Zoe Leonard, Niagara Falls no.4, 1986/1991, Gelatin silver print, 37 ¾ x 25 5/8 in. (95.9 x 65.1 cm). Courtesy of the artist.
Zoe Leonard: Survey
Mar 2–June 10, 2018
Zoe Leonard, Niagara Falls no.4, 1986/1991, Gelatin silver print, 37 ¾ x 25 5/8 in. (95.9 x 65.1 cm). Courtesy of the artist.
New York–based artist Zoe Leonard (b. 1961) is among the most critically acclaimed artists of her generation. Over the past three decades, she has produced work in photography and sculpture that has been celebrated for its lyrical observations of daily life coupled with a rigorous, questioning attention to the politics and conditions of image making and display.
Zoe Leonard: Survey is the first large-scale overview of the artist’s work in an American museum. The exhibition looks across Leonard’s career to highlight her engagement with a range of themes, including the history of photography, gender and sexuality, loss and mourning, migration, displacement, and the urban landscape. More than it focuses on any particular subject, however, Leonard’s work slowly and reflectively calibrates vision and form. Using repetition, subtle changes of perspective, and shifts of scale, Leonard draws viewers into an awareness of the meanings behind otherwise familiar images or objects. A counter-example to the speed and disposability of image culture today, Leonard’s photographs, sculptures and installations ask the viewer to reengage with how we see.
The Whitney has a longstanding commitment to Leonard, who has been featured in three Biennials, was awarded the Bucksbaum Award for her contribution to the 2014 Biennial, and is significantly represented in the Museum’s collection.
Zoe Leonard: Survey is organized by Bennett Simpson, Senior Curator, with Rebecca Matalon, Curatorial Associate, The Museum of Contemporary Art, Los Angeles. The installation at the Whitney Museum is overseen by Elisabeth Sherman, Assistant Curator.
Zoe Leonard: Survey is organized by The Museum of Contemporary Art, Los Angeles.
In New York, generous support is provided by Fotene Demoulas and Tom Coté, the Jon and Mary Shirley Foundation, Diane and Adam E. Max, The Robert Mapplethorpe Foundation, and Leah and Michael Weisberg.
Additional support is provided by Suzanne and Bob Cochran, The Cowles Charitable Trust, Susan and Arthur Fleischer, and Ellen and Steve Susman.
Artworks
Zoe Leonard (b. 1961), Untitled, 1989. Gelatin silver print, 9 3/4 x 7 in. (24.77 x 17.78 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Zoe Leonard (b. 1961), Untitled, 1989/2008. Gelatin silver print, 35 5/8 × 25 1/8 in. (90.49 × 63.82 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Zoe Leonard (b. 1961), Mirror no. 2 (Metropolitan Museum), 1990. Gelatin silver print, 43 × 30 1/2 in. (109.22 × 77.47 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Zoe Leonard (b. 1961), Wax Anatomical Model, full view from above, 1990. Gelatin silver print, 30 7/8 × 44 in. (78.42 × 111.76 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Zoe Leonard (b. 1961), detail of The Fae Richards Photo Archive, 1993-96. Gelatin silver prints and chromogenic prints, dimensions variable. Whitney Museum of American Art, New York; purchase with funds from the Contemporary Painting and Sculpture Committee and the Photography Committee
Zoe Leonard (b. 1961), detail of The Fae Richards Photo Archive, 1993-96. Gelatin silver prints and chromogenic prints, dimensions variable. Whitney Museum of American Art, New York; purchase with funds from the Contemporary Painting and Sculpture Committee and the Photography Committee
