Zoe Leonard
Survey
02 Mar - 10 Jun 2018
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: 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 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: 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
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 x 8 x 5 1/2 in. (96.5 x 20.3 x 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: You see I am here after all, 2008; How to Take Good Pictures, 2018. © 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 x 10 1/2 x 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: 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
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, among them histories of photography, embodiments of loss and mourning, institutional regulations of gender, migration, 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 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, among them histories of photography, embodiments of loss and mourning, institutional regulations of gender, migration, 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.