Casemore Gallery at Paris Photo 2023

6 - 12 November 2023

  • Casemore Gallery at Paris Photo 2023
    Larry Sultan Untitled, from the series "Swimmers," [Red Haired Baby] , 1978-82

    Casemore Gallery at Paris Photo 2023

  • Casemore Gallery is pleased to present work by Jim Goldberg, Sean McFarland, Raymond Meeks, Larry Sultan, Lindsey White, and Kanoa Zimmerman for Paris Photo 2023.

  • Jim Goldberg

    For the experimental storytelling of Raised By Wolves— represented in this exhibition by an assemblage of 17 individual images together called “Geekin and Freakin #2 —Goldberg followed a cast of California youths as they fell in and out of society for a decade bridging the ‘80s and ‘90s, documenting their lives, helping them when he could, and eventually creating a tribute to them with the publication of Raised by Wolves. 

     

    Both a critically acclaimed book and a lauded traveling exhibition, the body of work contains tens of thousands of photographs, along with video, audio, written testimonials, and artifacts. Nearly thirty years after it was first shown and published, Goldberg is still contending with the work, repurposing and reimagining the photographs and their arrangements. 

     

    “The Audition” is an image from Goldberg’s recently published autobiographical project Coming and Going, which is comprised of text, full-page photographs, and collages that include thousands of images in total. The almost lurid redness of the stage and curtain leave the viewer guessing as to the pictured theatre’s purpose and its meaning to the photographer.

  • Sean McFarland

     

    Sean McFarland’s work explores the relationship between photography and the history and representation of landscape, exploring western landscapes and the skies above in particular. With a focus on experimentation, the artist joins aspects of other mediums with photography to uncover the experience of seeing, the passing of time, and the knowledge that we and what we know cannot live forever.

     

    McFarland asks us as viewers to consider whether photographs make us pay more or less attention to the environment around us. He is interested in the contextual relationship between us and the picture, and how we create meaning through it. He is interested in people’s inclination to hold faith in the accuracy of a photo’s depiction of the earth. Through alternative processes of photography such as cyanotypes—a photographic printing process that produces blue prints solely using coated paper and light, with no camera or negatives— there is a beautiful simplicity and purity in this representation of color and material. The work considers the emotions, or lack of emotions, that different representations evoke in us as individuals as we see and encounter these non-specific places. Plus, as McFarland says, with a touch of irreverence, “Blue is just the best color.” (SFMOMA, 2017)

  • Raymond Meeks

    For Halfstory, Meeks ventured the few miles from his hoe in the Catskill Mountain region of New York over the course of multiple summers, to a wooded place known in the area as Furlong, a gathering place for generations of local youth, drawn there to jump over a waterfall that drops into a forbidding pond 60 fee below. Meeks shows these youth as a loose community perched on the cusp of adulthood, poised literally an figuratively on a precipice both in space and their lives. 

  • Larry Sultan

    Larry Sultan grew up in California’s San Fernando Valley, which became a source of inspiration for a number of his projects. His work blends documentary and staged photography to create images of the psychological as well as physical landscape of suburban family life. Sultan’s pioneering book and exhibition Pictures From Home (1992) was a decade long project that features his own mother and father as its primary subjects, exploring photography’s role in creating familial mythologies. Using this same suburban milieu, the photograph “Silver Curtain” is taken from his series The Valley (2004), which examined the adult film industry and the area’s middle-class tract homes that serve as pornographic film sets.

     
  • Lindsey White

    Lindsey White

    Credits and Cop-Outs, 2021

    Silver Gelatin Print, Gouache Paint

    24 x 30 inches (60.96 x 76.2 cm)

    Unique

    Lindsey White

    Lindsey White’s “Credits and Cop-Outs” is a mixed-media piece taken from her recent exhibition How to Get on Cable Television, which focused on such concerns as aspiration and antiquation, art and entertainment, and mediated experience on a screen-heavy Earth. The exhibition was comprised of all new photographs and sculptures informed by White’s ongoing research into the professional and amateur worlds of magic and comedy. In the artist’s hands, props, stages, jokes, and gestures are ripe for investigation, especially in relation to gender and power dynamics. Based on hundreds of original negative scans from the American Museum of Magic, White re-tooled archival photographs to interrogate the way history is tended to and manipulated. How to Get on Cable Television placed viewers in the center of the deconstructed action, a sleight-of-hand celebrating both process and product, surprise and reveal.

     

    These themes are both powerfully and playfully addressed in “Credits and Cop-Outs,” which takes a photograph of a theatrical audience for a magic show, and uses gouache and paint to “erase” all the men both participating and in attendance, leaving only a much smaller audience of women visible, an inversion of the erasure often endured by women in the world of professional magic, as in the world at large.

  • Kanoa Zimmerman

    Kanoa Zimmerman

    Diver 10, 2009

    Silver Gelatin Print

    50 x 34 inches (127 x 86.36 cm) Unframed; 57 x 41 inches (144.78 x 104.14 cm) Framed

    Edition 2 of 3

    Kanoa Zimmerman

    Kanoa Zimmerman’s Free Dive is a series of underwater images that drop viewers into a dream like immersive experience—not otherworldly, but a version of our world, rendered literally and figuratively liminal—where the sun-filled sky bottoms into the surface of the ocean and the two commingle, tangling within a brief alignment of time and depth, refractions of light and form creating new perceptions.

     

    “Light behaves differently underwater. It bends and slows down, giving rise to optical phenomena,” observes Zimmerman. “Our movements and heart rate also slow, our bodies suspended as if weightless. Without the normal metronome of breathing, time seems to stretch.” 

     

    Zimmerman attended The New School University in New York and the Brooks Institute of Photography in Santa Barbara, CA. He has exhibited in Honolulu, San Francisco, NewYork, Paris, Sydney, Melbourne, Osaka, Fukuoka and Tokyo. Kanoa lives and works in San Francisco.

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