Installation view of Zoe Leonard (b. 1961), You see I am here after all, 2008. 3,851 vintage postcards, 11 × 10 1/2 × 147 ft. (3.35 × 3.2 × 44.8 m) overall. Dia: Beacon, Beacon, New York, 2008. Collection of the artist; courtesy Galerie Gisela Capitain, Cologne. Photograph by Bill Jacobson, New York
Zoe Leonard (b. 1961), detail of You see I am here after all, 2008. 3,851 vintage postcards, 11 × 10 1/2 × 147 ft. (3.35 × 3.2 × 44.8 m) overall. Installation view, Dia: Beacon, Beacon, New York, 2008. Collection of the artist; courtesy Galerie Gisela Capitain, Cologne. Photograph by Bill Jacobson, New York
Zoe Leonard (b. 1961), American Flag Sweater, 2001. Dye transfer print, 20 × 16 in. (50.8 × 40.6 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Zoe Leonard (b. 1961), Yellow, Pink, Blue Bundle, 2001. Dye transfer print, 20 × 16 in. (50.8 × 40.6 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Zoe Leonard (b. 1961), Martin Luther King, Jr., 1999. Dye transfer print, 20 × 16 in. (50.8 × 40.6 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Zoe Leonard (b. 1961), TV Wheelbarrow, 2001. Dye transfer print, 20 × 16 in. (50.8 × 40.6 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Installation view of Zoe Leonard (b. 1961), Strange Fruit, 1992-97. Orange, banana, grapefruit, lemon, and avocado peels with thread, zippers, buttons, sinew, needles, plastic, wire, stickers, fabric, and trim wax, dimensions variable. 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. Image courtesy the Philadelphia Museum of Art. Photograph by Graydon Wood
Zoe Leonard (b. 1961), detail of Strange Fruit (for David), 1992-97. Orange, banana, grapefruit, lemon, and avocado peels with thread, zippers, buttons, sinew, needles, plastic, wire, stickers, fabric, and trim wax, Dimensions variable. 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. Image courtesy the Philadelphia Museum of Art. Photograph by Graydon Wood
Zoe Leonard (b. 1961), Tree + Fence, Out My Back Window, 1998. Gelatin silver print, 18 1/2 x 13 1/8 in. (47 x 33.3 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Installation view of Zoe Leonard (b. 1961), Robert, 2001. Ten suitcases, 72 7/8 × 21 1/2 × 20 in. (185 × 54.6 × 50.8 cm), Foundation MUSEION, Museum of modern and contemporary art, Bolzano, Galleria Raffaella Cortese, Milan, and Collection Enea Righi, Bologna
Zoe Leonard (b. 1961), Red Wall, 2001/2003. Dye transfer print, 29 13/16 × 20 5/8 in. (75.72 × 52.39 cm), Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Zoe Leonard (b. 1961), detail of How to Make Good Pictures, 2016. 429 books, 25 1/4 × 6 1/8 × 248 3/4 in. (64.1 × 15.6 × 631.8 cm) overall. Collection of the artist; courtesy Galerie Gisela Capitain, Cologne. Photograph by Simon Vogel
Zoe Leonard (b. 1961), detail of New York Harbor I, 2016. Two gelatin silver prints, 21 × 17 1/8 in. (53.3 × 43.5 cm) each. Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York
Events
View all-
Fri,
June 15
Pride at the Whitney
7–9 pm
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Sun,
June 10
Weekend Early Admission for Members
9:30–10:30 am
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Sat,
June 9
Weekend Early Admission for Members
9:30–10:30 am
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Sat,
June 9
Weekend Early Admission for Members
9:30–10:30 am
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Sat,
June 2
Whitney Signs: Grant Wood: American Gothic and Other Fables
4–6 pm
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Fri,
June 1
Continuous Signals: On the Work of Zoe Leonard
6:30 pm
Perspectives
Installation Photography
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). © Zoe Leonard. Photograph by Ron Amstutz
