The photographs in Zoe Leonard's Analogue trace the "layered, frayed, and quirky" beauty of a fading way of life. Zoe Leonard documents the vanishing face and texture of twentieth-century urban life, as seen in the shop windows of mom-and-pop stores. Lacking the glamour of the shopping mall and the digitally manipulated perfection of mail order catalogs, these fading objects tenaciously hold on to their disappearing place on city streets. Recognizing that digital technology has transformed traditional photography just as chain stores and multinational corporations have changed the face of urban life, Leonard attempts to preserve the photographic realm of the analogic—the photograph's distinct ability to record physical data into a corresponding image. Analogue is a testament both to vanishing city storefronts and to the endangered status of photography itself. Leonard also documents a twenty-first century phenomenon, the globalized rag trade. Her photographs follow a shipment of discarded clothing from a clearing station in her native Brooklyn to used clothing markets in Kampala—showing us, in the trajectory of one commodity, the economic and social forces that link us globally. Analogue accompanies a major exhibition of the same name at the Wexner Center for the Arts, The Ohio State University. It includes 83 color images from the exhibition and a text compiled by the artist of quotations from diverse sources.

Analogue

Arts & Photography

Leonard, Zoe

Individual Artists

Mit Pr

Zoe Leonard’s You see I am here after all brings together thousands of postcard images of the “great cataract,” Niagra Falls, from the early 1900s through the 1950s. This grand accumulation of viewpoints brings up issues as diverse as human interventions with nature and the function of landscape in inventing American historical narratives, as well as the technological evolution of image reproduction and dissemination.

Zoe Leonard: You see I am here after all

Shaw, Lytle

Dia Art Foundation

For more than six decades, James Castle (1899-1977) dedicated himself virtually full-time to the activity of making art, producing a vast and accomplished body of work, much of which he managed to preserve. Growing up in rural Idaho, Castle devised his own art materials and techniques, making ink for drawing by moistening soot from the family stove with his own saliva and using discarded paper and other materials. In the 1950s, through the efforts of family members, Castle's work came to the attention of the local art community, and it began to be exhibited in Idaho and the Pacific Northwest, often under the rubric of outsider or self-taught art. Not until the late 1990s, however, did it appear in mainstream art circuits. Castle's work poses numerous challenges for the art historian. He was born profoundly deaf and never adopted conventional means of communication and thus never commented on his art. His works are neither titled nor dated, and it is difficult to trace an evolution or establish a chronology. As a result, previous scholarship has tended to focus on Castle's biography or on specific aspects of his oeuvre. James Castle: Show and Storetakes a different approach, looking at the entire scope of the artist's production--which included drawings, constructions made from found pieces of colored card and handmade books--and emphasizing the centrality of his display and storage methods to his practice. The essays in this volume also question the notion of Castle as an artist who worked in isolation from the world at large, examining his copying and reuse of images derived from printed media, including advertising and product packaging, and perhaps even television. Illustrated with more than 200 full-color reproductions, Show and Storeexamines drawings, handmade books, cardboard and paper constructions and collages. Born profoundly deaf, James Castle (1899-1977) never fully learned to read or write, instead developing his own unique sign system and visual vocabulary. He won some local acclaim during his lifetime (including 1963 and 1976 exhibitions at the Boise Gallery of Art) but only achieved international recognition after his death in 1977.

James Castle: Show and Store

Fer, Briony

Hudson, Suzanne

Cooke, Lynne

D.A.P./Museo Nacional Centro de Arte Reina Sofía

Exposición dela obra fotográfica de Zoe Leonard que recoge más de cien obras de la artista neoyorquina desde la década de los setenta hasta la actualidad. Retrospectiva que plasma el interés de la artista por los contrastes cotidianos: la naturaleza frente a lo urbano y lo manufacturado frente a lo original.

Zoe Leonard. Fotografías (Spanish Edition)

Photography & Video

Museo Nacional Centro de Arte Reina Sofía

Meditation Monsters: An Adult Coloring Book Full of Mythical Creatures and Imaginary Monsters

Children's Books

Activities, Crafts & Games

Independently published

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Books by Leonard, Zoe