Age, Biography and Wiki

Zoe Leonard was born on 1961 in Liberty, New York, US, is an American artist (born 1961). Discover Zoe Leonard's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 63 years old?

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Age 63 years old
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Born 1961
Birthday
Birthplace Liberty, New York, US
Nationality United States

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Zoe Leonard Height, Weight & Measurements

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Dating & Relationship status

She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.

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Zoe Leonard Net Worth

Her net worth has been growing significantly in 2023-2024. So, how much is Zoe Leonard worth at the age of 63 years old? Zoe Leonard’s income source is mostly from being a successful artist. She is from United States. We have estimated Zoe Leonard's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
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Timeline

1921

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.

1961

Zoe Leonard (born 1961) is an American artist who works primarily with photography and sculpture.

Leonard was born in 1961 in Liberty, New York.

Leonard's mother was a Polish refugee who was born in Warsaw, immigrating to America at the age of 9 during World War II.

Her mother's family were wealthy members of the Polish aristocracy who were involved in the movement for Polish independence and the Polish Resistance.

Many members of Leonard's maternal line were killed during the war.

Despite being non-Jews, her mother's family was persecuted by the Nazis for their opposition to Nazism and their Polish nationalism.

Leonard has stated that her grandmother "was really invested in this idea that we were still aristocracy", although her family was living in poverty in Harlem.

Aged 16, she dropped out of school and started taking photographs.

1980

She has exhibited widely since the late 1980s and her work has been included in a number of seminal exhibitions including Documenta IX and Documenta XII, and the 1993, 1997 and 2014 Whitney biennials.

Leonard was active in AIDS advocacy and queer politics in New York in the 1980s and 1990s.

1990

It 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.

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.

1992

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.) 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."

In 1992 she wrote "I want a president", a poem inspired by Eileen Myles's run for president.

Strange Fruit is dedicated to the friend of Leonard and a fellow artist, David Wojnarowicz, who died in 1992.

1993

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.

1995

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.

1997

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.

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.

1998

Strange Fruit was exhibited in 1998 at the Philadelphia Museum of Art, where it currently resides.

Between 1998 and 2009, Leonard worked on Analogue, a monumental project consisting of an installation of 412 C-prints and gelatin silver prints (in the collection of The Museum of Modern Art, New York and the Reina Sofia, Madrid), and a portfolio of 40 dye-transfer prints.

2007

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.

2009

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."

More recent exhibitions have included You See I Am Here After All at Dia: Beacon (2009) which featured a set of 3883 postcards of waterfalls, reminiscent of Yokoo Tadanori's Waterfall Rapture collection of 13,000 waterfall postcards, one of which carries the phrase "You See I Am Here After All" which critic Jonathan Flatley connects to the work of On Kawara's telegrams which read "I AM STILL ALIVE" This work was also exhibited at the Whitney in Leonard's 2018 retrospective.

2012

Other exhibitions such as Serialities at Hauser & Wirth, 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".

2014

Leonard was awarded the Bucksbaum Prize in 2014 from the Whitney Museum and the Anonymous was a Woman Award in 2005.

2017

She was also a member of the jury that selected Cathy Wilkes as recipient of the inaugural Maria Lassnig Prize in 2017.

2018

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.

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.

2020

She was awarded a Guggenheim Fellowship in 2020.

She received a Guggenheim Fellowship in 2020.