Zoe Leonard (b. 1961), Tipping Point, 2016 (installation view, Whitney Museum of American Art, New York). Books (James Baldwin, The Fire Next Time, first edition, Dial Press, New York, 1963), 38 × 8 × 5 1/2 in. (96.5 × 20.3 × 14 cm). Artworkers Retirement Society. © Zoe Leonard. Photograph by Ron Amstutz
Zoe Leonard (b. 1961), Tipping Point, 2016 (installation view, Whitney Museum of American Art, New York). Books (James Baldwin, The Fire Next Time, first edition, Dial Press, New York, 1963), 38 × 8 × 5 1/2 in. (96.5 × 20.3 × 14 cm). Artworkers Retirement Society. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: How to Take Good Pictures, 2018; New York Harbor I, 2016. © Zoe Leonard. Photograph by Ron Amstutz
Zoe Leonard (b. 1961), How to Take Good Pictures, 2018 (installation view, Whitney Museum of American Art, New York). Approximately 1050 books, 30 1/2 × 5 7/8 × 324 in. Collection of the Artist, courtesy Hauser and Wirth. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Wall, 2002; Red Wall, 2001/2003; Goats, Lamb, Veal, Breast, 2000; Tree + Fence, S. 3rd St., 1998/1999; You see I am here after all, 2008; Robert, 2001; Tree + Fence, E. 6th St. (close-up), 1998/1999; Detail (Tree+Fence), 1998/1999; Detail (Tree + Fence), 1998/1999; Detail (Tree + Fence), 1998/1999; Detail (Tree + Fence), 1998. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Tree + Fence, S. 3rd St., 1998/1999; You see I am here after all, 2008; Robert, 2001. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Mari, I’m sorry (no. 2), 1995/1997; Lesbians, 1994; I Love Pussy, 1994; Blow Me, 1994; Gay + Proud + Dead, 1994; Nicole Loves Sue, 1995; Suck Me, 1994/1997; Wall, 2002; Red Wall, 2001/2003. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: TV Repair Shop, 2001; Shoes, 2000; Suit Jackets, One Yellow, 2004; Coca Cola Shack, 2004; Smile, 2001; Two Pairs, 1999; 1961, 2002; Untitled, 1989/2008; Untitled, 1989/2008; Untitled Aerial, 1988/2008; TV Sets in Store Window, 2001; Two Chairs, 1999; Red & White Restaurant, 1999; Tailor Shop, 1999; Fabric Store, 1999; Haircuts, 1999; Yellow Restaurant, 1999; 425, 1999; Cold Beer, 1999. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: TV Sets in Store Window, 2001; Two Chairs, 1999; Red & White Restaurant, 1999; Tailor Shop, 1999; Fabric Store, 1999; Haircuts, 1999; Yellow Restaurant, 1999; 425, 1999; Cold Beer, 1999; Income Tax, Rapid Divorce, 1999; Martin Luther King, Jr., 1999; Albert’s Beauty, 2001; Back to School Shoes, 2000; Mandel Tobacco, 1999; Goats, Lamb, Veal, Breast, 2000. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Martin Luther King, Jr., 1999; Albert’s Beauty, 2001; Back to School Shoes, 2000; Mandel Tobacco, 1999; Goats, Lamb, Veal, Breast, 2000; Tree + Fence, S. 3rd St., 1998/1999; You see I am here after all, 2008; Drop Off A.M., Pick Up P.M., 1999; Graham Electronics, 2006; American Flag Sweater, 2001; Mattress, 2003; TV VCR, 2006. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Clothing Place, 1999; MUST SELL ALL, 2000; Little Dress, 1999; Yellow, Pink, Blue Bundle, 2001; Fin de Siglio, 2001; Brooms, 1999; TV Wheelbarrow, 2001; Diesel, 2001; Artist, 2004; Black Shoes on Blue Tarp, 2004; Cell Phone Sign, 2004; Century Photo Centre, 2004; Strange Fruit, 1992–97. © Zoe Leonard. Photograph by Ron Amstutz
