James Casebere The Spatial Unconscious

James Casebere The Spatial Unconscious

Williamsburg Biannual 333 Kent Avenue Brooklyn, NY 11249

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 Publication © 2025 Williamsburg Biannual and Sean Kelly Gallery Art © James Casebere Installation Photography © Andy Romer Photography Text by Adair Lentini Book Design by Megan O’Hare & AMMOR, LLP

James Casebere The Spatial Unconscious September 25, 2025 – January 17, 2026

Williamsburg Biannual 333 Kent Avenue Brooklyn, NY 11249

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

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.

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, 2018 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.

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.

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

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)

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

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)

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)

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

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)

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

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

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

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

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

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 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

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

2004 James Casebere, New Works, Mark Selwyn Fine Art, New York

1998 Galerie Tanit, Munich, Germany James Casebere: New Works, Hosfelt Gallery, San Francisco, California

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

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

1985 Kuhlenschmidt/Simon Gallery, Los Angeles, California Minneapolis College of Art and Design, Minneapolis, Minnesota

1995 Michael Klein Gallery, New York

1983 St. George Ferry Terminal, Staten Island, New York

1994 Galleria Galliani, Genoa, Italy Richard Levy Gallery, Albuquerque, New Mexico

1982 EPA Gallery, Buffalo, New York Sonnabend Gallery, New York

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

1984 Diane Brown Gallery, 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

1988 Kuhlenschmidt/Simon Gallery, Los Angeles, California Pennsylvania Station, New York

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

1987 303 Gallery, New York Kuhlenschmidt/Simon Gallery, Los Angeles, California Michael Klein Gallery, New York

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,

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

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

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

2021 Helga de Alvear Collection, Helga de Alvear Contemporary Art Museum, Cáceres, Spain Space Oddity, Fondazione Sandretto Re Rebaudengo, Turin, Italy

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

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

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

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

2015 By the Book, Sean Kelly Gallery, New York David Adjaye: Form, Heft, Material, Haus Der Kunst, Munich, Germany

2018 Analog Culture: Printer’s Proofs from the Schneider/Erdman Photography Lab, 1981- 2001, Harvard Art Museums, Cambridge, Massachusetts

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

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

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

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

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

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.

Published on the occassion of the exhibition

James Casebere The Spatial Unconscious September 25, 2025 – January 7, 2026 Williamsburg Biannual 333 Kent Avenue Brooklyn, NY 11249 www.williamsburgbiannual.org www.seankelly.com