundamentally, studio experiments and interventions into architecture. However, over time, with the work’s burgeoning conceptual complexity and formally expansive re-creations, the architectural models became deeper reflections on the social effects of space, and can be seen as investigations into the nature and conditions of the apparatus.1 Over the course of these shifts in his model-making — in which cinema also played an influential role — the experiments, interventions, and investigations accumulated a rich resource of architectural features and spatial lexicons, as well as a range of discursive and pictorial dispositions, which today cover a broad territory of subjects and systems. Casebere arrived at this mode of working early, as a young art student in the mid- to late 1970s at the Minneapolis College of Art and Design, followed by the California Institute of the Arts (CalArts). It was a period when photography was in transition: artists were interrogating the aesthetic principles underlying photographic realism and the related issues of the dominant documentary form.2 In 1977 the critic DouglasCrimp organized the influential exhibition Pictures at Artists Space in New York, in which he introduced the work of five artists (Robert Longo, Troy Brauntuch, Jack Goldstein, Sherrie Levine, and Philip Smith) for whom the interrogation of pictures was central to the conception of the photographic or moving image. In an accompanying essay for the exhibition catalogue he writes:
To an ever greater extent our experience is governed by pictures, pictures in newspapers and magazines, on television and in cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover lost reality, but to determine how a picture becomes a signifying structure of its own accord.3 Crimp’s core argument about the economy of pictures, or what the art historian Terry Smith characterized as iconomy,4 in which the operation of the image was structured according to the forms of discourses it generated, subsequently extended beyond the original five artists in the exhibition to include a loosely affiliated group of artists working in New York.5 Caseberewas one of these artists. Discussing the influences and motivations behind his own art-making at this time when artists in the United States were using the camera to record and document ephemeral actions and site-specific sculptures in urban and rugged natural environments, Casebere states: I was not thinking about photography, but about other visual artists of the time that I’d been interested in since at least high school. These were mainly artists who worked in the landscape, in the urban fabric, and who documented their activities or interventions, like Gordon Matta-Clark in the city; Robert Smithson or Michael Heizer in the American West; or other performance artists who documented their performances and whose work I became familiar with through its documentation after the fact.6 Formally, the bare essentials of the work that Casebere began producing in response to the art that affected and influenced his thinking consisted of nothing more than pieces of cardboard, paper, Styrofoam, tape, plaster, and pigment, along with other materials procured from art stores and hardware shops. These quotidian materials represented the fundamental resources that, over a lengthy process of transformation, formed a species of spatial structures whose deliberately planned psychological complexity built up into a procession of architectural codes. Only after these codes had been strin-
F u g i t i v e S tat e s
In Casebereâ€™s Cave
From inside the cave, the viewer looks out on a blinding expanse of pure whiteness. Rocks spill across the foreground, and a stony arch or bridge curves down from the left. The blank sky and distant view make the dark vaulted cave interior feel protective and secure. But as one surveys the setting in Arches (1985), an early black-and-white photograph by James Casebere, certain details begin to emerge from the dim space that seem odd or incongruous.1 In the foreground, large squarish chunks of what appear to be rocks lie scattered about, their grotesque scale and slightly rounded edges giving them the nonthreatening appearance of giant, slightly melted pats of butter. Overhead, the dark, ambiguously defined curve of the near arch of the cave suddenly seems flimsy, like a stage set of indeterminate scale. In fact, like all of Casebere’s work, Arches depicts a sculpture that the artist built from foamcore, paper, and plaster and then photographed. With no figures or other markers of scale or depth, the viewer is unaware that the model for the cave was just large enough to fill a small tabletop. This simple displacement and the subject of the cave itself create a strange effect that is both unsettling and disorienting. For Casebere, whose principal subject is home — or, more broadly, the ideological meaning of architectural space — and whose images