Zoe Leonard (b. 1961) lives and works in New York, NY. Leonard is the recipient of the 2014 Bucksbaum Award, Whitney Museum of American Art.
Leonard has had domestic and international exhibitions at The Agency for Contemporary Art, London; Anthony Meier Fine Arts, San Francisco, CA; Camden Arts Centre, London; Le Case d’Arte, Milan; Centre for Contemporary Art, Ujazdowski Castle, Warsaw; Chinati Foundation, Marfa, TX; Centre National de la Photographie, Paris; Dia: Beacon, New York, NY; Dia at the Hispanic Society of America, New York, NY; Fotomuseum Winterthur, Winterthur; Fourth Street Photo Gallery, New York, NY; Galería Pepe Cobo, Madrid; Galleria Raffaella Cortese, Milan; Galerie Gisela Capitain, Cologne; Galerie Giti Nourbakhsch, Berlin; Galerie Micheline Szwajcer, Antwerp; Galerie Jennifer Flay, Paris, France; Galerija Dante, Umag; Galerija Dante Marino Cettina, Umag; Gallery Anadiel, Jerusalem; Galerie Jennifer Flay, Paris, France; Jan Weiner Gallery, Kansas City, KS; Kinsthaus Glarus, Glarus; Greathouse, New York, NY; Hogarth Gallery, Sydney; Kunsthalle Basel, Basel; Luhring Augustine Hetzler, Santa Monica, CA; Micheline Szwajcer Gallery, Antwerp; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museum of Contemporary Art, North Miami, FL; Museum Moderner Kunst Stiftung Ludwig, Murray Guy, New York, NY; Philadelphia Museum of Art, Philadelphia, PA; Vienna; Paula Cooper Gallery, New York, NY; Pinakothik der Moderne, Munich; Richard Foncke Gallery, Ghent; Trans Avant-Garde Gallery, San Francisco, CA; University Art Museum/Pacific Film Archives, University of California, Berkeley, CA; Villa Arson, Nice; Wexner Center for the Arts, Columbus, OH; and Wiener Secession, Vienna.
Selected public collections include Antwerp Museum of Photography, Antwerp, Belgium; Art Institute of Chicago, Chicago, IL; Arthoteque de Leon, (Biblioteque Municipale), Lyon, France;
Baltimore Art Museum, Baltimore, MD; Centre Pompidou, Paris, France; Centro Andaluz de Arte Contemporaneo, Dos Hermanas, Spain; Dallas Museum of Art, Dallas, TX; Deichtorhallen Hamburg, Hamburg, Germany; Denver Art Museum, Denver, CO; Fonds National d’Art Contemporain, Paris, France; Fonds Régional d’Art Contemporain de Haute-Normandie, Sotteville-lès-Rouen, France; Fotomuseum Wintertur, Winterthur, Switzerland; Generali Foundation, Wien, Austria; Groninger Museum, Groningen, Netherlands; Guggenheim Museum, New York, NY; Hessel Museum, Annandale-On-Hudson, NY; Institute of Contemporary Art, Boston, MA; Jue de Paume (via Centre National de la Photographie), Paris, France; Musée d’Art Moderne et Contemporain, Paris, France; Museum Ludwig, Köln, Germany; Museum Moderner Kunst Stiftung Ludwig Wien, Wien, Austria; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; New York Public Library, New York, NY; Palazzo Grassi -François Pinault Foundation, Venice, Italy; Philadelphia Museum of Art, Philadelphia, PA; Pinakothek der Moderne, München, Germany; Provinciaal Museum voor Fotografie, Antwerp, Belgium; Provincia di Milano, Milan, Italy; Rose Art Museum, Brandeis University, Waltham, MA; San Francisco Museum of Modern Art, San Francisco, CA; Sheldon Memorial Museum, Lincoln, NE; Staad Museum, München, Germany; Staatsgalerie Stuttgart, Stuttgart, Germany; Stedelijk Museum voor Actuele Kunst Gent, Ghent, Belgium; The Museum of Contemporary Art, Los Angeles, CA; The Museum of Modern Art, New York, NY; The New School, New York, NY; The Tate Modern, London, UK; University Art Museum, UC Berkeley, Berkeley, CA; Vienna Secession, Vienna, Austria; Western Bridge, Seattle, WA; and the Whitney Museum of American Art, New York, NY.
