Frame: 188.3 x 265.7 cm (74 1/8 x 104 5/8 x 3 in.)
Purchase, Alfred Stieglitz Society Gifts, 2011
Not on view
Casebere, originally an architecture student, is part of the disillusioned, skeptical generation that came of age in post-Vietnam, post-Watergate America, and in his art he uses the assumed truthfulness of photography against itself to question how we are acculturated through images. Beginning in the mid-1970s the artist made dramatically lit black-and-white photographs of three-dimensional tabletop sculptures that he constructed of plaster, Styrofoam, and cardboard. His early subjects comprised a ghost world of instantly recognizable, yet eerily indistinct, social spaces—from courtrooms and libraries to an empty storefront or a suburban street at night. In the 1990s he shifted to color and enlarged the scale of his works; his subjects ranged from hospitals and jails to tunnels, corridors, and flooded rooms that called to mind unsettling associations with discipline, circulation, and control.
This majestic work is made from a model of a suburban subdivision (of the kind recently decimated by the foreclosure crisis) that took the artist a year and a half to complete. Its dewy sunniness, however, is deceptive and unnerving: with computer graphics, Pixar, and CGI, the world may have caught up to and surpassed Casebere's analogue sleight-of-hand, but the isolation bred by both a fatal attraction to illusion and the competitive consumption of "keeping up with the Joneses" continues to erode our collective potential and happiness.
Inscription: Signed in ink on gallery label affixed to frame, verso TRC: "J Casebere"
[Sean Kelly Gallery, New York]
The Metropolitan Museum of Art. "After the Gold Rush: Contemporary Photographs from the Collection," March 22, 2011–January 2, 2012.
Enwezor, Okwui, ed. James Casebere: Works 1975–2010. Bologna: Damiani, 2011. no. 108, p. 241.
Enwezor, Okwui, ed. James Casebere: Fugitive. Munich: Haus der Kunst München, 2016. p. 193.