depend on the emotional impact of diminutive constructed settings, caves and underground environments are in many ways a metaphor or an extension of the troubled domestic scenarios of his earliest works. Most of his early films and staged photographs featured disjointed autobiographical tableaux in which schematic cardboard models of furniture or household objects were disrupted or made to seem malicious, like a slightly demonic table fan or an oversize fork stabbed through a refrigerator. A filmic series titled Life Story (1978) narrates Casebere’s own Midwestern suburban childhood, centered around a prototypical two-story neocolonial tract house. In subsequent works over thirty years, Casebere has investigated a wide range of living spaces and institutional habitats, always using fabricated settings, dramatic lighting, and other photographic effects to express complex histories and subtle feelings of warmth, anxiety, claustrophobia, and transcendence. He has said, “I am trying to create something which embodies or dramatizes the kind of psychic space that exaggerates certain ideas and experiences.”2
In this context, the empty cave presides as the archetypal home. The prefiguration of a human inhabitable space, it combines the physical security of shelter and the psychological connotations of the maternal womb. But the cave has another side, a double meaning: it can also be haunted, like a tomb or a dungeon. Perhaps this rich ambiguity is why Casebere has consistently returned in his work to depictions of caves and cave-like enclosures, including rooms, stairways, cells, hallways, and tunnels, always depicted as empty, unpeopled sites for contemplation or troubling engagements. In focusing on these psychologically inflected spaces, he draws in part on a rich Romantic tradition in Western art and literature in which rock clefts were often represented as quasi-religious sites of birth, death, or resurrection, but also as cursed zones, beyond the realm of rational thought, mysterious and compelling loci for the freighted imagination. Especially for nineteenth-century masters of the Gothic, like Mary Shelley and Edgar Allan Poe, subterranean realms provided backdrops for the mad and delusional, dismal locations that would inspire ghastly fears of being buried alive and might unleash other unspeakable subconscious terrors. Partly for this reason, actual caves, such as the vast Mammoth Cave in Kentucky, became hugely popular antebellum tourist sites. Like Niagara Falls, they attracted tourists with their spectacular natural wonders and stunning scale, prompting a thrilling mix of awe and fear, chief characteristics of the swooning Sublime, the ultimate aesthetic aspiration of the Romantic era.3 The persistent disturbance that cave-like cavities suggest, the nagging friction between comforting spaces and potential threats that so pervades Casebere’s photographs and gives them their distinctive psychic punch, has been described by many critics as “uncanny.”4 With this adjective, writers allude to the carefully manipulated menace and ghostly presences of Casebere’s architectural images, with their empty leering windows, expressionistic shadows, pregnant voids, and derelict spaces. His dreamlike models echo in reduced scale the noticeable effects produced by certain actual buildings or spaces — what architectural historian Anthony Vidler refers to as “the architectural uncanny.”5 This is the unsettling and often repetitive presentiment of estrangement that one feels in certain surroundings, a disorienting flash of the irrational overlaid on the mundanity of everyday experience. Vidler describes these sensations of anxiety in certain envi-
I n C a s e b e r e ’ s C av e
In a Different Light
This comprehensive exhibition presents photographs and objects from the forty-year career of James Casebere, an artist whose work continues to develop, responding to new historical and conceptual questions, anticipating unfamiliar futures. The earliest photographs chosen for this survey, produced in the 1970s, are black-and-white silver prints, of modest scale, which render the American Midwest as an eerie dreamworld. The works from a middle phase, around the turn of the twenty-first century, are much larger, rich with color and a nuanced play of light and shadow; they carry the viewer to distant eras and exotic settings, into secret passageways and prison cells. In some of the more recent pictures, Casebere turns to landscape, using digital processes to register the withering effects of economic and environmental collapse. Finally, the newest photographs, massive in scale and designed especially for the Haus der Kunst, invoke the occult ceremonies of the Third Reich. There is a great deal of variation in the exhibition, with marked shifts in theme and style. For the first time, Casebere has opened up his personal archive to public view, and his Polaroids, sketches, and notes show some