Make prints to hang on your wall. See the renowned permanent collection and special exhibitions. Some of that technology became obsolete even as Ms. Leonard was using it. Displayed in serial grids and organized into 25 chapters, Analogue documents the eclipsed texture of 20th-century urban life as seen in vanishing mom-and-pop stores and the simultaneous emergence of the global rag trade. Chances are their equivalents elsewhere are too. 2016 High Line Art, 'I want a president', New York NY Hauser & Wirth, 'In the Wake', New York NY. But there’s also something about it that amuses me in a way. Visit the Frank Lloyd Wright–designed Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. It was also site-specific and probably era-specific, and impossible to reconstitute in its original form. Zoe Leonard (born 1961) is an American artist who works primarily with photography and sculpture. Basically, “I Want a President” was a form of participatory public art, completed by being passed from hand-to-hand. Notably but unavoidably absent, for example, is a 1992 piece that put Ms. Leonard on the international map. AIDS was stalking the city; an immigrant neighborhood was gentrifying; the art world was on the edge of a huge shift: the first Armory Show had debuted the year before. During the same period, Leonard reconstituted a tree that had been cut up outside, developing an elaborate process of preserving dried leaves in order to attach them to the branches ( Secession: Zoe Leonard , p.21). Zoe Leonard’s “Strange Fruit” (1992-97), an installation of dozens of discarded and sewn fruit skins at the Whitney Museum of American Art. Moten currently teaches in the Department of Performance Studies at New York University. Visit exhibition In fact, Fae Richards is an invented character. Zoë Leonard creates sculptural installations, such as Strange Fruit (for David) (fig. Over five years, Zoe Leonard sewed together skins of fruit. We see them on shipboard in midocean, then in New York Harbor posing with the Statue of Liberty. ephemeral Artwork made of impermanent found objects is referred to as _____. And the idea of obsolescence — of the present slipping irretrievably into the past — haunts her recent work. Installation view of Zoe Leonard (b. Never published, the statement circulated in various forms over the years. Elisabeth Sherman, assistant curator, moderates the conversation. See more ideas about Zoe, Leonard, Leonards photography. 0 Answer. Katherine Hubbard is an interdisciplinary artist whose practice uses photography, performance, and text to explore the relationships between language, physical site, and political history. A series of 1990 photographs, shot in medical museums, of anatomical wax models of women, seems to have laid the groundwork for the Kassel piece. If Ms. Leonard has strong ideas or feelings about this, they aren’t spelled out in individual pictures. Evidence of her investment tends to lie in how she returns to a subject or theme. At 15, she dropped out of school and started taking photographs. [2] She has spent much of her adult life living in New York City, which has been the focus of much of her work. The entire group could fit in a suitcase, and there are several of them — 56 to be exact — in different shades of blue, lined up across the gallery floor forming a sculpture titled “1961,” the year Ms. Leonard was born in upstate New York. Zoe Leonard creates sculptural installations, such as Strange Fruit (for David) from _____ materials. The artist laid the old ones on her studio floor and photographed them, small and distant, from above, to make new pictures in which a still just-reachable past and a speeding-by present are united: both precious, both keepers. From Whitney Museum of American Art, Zoe Leonard, Installation view of Zoe Leonard, Strange Fruit (1992-1997), 295 orange, banana, grapefruit, lemon, and a… In the year of his death, which was also a presidential election year, she produced her most flat-out polemical work, a 300-word anti-authoritarian statement, part manifesto, part embittered cri de coeur, demanding radical change. And her spare, reverberant retrospective now at the Whitney Museum of American Art time-traveled me straight back to it. Discover (and save!) get your own projector for twenty bucks, and transform empty wall space into a beautiful work of art. The Whitney show itself — organized by Bennett Simpson, a senior curator, with Rebecca Matalon of the Museum of Contemporary Art, Los Angeles, and Elisabeth Sherman of the Whitney — follows a linear route, but an elastic one, shaped in part by what’s left out. “For me photography is intrinsically about observation,” Leonard has said. Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York. With its cool but startling blend of aesthetics and politics, art history and autobiography, the piece was an instant landmark in queer feminist art. Zoe Leonard was born in 1961 in Liberty, New York, the daughter of a Polish refugee, and grew up in New York City. The installation is ultra-austere, all white walls and window with a fiercely edited selection of photographs. She dedicated that show to the artist David Wojnarowicz, a close friend who had died of complications from AIDS in 1992. The annual Pride March floods 5 th Avenue, and devotes a moment of silence to members of the community lost to AIDs and discrimination. It is composed of about 300 rinds and skins of avocados, grapefruits, lemons, oranges, and bananas. Strange Fruit accompanies Zoe Leonard's exhibition of the same name at the Paula Cooper Gallery. 2015 Museum of Modern Art, 'Analogue', New York NY Anthony Meier Fine Arts, 'Zoe Leonard', San Francisco CA. The work was made in the This installation comprises “Orange, banana, grapefruit, lemon, and avocado peels with thread, zippers, buttons, sinew, needles, plastic, wire, stickers, fabric, and trim wax” according to the Philadelphia Museum of Art. Artist Zoe Leonard displays her work Strange Fruit at the Whitney, and discusses its themes of mortality and discrimination with the Brooklyn Rail. Exhibition. Some of us ask similar questions about photography in the era of smartphones. She was a vocal AIDS activist and this work recalls the death of her friend David Wojnarowicz. It is photographs of photographs of my mom’s family in the period of time before, during, and after the Second World War. He is the Director of the Low-Residency MFA Program at the School of the Art Institute of Chicago and is on the faculty of the Whitney’s Independent Study Program. I’m glad she makes us linger, makes us ask “what’s going on here?” And I’m glad her survey ends with personal images rescued from the past. Zoe Leonard’s “Strange Fruit” (1992-97), an installation of dozens of discarded and sewn fruit skins at the Whitney Museum of American Art. Leonard’s work was forged in the crucible of the AIDS crisis, whose devastating effects she experienced first-hand, as the disease rampaged through New York’s gay community, and beyond. The Susan and John Hess Family Theater is equipped with an induction loop and infrared assistive listening Rowland’s work was featured in the 2017 Whitney Biennial. 11.11.2018 – 25.3.2019. Zoe Leonard (born 1961) is an American artist who works primarily with photography and sculpture. For this artist, time — ductile and emotionally loaded — seems as important a medium as photography or sculpture. For increasing numbers of digital shutterbugs, reality is not real unless it is photographed. 1961), Strange Fruit, 1992-97. | eBay! Entitled Strange Fruit (for David), it was made from 1993 to 1998 by New York artist Zoe Leonard. Then in 2016 it went big time. Speakers include Gregg Bordowitz, Jonah Groeneboer, Katherine Hubbard, Fred Moten, Cameron Rowland, and Christian Scheidemann. Most were taken in midair: shots of clouds from airplane windows, aerial views of sea and earth far below. But, as she does with the images of other things in the world she cares about, Ms. Leonard makes them her own through repetition, by looking, then looking again. They’re just family photos. system. Zoe Leonard creates sculptural installations such as strange fruit ( for David) ( fig. An installation of suitcases, in different shades of blue, are lined up across the gallery floor forming a sculpture titled “1961,” the year Ms. Leonard was born in New York. Many of her photographs carry two dates: the year the picture was shot and the year, as much as a decade later, when it was printed. Or just simply enjoy the beauty of projecting the slides. 10.21) from materials. In a 1993 project with the filmmaker Cheryl Dunye, the sharing was direct. It has not been seen publicly since 2001. Zoe Leonard: Survey. The original typewriter-written version, on a single sheet of onionskin paper with ink corrections, is in the retrospective. It reveals this artist to be not only a gifted storyteller, but a virtuoso of photographic technology. Analogue, by Zoe Leonard (American, b. His practice combines research and strategic contractual agreements with the presentation of objects selected for their socially illuminating value. The fruit skins—emptied, dried, faded, repaired, and ornamented—have the feel of relics, almost like photographs. The number of suitcases corresponds to her current age. Installation view of Zoe Leonard: Survey, November 11, 2018–March 25, 2019 at The Geffen Contemporary at MOCA, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest. In addition to the photographs, Leonard’s project Strange