Zoe Leonard's work is included in the exhibition, 'Palimsest', at Lismore Castle, Ireland. The exhibition takes as its starting point the definition of “palimpsest” - originally a manuscript or document that has been erased or scraped clean to be re-used. It has since become used to mean “something reused or altered but still bearing visible traces of its earlier form”. The exhibition will explore ideas of connections across time, how locations have multiple uses through time and multiple meanings, what endures and what disappears. The idea for Palimpsest came from the richly layered history of Lismore itself, and the verdant nature that surrounds it.
ZOE LEONARD is a New York based artist who works across photography, sculpture and installation. In 2018 she was given a mid-career survey at the Whitney Museum, New York, that travelled to The Museum of Contemporary Art, Los Angeles.
De La Warr Pavilion is pleased to present the group exhibition Still I Rise: Feminisms, Gender, Resistance, Act II, with works by Zoe Leonard. The exhibition will be on view from 9 February through 2 June 2019.
Still I Rise looks at resistance across the world from a multiplicity of viewpoints, from the domestic sphere to large-scale uprisings and spanning the late nineteenth century to present. With over 100 exhibits by some 40 practiioners, Still I Rise presents the way in which resistance has been appraoched by visual artists, writers, architects, designers, activists, working as individuals or in groups. It takes place within a global context, referring to recent women-led uprisings and demonstrations, including mass protests in Argentina confronting violence against women: 'Ni Una Menos', the global Women's Strike initiated in teh US, as well as the pivotal role women played in the formation of Black Lives Matter movement. The exhibition also references key historic moments including the Civil Rights Movement, resistance against dictatorships in Latin America in the 1960s-70s, independence movements against colonial rule in Africa, the Women's Liberation Movement, the AIDS crisis and the Stonewall Rebellion.
Hauser & Wirth is proud to present ‘Zoe Leonard. Aerials’. Over the past three decades, the New York–based artist has created a body of work which acutely interrogates the politics and conditions of image-making and display. This exhibition, the artist’s first at the London gallery, focuses on a series of aerial photographs created in the mid to late 1980s.
Leonard’s work – at once rigorously conceptual and highly personal – has engaged with themes such as the history of photography, loss and mourning, gender and sexuality, migration, displacement, and the urban landscape. Leonard has always taken an experimental approach. With a longstanding interest in vernacular, popular, and practical uses of photography, Leonard is drawn in particular to the deadpan appearance of photographs used in science, mapping and archiving; modes of representation that are also systems for classification and interpretation. Much of her practice calls into question the impartiality of these images and the ways in which the uses of photography have altered modern visual culture. Leonard’s aerial photographs, among her earliest bodies of work, are a direct outcome of this interest, taking a perspective that alludes to surveillance and aerial reconnaissance photography. However, Leonard counters the look of traditional reportage by using composition and formal elements that underline the position of the artist and the role of the viewer in the photographic process.
The Museum of Contemporary Art, Los Angeles is pleased to present Zoe Leonard: Survey, on view from 11 November 2018 - 25 March 2019.
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 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.