of the ways that his thinking and techniques have changed over time. In the end, though, the total effect is a coherent one. Very early in his career, Casebere established his distinctive method: building small tabletop sets and models in his studio, playing with light and other atmospheric effects, and experimenting in the darkroom (or, more recently, on the computer) to manipulate color and scale. For four decades, even as the technology of his medium has changed, Casebere has been working in more or less the same mode, exploring its many possibilities. His long-term adherence to the method he invented gives his body of work an uncommon distinctiveness, a recognizability. In the corpus of another artist, this kind of consistency might be attributed to the expression of a personal voice or the singularity of a life. When it comes to making sense of Casebere’s signature style, however, such terms have little purchase. Especially at the beginning of his career, the proper lexicon seems to be that of spectacle, mediation, and mechanical reproduction. Casebere’s work does not appear to be especially interested in the depths of a unique self. It is more preoccupied with the mass-produced and the mass-consumed. It draws the viewer into situations that are constructed and stylized, yet generic. Its mode feels less expressive than
meditative, sometimes even coldly analytic. The exhibition presents the paradoxical case of an artist whose work coheres, achieves its identity, by way of impersonality. What the viewer encounters in Casebere’s photographs is not exactly an imagination, in the Romantic sense of a creative, heroic will. It is closer to what philosophers call a social imaginary, the broadly shared and widely circulating set pieces — the common sense, the structures of feeling, the generic patterns of storytelling and thinking — through which a society pictures and understands the world.1 Most of the time, these patterns tend to lie half-buried in the collective unconscious. Casebere excavates and defamiliarizes them; he renders them unnatural in order to make them visible, to expose them to scrutiny and reconsideration. One of Casebere’s best interpreters, Hal Foster, has referred to his oeuvre as an “image-repertoire” by way of which the artist explores “the relations between images, identification, and ideology.”2 From his emergence in the mid-1970s to the present, Casebere has practiced studio photography as a critical archaeology of our late modern social imaginary. It is fair to say that the social imaginary he examines is a peculiarly American one, even when (like US power) it takes in elements from across the globe. What is America? In Casebere’s work, the answer seems to be: a promise of the good life, accompanied and enforced by the menace of living death. Equally vivid are America’s dreams of liberty and its nightmares of imprisonment and slavery, its offer of sanctuary and its threat of exclusion. Some other thinker might have framed this relation as a contradiction between ideals and realities, American history exposing the hypocrisy of American ideology. Casebere, attuned to spectacle, sees things in a different light. In his work, there is no fixed boundary between the abstract and the material. What appears most concrete, given form as architecture or environment, turns out to be the trace of something ephemeral and fleeting — of something fugitive. Impersonality, therefore, is not the same as what journalists call “objectivity.” From the beginning, Casebere turns the camera to purposes other than the representation of reality. His work is never a report; it is almost always a mystery. Indeed, it is mysterious in two senses. First, it often confronts the viewer with a problem to be solved. The picture renders a situation in which something has been broken or ruined, and it provokes you to ask what has gone wrong — to specu-
In a Different Light
Installation view of Banners and Grandstand, Haus der Kunstâ€‚2016
Flooded Cell #1â€‚2008
Dormitory (after Topkapi Palace) 2006 – 0 7
Mosque (after Sinan) #2â€‚2006
Fork in the Refrigeratorâ€‚1975
Subdivision with Spotlightâ€‚1982
Landscape with Houses (Dutchess County, NY) #2â€‚2009
List of Works
Banners, 2016 Archival pigment print 105.61 × 158.75 cm Courtesy the artist and Galerie Daniel Templon, Paris and Brussels p. 49 Grandstand, 2016 Archival pigment print 200.66 × 331.47 cm Courtesy the artist and Sean Kelly, New York p. 51 Rally, 2016 Archival pigment print 200.02 × 910.59 cm Courtesy the artist and Sean Kelly, New York pp. 43 – 46 92nd Street, Rockaway, 2015 Archival pigment print 118.75 × 158.60 cm Courtesy the artist and Lisson Gallery, London, Milan, and New York p. 199 Occupy Sandy, 2015 Digital chromogenic print 177.20 × 230.30 cm Courtesy the artist and Sean Kelly, New York p. 201 Sea of Ice, 2014 Archival pigment print 95.89 × 126.36 cm Collection of Santiago Sepulveda and Gloria Cortina, Vail, CO Courtesy the artist and Sean Kelly, New York p. 77 Landscape with Houses (Dutchess County, NY) #9, 2011 Digital chromogenic print 177.20 × 222.76 cm Private collection Courtesy the artist and Sean Kelly, New York p. 195
