Zoe Leonard

Leonard was born in 1961 in Liberty, New York.[1][2] Aged 16, she dropped out of school and started taking photographs.[2] She has spent most of her adult life living in New York City, whose built environment has been the subject matter of much of her work (e.g. sidewalks, storefronts, apartment buildings, chain-link fencing, graffiti, and boarded-up windows.)[3] Leonard became well-known internationally following her installation at Documenta IX in 1992.

From her earliest aerial photographs to her images of museum displays, anatomical models, and fashion shows, much of Leonard's work reflects on the framing, classifying, and ordering of vision. She explained in an interview: "Rather than any one subject or genre (landscape, portrait, still life, etc), I was, and remain, interested in engaging a simultaneous questioning of both subject and vantage point, the relation between viewer and world — in short, subjectivity and how it informs our experience of the world."[4]

Leonard was active in AIDS advocacy and queer politics in New York in the 1980s and 1990s. In 1992 she wrote "I want a dyke for president", a poem inspired by Eileen Myles's run for president. [5]

In 1995 she staged an exhibition at her studio on the Lower East Side of Manhattan which featured the work Strange Fruit, an installation of various fruit skins (oranges, bananas, grapefruits, lemons) that Leonard saved and then sewed together by hand with wire and thread. Strange Fruit grew out of a deeply personal response to the losses of the AIDS epidemic and as a meditation on mourning, it became a seminal work of the 1990s. Strange Fruit was exhibited in 1998 at the Philadelphia Museum of Art, where it currently resides.[6]

During the mid-1990s Leonard spent two years living in a remote part of Alaska, an experience that influenced much of her later artwork, which often foregrounds relationships between humans and the natural world.[7] Trees are a motif in Leonard's work: examples include a "reconstructed" tree that she installed in Vienna's Secession in 1997 as well as numerous photographs of urban trees mangled in chain-link and razor wire fences.[8]

Leonard began working on the Fae Richards Photo Archive in 1993 after being approached by director Cheryl Dunye to create a fictive archive of photographs for Dunye's 1996 fictional documentary The Watermelon Woman, in which protagonist Cheryl, played by Dunye, searches for the history of black lesbian entertainer Fae Richards. The photographs, which Leonard treated by hand to appear aged, are used as props in the film and were included in the 1997 Whitney Biennial.

Between 1998 and 2009, Leonard worked on Analogue, a monumental project consisting of an installation of 412 C-prints and gelatin silver prints[9] (in the collection of The Museum of Modern Art, New York[10] and the Reina Sofia, Madrid),[11] and a portfolio of 40 dye-transfer prints. Influenced by Eugène Atget and Walker Evans but born out of a 21st-century reconsideration of the role of photography, Analogue explores transformations in global labor, trade, and social relationships in parallel with the shift from analogue to digital image-making.[12] Holland Cotter described an experience of the work in The New York Times in 2009:

"In her straight-ahead photographs of storefronts, an arrangement of shoes or shrink-wrapped furniture becomes a vanitas still life. A hand-painted shop sign becomes a relic. Over several photographs, we sense that an unnamed neighborhood — Ms. Leonard expanded her field work to include East Harlem, Bedford-Stuyvesant and Crown Heights — is packing up to leave. A city's material culture is doing a vanishing act. And where is the material going? Back to a version of the world it came from. Many of the cut-rate goods sold in the Lower East Side shops originated in urban sweatshops in China and Pakistan and are eventually passed on as surplus to other poor cities in Africa and Central America. In the wraparound grid of pictures in Analogue we follow recycled clothes from Brooklyn to the city of Kampala in Uganda, where they are sold as new in stores like the Money Is Life House of Garments."[13]

Analogue was first exhibited in 2007 at the Wexner Center for the Arts in Columbus, Ohio, and at Documenta XII in Kassel, Germany, followed by presentations at Villa Arson in Nice, and Dia at the Hispanic Society and the Museum of Modern Art in New York and was included in a touring retrospective of Leonard's work which originated in 2007 at the Fotomuseum Winterthur, and later traveled to the Museo Nacional Centro de Arte Reina Sofia, Madrid; MuMOK — Museum Moderner Kunst Stifting Ludwig, Vienna; and Pinakothek der Moderne, Munich. Analogue is in the collection of The Museum of Modern Art, New York and the Reina Sofia, Madrid.

More recent exhibitions have included Serialities at Hauser & Wirth, You See I Am Here After All at Dia: Beacon (2009), Observation Point, Camden Arts Centre, London (2012), an installation at the Chinati Foundation, Marfa, Texas (2013-2014) and the 2014 Whitney Biennial, for which Leonard won the Bucksbaum Award with her work "945 Madison Avenue". In 2018, the Whitney Museum of American Art mounted Leonard's first career retrospective in the United States, an exhibition organized by the Museum of Contemporary Art, Los Angeles, where the show traveled in late 2018.[14][15]

Texts by Leonard, an insightful writer and a pre-eminent thinker on the discipline of photography, have appeared in LTTR, October, and Texte zur Kunst, and in recent monographs on Agnes Martin, James Castle and Josiah McElheny.

In addition to working on her art, Leonard has been serving on the advisory board of the Hauser & Wirth Institute since 2018.[16]

• 1991 – Information: Zoe Leonard (with text by Jutta Koether), Galerie Gisela Capitain, Cologne | ASIN B005MJ5M9I
• 1995 – Strange Fruit, Paula Cooper Gallery, NY | ASIN B0006PFWNY
• 1997 – Zoe Leonard, Kunsthalle Basel, Basel
• 1997 – Zoe Leonard, (with an interview by Anna Blume), Secession, Vienna
• 1998 – Zoe Leonard, (with text by Elisabeth Lebovici), Centre national de la photographie, Paris
• 2007 – Analogue, Wexner Center for the Arts, Columbus, OH, MIT Press | ISBN 978-0262122955
• 2008 – Zoe Leonard: Photographs (with texts by Svetlana Alpers, Elisabeth Lebovici, Urs Stahel), Fotomuseum Winterthur, Steidl | ISBN 978-3865214942
• 2010 – You See I Am Here After All (with texts by Ann Reynolds, Angela Miller, Lytle Shaw, and Lynne Cooke), Dia Art Foundation, New York; Yale University Press, New Haven, CT and London, UK | ISBN 978-0300151688
• 2014 – Available Light, Ridinghouse / Dancing Foxes, London, UK and Brooklyn
• 2017 – I want a president: Transcript of a Rally (with contributions by Sharon Hayes, Wu Tsang, Mel Elberg, Eileen Myles, Pamela Sneed, Fred Moten & Stefano Harney, Alexandro Segade, Layli Long Soldier, Malik Gaines, and Justin Vivian Bond & Nath Ann Carrera), Dancing Foxes Press | ISBN 978-0300151688
• 2018 – Zoe Leonard: Survey, Museum of Contemporary Art, Los Angeles | ISBN 978-3791357317