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Casemore Gallery presents a selection of Larry Sultan's 1978-1982 series Swimmers to commemorate the recent publication of the series by MACK. In addition to Swimmers, a selection of works by Jim Goldberg, Todd Hido, Raymond Meeks, Lindsey White, Suné Woods Viewing Room.
(2026), adapts stills from Gibson’s of the same name, originally commissioned by ICA SF and presented at the institution in 2022. Drawing on footage captured in upstate New York and during site visits to California’s Bay Area, Gibson reconfigures stills from the original 60-foot-wide video installation into a tapestry-like field guided by pattern and rhythm. The work speaks to the urgency of our collective relationship to the planet while asserting the power of art to foster connection, reflection, and shared civic experience.
Beyond The Fence Playa Bound Trunk Show at The Midway, San Francisco.
Please join us Saturday, September 6th, 2 - 3 pm for an artist talk and curatorial walk through with Cole Barash and Janie Perez-Radler. Casemore Gallery is pleased to present A Petal’s Edge , an exhibition featuring emerging artists Cole Barash, Luz Carabaño, Sophronia Cook, Dylan Hausthor, Cecilia Mignon, and...
(2026), adapts stills from Gibson’s of the same name, originally commissioned by ICA SF and presented at the institution in 2022. Drawing on footage captured in upstate New York and during site visits to California’s Bay Area, Gibson reconfigures stills from the original 60-foot-wide video installation into a tapestry-like field guided by pattern and rhythm. The work speaks to the urgency of our collective relationship to the planet while asserting the power of art to foster connection, reflection, and shared civic experience.
Casemore Kirkeby is pleased to present Becoming Blue, a unique installation of performance-based portrait photography from Anouk Kruithof, a project spanning 2006-2009. Kruithof’s series Becoming Blue comprises 21 portraits and three spatial stills. They are presented in different formats and reveal Kruithof’s highly exceptional approach to the topic of portrait...
Avatar-artist and curator LaTurbo Avedon introduces "Virtual Crush," a multi-disciplinary group exhibition featuring seven international artists: Melissa Broder, Arvida Byström, Claudia Hart, Kira Kutcher, Kim Laughton, Eva Papamargariti, and Signe Pierce. The selected works, spanning 2009 to present, focus largely on representations of the simulated body, identity, and intimacy across this period.
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Founded in 1976 by sculptor Peter Voulkos, pioneering live-work community The Dome that has provided creative soil for generations of Bay Area artists. Once a dome-shaped food processing factory, Voulkos and his collaborators transformed the industrial architecture into a radical, communal site where boundaries between art, life, and labor dissolved. Voulkos and his early collaborators, including Clay Jensen, Bella Feldman, Ana Lisa Hedstrom, Tom Holland, Marilyn Levine, JoAnn Gillerman, and Ann Adair Voulkos, built not only studios but shared infrastructure: kilns, casting spaces, performance areas, and—most importantly—a communal culture sustained by experimentation. Today, that culture is sustained by artists including Jennifer Brazelton, Takming Chuang, Juan Santiago, and Leah Virsik. At a moment when many arts instutions face uncertainty, the exhibition highlights the resilience of artist-led communities and underscores their essential role as the cultural backbone of the Bay Area.
(2026), adapts stills from Gibson’s of the same name, originally commissioned by ICA SF and presented at the institution in 2022. Drawing on footage captured in upstate New York and during site visits to California’s Bay Area, Gibson reconfigures stills from the original 60-foot-wide video installation into a tapestry-like field guided by pattern and rhythm. The work speaks to the urgency of our collective relationship to the planet while asserting the power of art to foster connection, reflection, and shared civic experience.
Avatar-artist and curator LaTurbo Avedon introduces "Virtual Crush," a multi-disciplinary group exhibition featuring seven international artists: Melissa Broder, Arvida Byström, Claudia Hart, Kira Kutcher, Kim Laughton, Eva Papamargariti, and Signe Pierce. The selected works, spanning 2009 to present, focus largely on representations of the simulated body, identity, and intimacy across this period.
Founded in 1976 by sculptor Peter Voulkos, pioneering live-work community The Dome that has provided creative soil for generations of Bay Area artists. Once a dome-shaped food processing factory, Voulkos and his collaborators transformed the industrial architecture into a radical, communal site where boundaries between art, life, and labor dissolved. Voulkos and his early collaborators, including Clay Jensen, Bella Feldman, Ana Lisa Hedstrom, Tom Holland, Marilyn Levine, JoAnn Gillerman, and Ann Adair Voulkos, built not only studios but shared infrastructure: kilns, casting spaces, performance areas, and—most importantly—a communal culture sustained by experimentation. Today, that culture is sustained by artists including Jennifer Brazelton, Takming Chuang, Juan Santiago, and Leah Virsik. At a moment when many arts instutions face uncertainty, the exhibition highlights the resilience of artist-led communities and underscores their essential role as the cultural backbone of the Bay Area.
(2026), adapts stills from Gibson’s of the same name, originally commissioned by ICA SF and presented at the institution in 2022. Drawing on footage captured in upstate New York and during site visits to California’s Bay Area, Gibson reconfigures stills from the original 60-foot-wide video installation into a tapestry-like field guided by pattern and rhythm. The work speaks to the urgency of our collective relationship to the planet while asserting the power of art to foster connection, reflection, and shared civic experience.
Casemore Kirkeby is pleased to present Steve Kahn: Mural Triptychs and Door/Window Constructions, a selection of Kahn’s critically acclaimed photographs and photographic constructions from the 1970s, exhibited together for the first time in over 35 years. Collectively referred to as “The Hollywood Suites,” Kahn’s project began in a run-down apartment...
Kira Dominguez Hultgren weaves together histories of tangled intrusions nourished on the global confusion of the word Indian. Beginning with two Navajo weavings (artists unknown) from around 1876 and two Punjabi head-coverings embroidered by her great-aunt Dalip Kaur around 1923, Dominguez Hultgren mines with material hyperbole (hyperbolic tension on...
The artists in 11 Landscapes approach the form in very different ways. From Bryson Gill's near total abstraction in Fog 3 to the precision and detail in James Chronister's works, they run the gamut of approaches to creating a landscape painting. However, not a single painting in the show is...
Giving and taking, adding or subtracting; both artists play with the body. Materazzi subverts the usual presentation of the female body, and Zsako adds in humor and eroticism to his paintings. Zsako points to the edges of our perception and the haptic, an almost-unfelt touch. Materazzi presents her body as...
Walsh's painting and Coley's ceramics contain imagined prehistoric flora and fauna painted and made of clay. Both artists use materials to better understand inner and outer worlds of the human into a world where centaurs roam portals of lush prehistoric still life. Both artists play with ideas of reimagined history...
We are a couple trying to stay together during a pandemic. Some context: When Josh and Carissa started dating 12 years ago now, Josh told Carissa frankly that he did not believe in collaboration. He believes that someone always has to be in control. That their truest collaboration would be...
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This exhibition features works by Kira Dominguez Hultgren. The works include "At Least Both Your Parents Are Brown" (2020), "The Body Is A Home" (2020), and "The Body Is A Home II" (2020).
Bryson Gill’s exhibition Irradiance Cache features a selection of new works. Gill’s practice is concerned with the materiality of paint and the processes of its application. He uses a variety of techniques, including pouring, scraping, and layering, to build up surfaces that are both abstract and evocative. The works in Irradiance Cache explore themes of light, memory, and the passage of time.