Landscape with Houses (Dutchess County, NY) #7, 2010 Digital chromogenic print 177.20 × 169.5 cm Courtesy the artist and Lisson Gallery, London, Milan, and New York p. 191 Landscape with Houses (Dutchess County, NY) #1, 2009 Digital chromogenic print 177.20 × 256.6 cm Metropolitan Museum of Art, Purchase, Alfred Stieglitz Society Gifts, 2011 (2011.39) Exhibition copy, collection of the artist Courtesy the artist and Sean Kelly, New York p. 193 Landscape with Houses (Dutchess County, NY) #2, 2009 Digital chromogenic print 177.20 × 269.20 cm Collection of MFA Financial, Inc., New York Courtesy the artist and Sean Kelly, New York pp. 196 – 97 Flooded Cell #1, 2008 Digital chromogenic print 228.60 × 182.88 cm Private collection Courtesy the artist and Lisson Gallery, London, Milan, and New York p. 59 Samarra, 2007 Digital chromogenic print 118.75 × 147.80 cm Courtesy the artist and Lisson Gallery, London, Milan, and New York p. 71
Dormitory (after Topkapi Palace), 2006 – 07 Digital chromogenic print 229.87 × 182.88 cm Centro Andaluz de Arte Contemporáneo, Seville Courtesy the artist and Galería Helga de Alvear, Madrid p. 61
Spanish Bath (Vertical), 2003 Dye destruction print 118.11 × 147.32 cm Collection of Rose Ellen Meyerhoff Greene, Coral Gables, FL Courtesy the artist and Sean Kelly, New York p. 73
Theater (after the Acropolis) #2, 2006 Digital chromogenic print 302.26 × 468.63 cm Courtesy the artist and Sean Kelly, New York pp. 64 – 65
Turning Hallway, 2003 Digital chromogenic print 117.17 × 222.25 cm Courtesy the artist and Lisson Gallery, London, Milan, and New York p. 81
Mosque (after Sinan) #2, 2006 Digital chromogenic print 283.85 × 360.68 cm Collection of Lindy and Richard Barnett, Shaker Heights, OH Courtesy the artist and Sean Kelly, New York pp. 68 – 69
Green Staircase #3, 2002 Digital chromogenic print 222.25 × 177.17 cm Collection of Debbi Gibbs, New York Courtesy the artist and Jensen Gallery, Sydney p. 91
Classroom, Casa del Fascio, 2005 Dye destruction print 118.11 × 151.76 cm Courtesy the artist and Lisson Gallery, London, Milan, and New York p. 67 (not exhibited) La Alberca, 2005 Digital chromogenic print 177.17 × 222.25 Collection of Margaret Cohen and Kevin Rahilly Courtesy the artist and Sean Kelly, New York p. 63 Minka with Dirt and Fog, 2003 Digital chromogenic print 177.20 × 235.40 cm Courtesy the artist and Lisson Gallery, London, Milan, and New York pp. 78 – 79
Monticello #3, 2001 Dye destruction print 118.11 × 147.32 cm Collection of Sue Stoffel, New York Courtesy the artist and Sean Kelly, New York p. 89 Wichita Falls, 2001 Digital chromogenic print 118.75 × 164.14 cm Courtesy the artist and Galerie Daniel Templon, Paris and Brussels pp. 92 – 93 (not exhibited) Yellow Hallway #2, 2001 Dye destruction print 118.11 × 147.32 cm The Phillips Collection, Washington, DC Courtesy the artist and Sean Kelly, New York p. 85
Pink Hallway #2, 2000 Digital chromogenic print 147.32 × 118.11 cm Sammlung Goetz, Munich Courtesy the artist and Sean Kelly, New York p. 87 Flooded Hospital I, 1999 Polaroid print 68.91 × 55.25 cm Courtesy the artist and Sean Kelly, New York p. 179 Flooded Hospital II, 1999 Polaroid print 62.87 × 55.25 cm Courtesy the artist and Sean Kelly, New York p. 180 Flooded Hospital III, 1999 Polaroid print 67.96 × 55.25 cm Courtesy the artist and Sean Kelly, New York p. 181 Flooded Hallway, 1998 Dye destruction print 233.68 × 293.37 cm Private collection, New York Courtesy the artist and Sean Kelly, New York pp. 82 – 83 Tall Stack of Beds, 1997 Dye destruction print 152.40 × 121.92 cm Courtesy the artist and Galerie Daniel Templon, Paris and Brussels p. 183 Nine Alcoves, 1996 Dye destruction print 121.92 × 121.92 cm Courtesy the artist and Lisson Gallery, London, Milan, and New York p. 169 (not exhibited)
List of Works
Books, Exhibition Catalogues & Brochures 2013 Higgins, Jackie. Why It Does Not Have to Be In Focus: Modern Photography Explained. New York: Prestel, 2013. 2012 Hacking, Juliet. Photography: The Whole Story. London: Prestel, 2012. 2011 Enwezor, Okwui, ed. James Casebere: Works, 1975 – 2010. Bologna: Damiani, 2011. Griswold, William, et al. Mannerism and Modernism: The Kasper Collection of Drawings and Photographs, pp. 208 – 11. New York: Morgan Library and Museum, 2011. 2009 Eklund, Douglas. The Pictures Generation, 1974 – 1984. New York: Metropolitan Museum of Art / New Haven: Yale University Press, 2009. 2008 Congdon, Kristin G., and Kara Kelley Hallmark. Twentieth Century United States Photographers: A Student’s Guide, pp. 53 – 57, 276. Westport: Greenwood Press, 2008. Sporre, Dennis J. Perceiving the Arts: An Introduction to the Humanities, pp. 47 – 48, 49. Englewood Cliffs: Pearson Prentice Hall, 2008.
