Zoe Leonard, a prominent artist preparing to showcase her work at the Venice Biennale, has made a significant transition from one of the world's leading galleries, Hauser & Wirth, to the more intimate Maxwell Graham Gallery in New York.
Previously represented by Hauser & Wirth, which boasts 14 locations globally, Leonard has chosen to align herself with Maxwell Graham, a gallery recognized for its focused presentations of conceptual art. Alongside this new partnership, she will continue her collaboration with her established galleries in Cologne and Milan.
Maxwell Graham's roster primarily features artists from a younger generation, including Cameron Rowland and Tiffany Sia. In their announcement, the gallery emphasized Leonard's profound impact on the art world, stating, "For over 40 years, she has been among the most critically acclaimed artists of her generation."
Leonard's artistic practice often delves into themes of loss and decay, both in literal and metaphorical contexts. One of her renowned works, Strange Fruit (1992-97), features 300 fruit skins meticulously sewn back together, symbolizing restoration. Additionally, her piece I want a president articulates discontent with political leadership during the AIDS crisis.
Photography has been a cornerstone of her work, with recent projects focusing on the US-Mexico border, showcased in her series "Al río / To the River" (2016-22). She has also explored conceptual art, transforming a room at the Whitney Museum into a camera obscura during the 2014 Whitney Biennial, where she received the top prize.
Currently, Leonard is participating in Koyo Kouoh's Venice Biennale exhibition "In Minor Keys," representing the fierce pussy collective, a group of queer women artists from New York.
Marc Payot, president of Hauser & Wirth, expressed his admiration for Leonard, stating, "Our collaboration has been a great pleasure, and we look forward to watching her practice evolve as she joins Maxwell Graham."
While the specific reasons for her departure from Hauser & Wirth remain undisclosed, it marks a notable shift in her career, as she is the second artist to leave the gallery in recent months.
Maxwell Graham previously hosted its first exhibition featuring Leonard's work last year, titled "Display," which included photographs of historical objects captured in the 1990s but printed only recently.
Leonard's move to a smaller gallery may herald a new chapter in her artistic journey, potentially fostering more personalized engagements with her audience and allowing her to explore innovative avenues in her work.