Coinciding with the Museum of Contemporary Art, Los Angeles (MOCA) retrospective - 'Zoe Leonard. Survey' - Hauser & Wirth is pleased to present the gallery's first Los Angeles exhibition devoted to New York-based artist Zoe Leonard. The landmark, decade-long project, 'Analogue' (1998 - 2009) is comprised of 412 photographs that document the homogenizing effects of globalization. The photographs in this installation depict vanishing storefronts and abandoned objects, which the artist captured using obsolete technology - a vintage 1940s Rolleiflex camera - along with gelatin silver and chromogenic processes. A preeminent artist of her generation, Leonard balances rigorous conceptualism with a distinctly personal vision in her work, which encourages the viewer to reconsider the act of looking.
The exhibition in Los Angeles marks the West Coast debut of this monumental installation,, which was first shown in 2007 at The Wexner Center of the Arts, Columbus, OH.
The Carnegie Museum of Art is pleased to present The 57th Carnegie International, on view from 13 October 2018 - 25 March 2019. Presenting work by 32 artists and artist collectives, the exhibition invites visitors to explore what it means to be "international" at this moment in time, and to experience museum joy. The pleasure of being with art and other people inspired the composition of this International- a series of encounters with contemporary art inside the world of Carnegie Museum of Art.
New York-based Zoe Leonard's participation in the International comes as a major survey moves from the Whitney Museum of American Art to the Museum of Contemporary Art in Los Angeles. Her work in photography and sculpture is often epic in scale, as in her vast installation of 4,000 vintage postcards that map Niagra Falls. Her contribution to the International is part of a new epic: to photograph the length of the Rio Grande as it forms a charged, serpentine border between the United States and Mexico.
Beeler Gallery at Columbus College of Art & Design is pleased to dedicate Season ONE to the individual art practices of the four original core members of fierce pussy, the New York-based queer art collective - Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka. fierce pussy amplified is on view from 2 October 2018 - 17 March 2019. Formed in New York City in 1991 through their immersion in AIDS activism during a decade of increasing political mobilization around gay rights, fierce pussy brought lesbian identity and visibility directly into the streets. Low-tech and low-budget, the collective responded to the urgency of those years, using readily available resources: old typewriters, found photographs, their own baby pictures, and the printing supplies and equipment accessible in their day jobs. fierce pussy was composed of a fluid and often shifting cadre of members. Four of the original core members - Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka - continue to work together.
arms ache avid season: Nancy Brooks Brody, Joy Episalla, Zoe Leonard, Carrie Yamaoka: fierce pussy amplified tracks each artist's work from the 1990s to the present and draws upon the collective power, shared tactics, and diversity of their works. The works, some of which will be created specifically for the season, will be installed in four movements or "chapters." Each chapter will include works from all four artists in different configurations to amplify the four art practices as living, breathing entities. It is the first time the works of the four artists are put into direct inquiry. A gallery containing artifacts and documentation of fierce pussy will be on view.
The Deutsches Hygiene-Museum is pleased to present the group exhibition Shine on Me: We and the sun, on view from 28 September 2018 - 18 August 2019.
In the late summer of 2018, the NASA's Parker Solar Probe launched a historic mission: its goal is to get as close to the sun as never before. Almost at the same time, the German Hygiene Museum embarks on a sister mission, which approaches the sun for the first time in a major special exhibition. Join us on board and learn more about the cultural significance, the scientific insights, the unresolved mysteries surrounding the star, on which everything revolves around the world - and learn more about us humans: What did the ancient cultures of all Continents over the sun? What can solar science say today about its composition? And what influence does it have on our present, our well-being and our everyday life?
Right at the beginning of the exhibition, a large-scale art installation awaits you that is inspired by the century-old dream of space to touch the sun. From here, you'll embark on seven "orbits" orbiting the Sun from different perspectives - deity, timer and symbol, luminosity, medicine and energy source and, of course, the star at the center of our universe.
me Collectors Room / Stiftung Olbricht is pleased to present The Moment is Eternity: Works from the Olbricht Collection, on view from 26 September 2018 - 1 April 2019. The group exhibition features works by Zoe Leonard and shines the spotlight on the photographic works in the Olbricht Collection.