2006 Enwezor, Okwui. The Unhomely: Phantom Scenes in Global Society. Seville: BIACS International Biennial of Contemporary Art of Seville, 2006. Grundberg, Andy, and Terence Riley. Modern Photographs: The Machine, the Body and the City, Selections from the Charles Cowles Collection. Miami: Miami Art Museum, 2006. Exhibition catalogue. Madill, Shirley. Sublime Embrace: Experiencing Consciousness in Contemporary Art. Hamilton, Ontario: Art Gallery of Hamilton, 2006. Exhibition catalogue. Touchaleaume, Eric, et al. Du minimal dans la photo d’architectures des origins à nos jours: Auguste Salzmann, Lucien Hervé, James Casebere. Paris: Galerie 54, 2006. Exhibition catalogue. 2005 Benezra, Neal David, et al., eds. Sight Lines, Postwar to Contemporary: The Kohlberg, Kravis & Roberts Collection, pp. 160 – 61. New York: Kohlberg Kravis Roberts & Co., 2005. Bonfante-Warren, Alexandra, ed. Indianapolis Museum of Art: Highlights of the Collection, p. 220. Indianapolis: Indianapolis Museum of Art, 2005. Christofori, Ralf, et al. Bild-Modell-Wirklichkeit: Repräsentationsmodelle in der zeitgenössischen Fotografie, pp. 177 – 94. Heidelberg: Wunderhorn, 2005.
“James Casebere.” PHE05, p. 165. PHotoEspaña: VIII Festival Internacional de Fotografia y Arte Visuales. Madrid: La Fábrica, 2005. Exhibition catalogue. 2003 Bohr, Douglas. James Casebere: Musée d’Art Contemporain de Montréal, du 14 Février au 20 Avril 2003. Montreal: Musée d’Art Contemporain de Montréal, 2003. Campany, David. Art and Photography. London / New York: Phaidon Press, 2003. Dennison, Lisa, John Hanhardt, et al. Moving Pictures: Contemporary Photography and Video from the Guggenheim Collections. New York: Solomon R. Guggenheim Museum, 2003. “Picture Show: James Casebere.” Indianapolis: Indianapolis Museum of Art, 2003. Exhibition brochure.
James Casebere: The Spatial Uncanny. Milan: Edizioni Charta / New York: Sean Kelly Gallery, 2001. 2000 Albert, Xiaoming. “Collapsed Interiors.” In Insites: Interior Spaces in Contemporary Art, May 26 – August 23, 2000, pp. 19 – 20. New York: Whitney Museum of American Art, 2000. 1999 Lynas, Donna, Michael Tarantino, and Miguel Fernandez-Cid. James Casebere: Asylum. Santiago de Compostela: Centro Galego de Arte Contemporánea / Oxford, UK: Museum of Modern Art, 1999. Exhibition catalogue. 1998 Ackley, Clifford, et al. PhotoImage: Printmaking 60s to 90s. Boston: Museum of Fine Arts, 1998. Exhibition catalogue.
Retrospectacle: 25 Years of Collecting Modern and Contemporary Art. Denver: Denver Art Museum, 2002. Exhibition brochure.
Harris, Steven, and Deborah Berke, eds. Architecture of the Everyday. Princeton: Princeton Architectural Press, 1997.