Fruit includes fruit skins stitched together after the pulp has been removed (Philadelphia Museum of Art). ZOE LEONARD: It’s a new body of work for the show in September. Zoe Leonard, Strange Fruit (for David) (detail), 1992-97 There is something sad and touching about emptied out fruit stitched back up in a futile attempt at mending. Zoe Leonard, Anthony Meier Fine Arts, San Francisco, CA (solo) 2014 Green Lankton, LOVE ME, Participant Inc., New York, NY The Sea. Ms. Dunye was working on a film called “Watermelon Woman,” partly about the life of a black lesbian Hollywood actress named Fae Richards, whose career had been thwarted by racism. A few unframed black-and-white photographs dotted the walls: one of a bare city tree, another of a woman’s tousled head seen from behind, a third of graffiti reading “Gay + Proud + Dead.” The windowsills and a long shelf were lined with empty, wizened fruit skins, each stitched closed with needle and thread. Her installation The Strange Fruit (For David), 1997, is … Zoe Leonard Strange Fruit. What we’re seeing here are pictures of pictures. Saved by Lau • ra. Which means that unmediated modes of seeing — of seeing art, among other things — are becoming obsolete. 2013 Chinati Foundation, '100 North Nevill Street', Marfa TX Galerie Micheline Szwajcer, 'Sun Photographs', Antwerp, Belgium The work was made in the 1990s, during the global AIDS crisis that devastated communities in New York, where Leonard was living and working. Floor 3, Susan and John Hess Family Gallery and Theater. 1961), is a landmark project comprising 412 photographs conceived over the course of a decade. She has exhibited widely since the late 1980s and her work has been included in a number of seminal exhibitions including Documenta IX and Documenta XII, and the 1993, 1997 and 2014 Whitney biennials. That mood is hard to recapture in as public a setting as the Whitney, but “Zoe Leonard: Survey” comes very close. She has exhibited widely since the late 1980s and her work has been included in a number of seminal exhibitions including Documenta IX and Documenta XII, and the 1993, 1997 and 2014 Whitney biennials. The stack of books in a 2016 sculpture called “Tipping Point” is just a stack of books until you see that they’re all the same book, James Baldwin’s 1963 eschatological tract, “The Fire Next Time.” Suddenly, the stack becomes an exclamation point: Read this! Leonard chose not to preserve the resulting work, Strange Fruit, (1992–1997), intending for its decay to be on view. Zoe Leonard’s 1995 solo with Paula Cooper Gallery did that for me. They’re snapshots of her mother and grandmother taken in the late 1940s when they left their native Poland for America. Salut D’honeur Jan Hoet, Mu.ZEE Kunstmuseum aan zee, Ostend Petals on the Wind, Galerie Micheline Szwajcer, Brussels Staring at the Sun, Griffin Editions, New York, NY Learn more about access services and amenities. Some shows cast a spell you don’t forget. Collection of the Philadelphia Museum of Art; purchased with funds contributed by the Dietrich Foundation and with the partial gift of the artist and the Paula Cooper Gallery, 1998. Label: Strange Fruit began as a means of consolation for the artist after the death of a friend, but now presents a wide range of possible readings, including a meditation on loss and mortality. asked May 18, 2019 in Uncategorized by ekacpuc. Not that there was much to steal. She has exhibited widely since the late 1980s and her work has been included in a number of seminal exhibitions including Documenta IX and Documenta XII, and the 1993, 1997 and 2014 Whitney biennials. Zoe Leonard (born 1961) is an American artist who works primarily with photography and sculpture. A series of pictures called “The Analogue Portfolio,” dated 1998-2009 — and made with a now-discontinued dye-transfer process — records the facades of small storefront shops on the Lower East Side, and in countries she’s visited: Cuba, Mexico, Uganda. Over five years, Zoe Leonard (b. The exhibition Strange Fruit began as a means of consolation for the artist after the death of a friend, but now presents a wide range of possible readings, including a meditation on loss and mortality. Wikimedia Commons has media related to Zoe Leonard Dec 19, 2011 - This Pin was discovered by Tom. Materials she uses in sculptures and installations — suitcases, fruit skins, vintage postcards — comes with prior, but unknown histories, creating intricate traffic patterns between present and past in her work. Groeneboer, Katherine Hubbard, Fred Moten, Cameron Rowland is an American artist who works primarily with photography sculpture. Using it medium as photography or sculpture have to wonder, in the of! 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