Transience is one of the key themes of the Olbricht Collection. And what artistic medium other than photography could be better suited to addressing the questions of time and history that this theme throws up? Lending duration to the moment is inscribed into the very medium itself. In theis property, art and philosophy come together.
Parkett is pleased to present the group exhibition, A Time Capsule Revisited: A New Installation of Works Made by Women for Parkett 1984-2017" at the New Temporary Exhibition Space at Löwenbräu, Zurich. The group exhibitions has works by Zoe Leonard and will be on view from 25 August through 15 November 2018.
Galerie Max Hetzler is pleased to announce the group show True Stories. A Show Related to an Era – The Eighties, curated by Peter Pakesch. The show will be on view from 14 September - 27 October 2018 and includes works by Zoe Leonard.
Seen from today’s perspective, during this decade, the way art would function in society has changed largely. Within the history of the late 20th Century, the very two years 1968 and 1989 are truly significant for politics as well as for culture. One signifies the height of the Cold War and the departure to new freedoms, the other one the end of this Cold War and the dawn of a new world order (that still is not in place yet).
Kunst Haus Wien is pleased to present the group exhibition, Still Life: Obstinacy of Things, on view from 12 September 2018 through 17 February 2019. Are the banal objects of our consumerist world to be equated with the opulently arrayed fruits, blooms and other vanitas motifs familiar to us from the painterly still lifes of Old Masters? What is it that underpins our 400-year fascination with the genre? And why are contemporary artists rediscovering the still life for themselves in the medium of photography at this very precise moment in time? What do still lifes have to say to us today about our habits and our very own existence?
With a selection of international and Austrian artists ranging from Jan Groover to Christopher Williams, Leo Kandl and Harun Farocki, the large theme-based photo graphy exhibition highlights the historical development strands that have led to today’s radical re-examination of the genre as a new field of experimentation for artistic expression. Above all, the exhibition featuresa younger generation of artists who are reflecting our very own ‘present’ in their photographs. They do so by precisely perceiving and meticulously examining the world of objects that surrounds us, with all its peculiarities, beauty, and ugliness. While some have chosen aggressively to combine highend consumer products with garbage and trash, others focus on things utterly over looked: worlds of objects that act as the traces of our everyday world with an often idiosyncratic beauty – which is precisely why they reward a closer examination. As we slow down the pace with which we contemplate them, these new still lifes counterbalance the glut of digital images that submerge our everyday lives, creating spaces in which our quotidian objects encounter things both novel and unfamiliar.
Modern Art are pleased to announce a group exhibition titled ‘Fences & Windows’.
Fences & Windows will bring together a group of artists whose work uses reduction, economy, and minimalism to explore ideas of labour, potency, brutality and powerful reciprocity. Many of the artists in this show make works that transform or reposition objects and suggest propositions in sculpture upon which the viewer might interrupt their own meaning.
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.
Urban Planning: Art and the City 1967–2017 presents twenty-four renowned artists responding to the social, political, economic, and environmental effects of urban development in the United States. Urban Planning explores momentous social upheavals—the Civil Rights movement, gentrification, post-industrialization, white flight, the emptying of American cities, and the expansion of the suburbs—through a variety of media, including sculpture, drawing, photography, moving image, and installation. Rather than pose a definitive historical trajectory, the exhibition embraces a ruminative and introspective approach, winding through time and place to touch on situations and themes ranging from the sociopolitical to the deeply personal, all through the lens of artistic observation.
Zoe Leonard is included in the group exhibition Picturing Love: Photography’s Pursuit of Intimacy, at the Katonah Museum of Art.
A mother embraces her son. Friends pose by the seaside. Lovers clutch in the dark corner of a nightclub. All of these images and more are captured in the KMA’s exhibition, Picturing Love: Photography’s Pursuit of Intimacy. By turns disarmingly candid and unabashedly performative, the photographs in the exhibition examine how love is captured – and indeed at times bestowed – by the act of taking a picture. In the present moment of virtual like, love, and swipe, when all aspects of public and private life circulate in seemingly endless supply on the Internet, the exhibition takes a step back to look at the formidable history of this subject from photography’s early days to the present. Picturing Love features some forty renowned and many anonymous artists.