Batchen, Geoffrey. Each Wild Idea: Writing, Photography, History, pp. 118 – 2 2. Cambridge: MIT Press, 2001. D’Agata, Antoine. Dormir = Sleep. Paris: Coromandel Express, 2001.
Berger, Maurice. “James Casebere.” In Model Culture, Photographs, 1975 – 1996. Foreword by Andy Grundberg. San Francisco: Friends of Photography, 1996. Felshin, Nina. Embedded Metaphor. New York: Independent Curators, Inc., 1996. Exhibition catalogue.
1995 Courtney, Julie, and Todd Gilens. Prison Sentences: The Prison as Site, The Prison as Subject. Philadelphia: Eastern State Penitentiary and Moore College of Art and Design, 1995. Exhibition catalogue. 1994 Davis, Keith. An American Century of Photography, from Dry-Plate to Digital: The Hallmark Photographic Collection. New York: Hallmark Cards, Inc. in association with Harry N. Abrams Publishers, 1994. Exhibition catalogue. Tyler, Linda, and Barry Walker, eds. Hot off the Press: Prints & Politics. Albuquerque: University of New Mexico Press / Tamarind Institute, 1994. 1993 Carroll, Patty. American Made: The New Still Life. Tokyo: Japan Art and Culture Association, 1993. Shefcik, Jerry. From New York: Recent Thinking in Contemporary Photography. Las Vegas: Donna Beam Fine Art Gallery, University of Nevada, 1993. Exhibition catalogue. 1992 Casebere, James. Venice Ghetto. Villa Val Lemme, Capriata d’Orba, Italy. Exhibition brochure. Robson, Julien. Interpreting the American Dream: James Casebere, David Levinthal, Richard Ross. Graz: Galerie Eugen Lendl, 1992.
This catalogue is published in conjunction with the exhibition James Casebere: Fugitive Curated by Okwui Enwezor Assisted by Anna Schneider Held at Haus der Kunst, Munich, from February 12 to June 12, 2016 Stiftung Haus der Kunst München, gemeinnützige Betriebs gesellschaft mbH Director and CEO: Okwui Enwezor
In respect to links in the book, Verlagsgruppe Random House expressly notes that no illegal content was discernible on the linked sites at the time the links were created. The publisher has no influence at all over the current and future design, content, or authorship of the linked sites. For this reason VerlagsgruppeRandom House expressly disassociates itself from all content on linked sites that has been altered since the link was created and assumes no liability for such content. © for the works of art by James Casebere © for the texts by the authors
Team: Tina Anjou, Sabine Brantl, Daniela Burkart, Sylvia Clasen, Arnulf von Dall’Armi, Martina Fischer, Elena Heitsch, Tina Köhler, Anton Köttl, Isabella Kredler, Teresa Lengl, Anne Leopold, JulienneLorz, Iris Ludwig, Karin Mahr, Marco Graf von Matuschka, Daniel Milnes, Miro Palavra, Moritz Petersen, Glenn Rossiter, Andrea Saul, Cassandre Schmid, Anna Schneider, Anna Schüller, Ulrich Wilmes
Front cover: Sea of Ice (detail), 2014
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The exhibition is made possible by major support from the Alexander Tutsek-Stiftung.
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Endpapers, pp. 52 – 55: Installation views, Haus der Kunst 2016; Photos by Wilfried Petzi Prestel Publishing Ltd. 14 – 17 Wells Street London W1T 3PD
Library of Congress Control Number is available; British Library Cataloguing-in-Publication Data: a catalogue record for this book is available from the British Library. Editor: Okwui Enwezor Catalogue coordination: Anna Schneider Publisher’s editorial direction: Iris Forster Authors: James Casebere, Okwui Enwezor, Caleb Smith, Brian Wallis Copyediting: Rita Forbes, Louise Neri (pp. 10 – 2 1) Design and layout: Sofarobotnik, Munich Production management: Cilly Klotz Separations: Helio Repro GmbH, Munich Printing and binding: aprinta druck GmbH, Wemding Typeface: Lyon, Calibre Paper: 150 g/m2 Condat Périgord 1,05 f.
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Verlagsgruppe Random House FSC®N001967 Printed in Germany ISBN 978-3-7913-5541-2 (trade edition) ISBN 978-3-7913-6681-4 (museum edition)
Published on Apr 6, 2016