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The bodies of work by artist Zoe Leonard that form this publication s centerpiece pose fundamental questions about the medium of photography and the nature of sight. In a series of large-scale installations sited in the United States and Europe (most recently at the Chianti Foundation in Marfa, Texas), the artist has employed the principal of the camera obscura. Projection devices seen as a historical precursor to modern photography, Leonard s room-size camera obscuras are paired with installations of gelatin silver prints of the sun. This creates an ephemeral image both immersive and continuous, shifting constantly in response to the fleeting light of the outside world. This title explores various methods of documenting these installations and situates the series in Leonard s ouevre, exhibited at Documentas IX and XII and the Whitney Biennial. Texts by Diedrich Diederichsen, Suzanne Hudson, Glenn Ligon and Eileen Myles.
Published by Ridinghouse, London; and Dancing Foxes Press, Brooklyn