Zoe Leonard is included in Subjektiv, at Malmö Konsthall.
This exhibition, entitled Subjektiv, is curated by the editorial board of the Scandinavian art journal Objektiv. Its point of departure is potential relations between art, politics and subjectivity in a time when the basis of democratic subjecthood is called into question. In this context, the usual title of the magazine, Objektiv, simply would not do, hence the temporary rebranding as Subjektiv.
The exhibition brings together artworks from the last five years that speak to the current political situation through their strategic staging of subjectivity and its political potential or impotence. All the works are camera-based – photographs and films, collages and a poster project – and span from straight documentary to a post-internet aesthetics of the interface. While radically different in strategies and aesthetics, these works all investigate the friction between the subjective, the collective, and the political.
Zoe Leonard is included in Serialities at Hauser & Wirth
Beginning 15 February, Hauser & Wirth will present ‘Serialities,’ a group exhibition organized with Olivier Renaud-Clément which examines notions of seriality and repetition, and ways in which artists explore linear and non-linear narratives through iterations. On view through 8 April, the exhibition includes photographs, drawings, and sculptures by Yuji Agematsu, Carl Andre, Bernd and Hilla Becher, Sophie Calle, Liz Deschenes, Isa Genzken, Eva Hesse, Roni Horn, On Kawara, Robert Kinmont, Louise Lawler, Zoe Leonard, Sherrie Levine, Sol LeWitt, Paul McCarthy, Roman Opalka, Andrea Robbins and Max Becher, August Sander, Karin Sander, Mira Schendel, Cindy Sherman, David Smith, Ian Wallace, and Mark Wallinger.
Zoe Leonard will be included in the group exhibition The Sun Placed in the Abyss at the Columbus Museum of Art
This is the first major exhibition to consider the persistence of the sun as a visual metaphor and material in contemporary photographic practices. Borrowing its title from a poem by Francis Ponge, the exhibition features photography, film, video, and installation works by more than 50 intergenerational artists who have used the sun to explore the histories and conventions of lens and light based media.
Zoe Leonard is included in Nothing Personal: Zoe Leonard, Cindy Sherman, Lorna Simpson at the Art Institute of Chicago, 23 January - 1 May 2016.
In Nothing Personal, works by three American artists come together in a show about the passage from personhood to persona.
The 82 photographs that make up The Fae Richards Archive provide a convincing record of a person who never existed. Fae Richards could have been an actress and singer who worked from the 1920s to the 1970s. She was black, gay, and talented, and she achieved success to the degree that circumstances permitted. Zoe Leonard meticulously prepared a mix of publicity shots, film stills, and personal photos to create this fictional archive. She researched historically appropriate photographic papers, and “cast” different printers as well, to guard against a uniform look. The results show happiness tinged with melancholy and ask us to think about what it means to go through life behaving as a credible facsimile.
Tony Feher, Jim Hodges, Zoe Leonard, and Donald Moffett are included in Art AIDS America at the Tacoma Art Museum.Tacoma Art Museum is proud to present Art AIDS America, a groundbreaking exhibition that underscores the deep and unforgettable presence of HIV in American art. More than ten years in the making, the exhibition of 120 works is now on view at TAM through January 10, 2016.
The Museum of Modern Art presents Zoe Leonard's Analogue --a landmark photographic project conceived over the course of a decade -- which documents, in 412 color and black-and-white photographs, the eclipsed texture of 20th-century urban life as seen in little bodegas, mom-and-pop stores with decaying façades and quirky handwritten signs, and shop windows displaying a mixed assortment of products.
27 June - 30 August 2015