Joanne Leonard is a photographer, photo-collage artist, teacher, writer and feminist whose work has contributed to a wide variety of fields from fine art to autobiography studies. Her work has been included in The San Francisco Museum of Art’s Women of Photography, 1975, Lippard’s From the Center, 1976, Janson’s History of Art, 1986, Gardner’s Art Through the Ages, 9th ed.1991, Hirsch’s The Familial Gaze, 1996 and Chaney’s, Graphic Subjects, 2011. In 2008, her gorgeously produced visual memoir, Being In Pictures: An Intimate Photo Memoir with foreword by Lucy R. Lippard, was published by University of Michigan Press. In the 1960s and 70s she taught in The San Francisco Bay Area for 10 years including at San Francisco Art Institute, and Mills College. Her work is included in many museum Photography collections including Los Angeles County Museum of Art, San Francisco Museum of Modern Art, Nelson Atkins Museum, Kansas, Detroit Institute of Arts and George Eastman House, New York. She is Distinguished University Professor Emerita from the University of Michigan where she taught for 31 years.
From an early point in her years of image making, Leonard used photo collage to con(textualize) her own photo images, combining them with news photos as in a 1970s collage, Red Triptych. Journal of a Miscarriage, 1973, a wordless journal made entirely in photo-collage, and Julia and the Window of Vulnerability, a 1980s photo-collage expressing anxieties about the threat of nuclear war, are works that furthered her explorations of photos from everyday life and images from world news in television and print. Sixty works created from 1990-92, make up Not Losing her Memory, These works overlayed photographs of women in her own family with dialog from broadcast news– the Anita Hill/Clarence Thomas hearings. A small cache of news clippings from 1877 play a central role in Leonard’s film-like Reel Family, a 22 feet long translucent collage made in the year 2000. Now her Newspaper Diary, a series begun in 2006 and continuing, suggests her expansive engagement with the daily newspaper and a vast archive of images in books.
Recent Biographical Information:
2012 "Being in Pictures: A Commentary on Feminist Visual Narratives in the Digital Age."
Exposure 45, no. 1 (spring): 8–15.
2012 How We Do Both: Art and Motherhood. Edited by Michi Jigarjian and Qiana Mestrich, Secretary Press. J.Leonard image "Pregnant" on cover and essay inside
2011 "Being in Feminist Pictures" (essay with 6 illustrations). Feminist Review 99: 99–105.
2011 Four Generations, One Absent and Roots and Wings (detail). In “Photo/(gyno)graphy:
The Work of Joanne Leonard,” by Domna C. Stanton, in Graphic Subjects: Critical Essays on Autobiography and Graphic Novels, ed. M. A. Chaney, 200–5. Madison:
University of Wisconsin Press.
2011 Merida Morning. Cover of Jag Kände så in tystnaden, förivssad om att du sov (I felt
the silence, confident that you were sleeping), a book of poetry by Magnus Thorn.
Stockholm: Recito Förlag.
2010 Rupture from Journal of a Miscarriage. In Frida Kahlo: Face to Face, by Judy Chicago
and Francis Borzello, 229. Munich: Prestel.
Joanne Leonard spoke about her new book Being In Pictures
Institute for the Study of Culture and Society (ICS), Bowling Green University
College Art Association
Joanne Leonard spoke on panel “Artist and Model” (concerning artists’ use of families and friends as models, panel Chair, Ruth Weisberg)
CAA 97th Annual Conference
Los Angeles, California, February 25–28, 2009
Newton Free Library, Newton Centre, MA
Joanne Leonard, spoke about Being in Pictures for Women’s History Month
San Francisco Book Signing
Margy Boyd Studio and Art Tours in collaboration with Bird and Beckett Books
Best Books Issue, December 2008. Review of Joanne Leonard’s Being In Pictures
Photo collage cover image for Transforming Science and Engineering Advancing Academic Women, University of Michigan Press, 2007 release, Abigail J. Stewart, et al.
Disturbing the Peace, Denise Bibro Gallery, NYC
Included in The Feminine and Its Dimensions Lecture on photography by Deborah Bright, photographer, author, as part of International Women's Day, Sao Paulo, Brazil
The Diane M. Kirpatrick and Griselda Pollock Distinguished University Professor,
University of Michigan (July 2004)
Janson’s History of Art, 6th edition revised, color reproduction of Romanticism Is
Ultimately Fatal, Abrams
About Face (Portraits), Denise Bibro Gallery, and Exhibition: The Art of Aging,
Hebrew Union College-Jewish Institute of Religion Museum, New York, NY and traveling New York, NY
Visiting Artist and Scholar (February/March), American Academy in Rome
Capturing Light, Masterpieces of California Photography, 1850-2000,Photographs in the collection of the Oakland Museum of California, Oakland, CA
A life's work of photography, collage, feminism, and keen observations on the sexes, makes the new book byexceptional reading.