It has not been seen publicly since 2001. 1961) sewed together skins of fruit. We see them on shipboard in midocean, then in New York Harbor posing with the Statue of Liberty. It is composed of about 300 rinds and skins of avocados, grapefruits, lemons, oranges, and bananas. ZOE LEONARD: It’s a new body of work for the show in September. This event will be livestreamed on YouTube. Basically, “I Want a President” was a form of participatory public art, completed by being passed from hand-to-hand. Materials she uses in sculptures and installations — suitcases, fruit skins, vintage postcards — comes with prior, but unknown histories, creating intricate traffic patterns between present and past in her work. The work was made in the Tickets are required ($10 adults; $8 members, students, and seniors). Not that there was much to steal. What we’re seeing here are pictures of pictures. Fred Moten is a writer and scholar focused in black studies, performance studies, poetics, and critical theory. Yet you have to wonder, in the context of all this mass-produced sameness, how personal that “here” can feel. Speakers include Gregg Bordowitz, Jonah Groeneboer, Katherine Hubbard, Fred Moten, Cameron Rowland, and Christian Scheidemann. See the renowned permanent collection and special exhibitions. But, as she does with the images of other things in the world she cares about, Ms. Leonard makes them her own through repetition, by looking, then looking again. Zoe Leonard - Mouth Open, Teeth Showing, 2001, photo credits paulacoopergallery.com Questioning Mortality and Transience of Life. A twisting river gleams like a vein of silver; a vast city looks as dark and indistinct as a swatch of nubby fabric. For increasing numbers of digital shutterbugs, reality is not real unless it is photographed. Zoe Leonard, Strange Fruit (For David), 1992–97, installation view, Whitney Museum of American Art, New York. Zoe Leonard Strange Fruit. Many of her photographs carry two dates: the year the picture was shot and the year, as much as a decade later, when it was printed. 0 votes. Installation view of Zoe Leonard (b. Strange Fruit speaks to fragility, to impermanence, but also to agency, and to the refusal to do nothing even when it seems there is nothing to be done. 1961), is a landmark project comprising 412 photographs conceived over the course of a decade. The number of suitcases corresponds to her current age. They’re snapshots of her mother and grandmother taken in the late 1940s when they left their native Poland for America. Dec 19, 2011 - This Pin was discovered by Tom. It was also site-specific and probably era-specific, and impossible to reconstitute in its original form. Orange, banana, grapefruit, lemon, and avocado peels with thread, zippers, buttons, sinew, needles, plastic, wire, stickers, fabric, and trim wax, dimensions variable. The annual Pride March floods 5 th Avenue, and devotes a moment of silence to members of the community lost to AIDs and discrimination. Accessible seating is available. The installation is ultra-austere, all white walls and window with a fiercely edited selection of photographs. In a 1993 project with the filmmaker Cheryl Dunye, the sharing was direct. “You see I am here after all,” from 2008. In the year of his death, which was also a presidential election year, she produced her most flat-out polemical work, a 300-word anti-authoritarian statement, part manifesto, part embittered cri de coeur, demanding radical change. 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