Zoe Leonard (b. 1961), Strange Fruit, 1992–97 (installation view, Whitney Museum of American Art, New York). Orange, banana, grapefruit, lemon, and avocado peels with thread, zippers, buttons, sinew, needles, plastic, wire, stickers, fabric, and trim wax, dimensions variable. Collection 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. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Cold Beer, 1999; Income Tax, Rapid Divorce, 1999; Martin Luther King, Jr., 1999; Albert’s Beauty, 2001; Back to School Shoes, 2000; Mandel Tobacco, 1999; Goats, Lamb, Veal, Breast, 2000; I want a president, 1992; Drop Off A.M., Pick Up P.M., 1999; Graham Electronics, 2006; American Flag Sweater, 2001; Mattress, 2003; TV VCR, 2006; Discover Clothing, 2003; Mister Chicken, 1998. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Niagara Falls no. 4, 1986/1991; Survey, 2009–12. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right, back to front: Niagara Falls no. 4, 1986/1991; Survey, 2009–12; Untitled, 1984/1991; Model of New York, 1989/1990; Model of New York no. 2, 1989/1990; 1961, 2002– . © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: You see I am here after all, 2008; How to Take Good Pictures, 2018. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: New York Harbor II, 2016; 1952 or 53, 2016; You see I am here after all, 2008; How to Take Good Pictures, 2018. © Zoe Leonard. Photograph by Ron Amstutz
Zoe Leonard (b. 1961), How to Take Good Pictures, 2018 (installation view, Whitney Museum of American Art, New York). Approximately 1050 books, 30 1/2 × 5 7/8 × 324 in. Collection of the Artist, courtesy Hauser and Wirth © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: How to Take Good Pictures, 2018; New York Harbor I, 2016. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: How to Take Good Pictures, 2018; New York Harbor I, 2016; New York Harbor II, 2016; 1952 or 53, 2016. © Zoe Leonard. Photograph by Ron Amstutz
Zoe Leonard (b. 1961), You see I am here after all, 2008 (installation view, Whitney Museum of American Art, New York). 3,883 vintage postcards, 11 × 10 1/2 × 147 ft. Collection of the Artist, courtesy Galerie Gisela Capitain , Cologne. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Wall, 2002; Red Wall, 2001/2003; TV Repair Shop, 2001; Shoes, 2000; Suit Jackets, One Yellow, 2004; Coca Cola Shack, 2004; Smile, 2001; Two Pairs, 1999. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Robert, 2001; Tree + Fence, E. 6th St. (close-up), 1998/1999; Detail (Tree + Fence), 1998/1999; Detail (Tree + Fence), 1998/1999; Detail (Tree + Fence), 1998/1999; Detail (Tree + Fence), 1998; Two Trees, 1998; Tree + Fence, Out My Back Window, 1998; Tipping Point, 2016; Mari, I’m sorry (no. 2), 1995/1997; Lesbians, 1994; I Love Pussy, 1994; Blow Me, 1994; Gay + Proud + Dead, 1994; Nicole Loves Sue, 1995; Suck Me, 1994/1997; Wall, 2002. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Robert, 2001; Tree + Fence, E. 6th St. (close-up), 1998/1999; Detail (Tree+Fence), 1998/1999; Detail (Tree + Fence), 1998/1999; Detail (Tree + Fence), 1998/1999; Detail (Tree + Fence), 1998; Two Trees, 1998; Tree + Fence, Out My Back Window, 1998. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Tree + Fence, E. 6th St. (close-up), 1998/1999; Detail (Tree+Fence), 1998/1999; Detail (Tree + Fence), 1998/1999; Detail (Tree + Fence), 1998/1999; Detail (Tree + Fence), 1998; Two Trees, 1998; Tree + Fence, Out My Back Window, 1998; Tipping Point, 2016. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right, back to front: Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled Aerial, 1986/2007; Untitled, 1989/2000; Untitled, 1989; Untitled Aerial, 1988/2008; Untitled Aerial, 1987/1990; 1961, 2002– . © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right, back to front: Model of New York, 1989/1990; Model of New York no. 2, 1989/1990; Water no. 1 + Water no. 2, 1988; 1961, 2002– . © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Wax Anatomical Model, partial view from above, 1990; Seated Anatomical Model, 1991/1992; Mirror no. 2 (Metropolitan Museum), 1990; Preserved Head of a Bearded Woman (Musée Orfila), 1991. Center: The Fae Richards Photo Archive, 1993–96. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Preserved Head of a Bearded Woman (Musée Orfila), 1991; Niagara Falls no. 4, 1986/1991; Untitled, 1984/1991. Center: The Fae Richards Photo Archive, 1993–96. © Zoe Leonard. Photograph by Ron Amstutz
Zoe Leonard, Preserved Head of a Bearded Woman (Musée Orfila), 1991 (installation view, Whitney Museum of American Art, New York). Five gelatin silver prints, A: 35 1/4 × 24 9/16 in. (89.5 × 62.2 cm); B: 23 5/8 × 16 5/16 in. (59.7 × 41.3 cm); C: 30 5/8 × 21 1/16 in. (77.8 × 53.3 cm); D: 35 1/2 × 24 3/4 in. (90.2 × 61.6 cm); E: 26 1/2 × 18 ½ in. (67.3 × 47 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Wax Antomical Model, full view from above, 1990; Wax Anatomical Model, partial view from above, 1990; Seated Anatomical Model, 1991/1992. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: You see I am here after all, 2008; Red & White Restaurant, 1999; Tailor Shop, 1999; Fabric Store, 1999; Haircuts, 1999; Yellow Restaurant, 1999; 425, 1999; Cold Beer, 1999; Income Tax, Rapid Divorce, 1999; Martin Luther King, Jr., 1999; Albert’s Beauty, 2001; Back to School Shoes, 2000; Mandel Tobacco, 1999; Goats, Lamb, Veal, Breast, 2000. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, 1989; Untitled, Aerial, 1986/2007; Untitled, 1989/2008; Untitled, 1989/2008; Untitled Aerial, 1988/2008; Untitled Aerial, 1987/1990; Niagara Falls no. 4, 1986/1991. Center: 1961, 2002– . © Zoe Leonard. Photograph by Ron Amstutz
Zoe Leonard, Untitled, 1984/1991 (installation view, Whitney Museum of American Art, New York). Seven gelatin silver prints, Five: 10 9/16 × 7 9/16 in. (26.8 × 19.2 cm); Two: 7 9/16 × 10 9/16 in. (19.2 × 26.8 cm). Collection of the artist; courtesy Galerie Gisela Capitain, Cologne, and Hauser & Wirth, New York © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Chastity Belt, 1990/1993; Mirror no. 1 (Metropolitan Museum), 1990; Wax Antomical Model, full view from above, 1990; Wax Anatomical Model, partial view from above, 1990; Seated Anatomical Model, 1991/1992. Center: The Fae Richards Photo Archive, 1993-96. © Zoe Leonard. Photograph by Ron Amstutz
Installation view of Zoe Leonard: Survey (Whitney Museum of American Art, New York, March 2–June 10, 2018). From left to right: Drop Off A.M., Pick Up P.M., 1999; Graham Electronics, 2006; American Flag Sweater, 2001; Mattress, 2003; TV VCR, 2006; Discover Clothing, 2003; Mister Chicken, 1998; Chastity Belt, 1990/1993. © Zoe Leonard. Photograph by Ron Amstutz
Zoe Leonard, You see I am here after all, 2008 (installation view, Whitney Museum of American Art, New York). 3,883 vintage postcards, 11 ft. × 10 1/2 ft. × 147 ft. Collection of the artist; courtesy Galerie Gisela Capitain, Cologne. © Zoe Leonard. Photograph by Ron Amstutz
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In the News
“For this artist, time — ductile and emotionally loaded — seems as important a medium as photography or sculpture.”
—The New York Times
“The spare and thoughtful installation packs a powerful punch.”
—The Art Newspaper
“Leonard’s achievement is indubitable.”
—The Washington Post
“Ms. Leonard conveys her passionate convictions through expressive, visually arresting images.”
—The Wall Street Journal
“A powerful survey.”
—The New Yorker
“In an era of endless distraction, Leonard’s work demands that you pay attention.”
—artnet
“The hallmark of her artworks is the poetic observations of daily life imbued with rigorous and challenging attention to the politics and conditions of image making and display.”
—BLOUIN ARTINFO
“Zoe Leonard’s first major survey reveals a prophetic artist ahead of her time.”
—Wallpaper*