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how the juxtaposition of different materials can comprise a cultural identity. Created from 2002â2009, a primary image, usually culled from the
American media and sociopolitical in bent, is centrally placed on a larger book, photo, or other document so that the image appears framed; in turn, this arrangement is photographed laid out on a hardwood or carpeted floor, which adds yet another frame. "Hewitt operates within an unvarying compositional structure. Each image includes a document showing clear evidence of useâperhaps a book with worn corners, a magazine folded open to a particular page, or a sheet of paper with inscrutable writing. On top of this document a snapshot of American life is placed. These layered constructions are arranged and photographed directly on the floor, which serves as a literal ground for the composition. Whether soft, grainy wood or richly textured domestic carpet, this ground speaks to the interior nature of Hewittâs work and its metaphoric and physical location within the built spaces of human con- struction and occupation." Also, riffing on the premise of "same but different" was the photo installation Untitled, in which a large starch-white slab was propped against the wall, scaled to the dimensions of the gallery's doorway. Here, Hewitt's iconography and conceptual choices echoed her previous work, as she insinuated this particular offering into the material legacies of the 1960s and 1970s.This exhibition confirms Hewitt's rightful place among a generation of artists confronting the historical legacies of the 1960s through an amalgamation of artistic strategies that test the premises of photography. It also raises the perplexing issue of what happens when formerly radical strategies have been tamed and naturalized into a generational style.
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286:. "Individual frames span 15 to 24 seconds and center around single details isolated from the archival imagesâa black body bent, a crack in the white marble stairsâthat are then ârestagedâ and filmed on the same consecrated grounds." The works are 35mm film transferred to HD video, dual-channel video installation. In an Artforum interview, Hewitt says of the dual-channel video projection: "You can decide to look at one or the other, but your eyes have to contend with both." âHewitt draws the tradition of the still life and combines it with the camera's ability to âshift the view of the world and hold it still.â
267:"Hewittâs work has been said to pose questions about âthe conundrum of the past and its connection to the contemporary moment.â In Midday , Hewittâs latest series, a mandarin orange sits next to a copy of Manchild in the Promised Land, a nearly autobiographical account of the challenges of urban life for African Americans in 1950s New York. As with Hewittâs earlier works, elements from the past are placed in relationship to more recent photographs, and thereby introduced into a contemporary context."
220:, was presented at the Contemporary Art Museum St. Louis. Hewitt was the 2014 USA Artists Francie Bishop Good and David Horvitz Fellow in Visual Arts. Her work is in the public collection at the Museum of Modern Art, New York, NY; Guggenheim Museum, New York, NY; Los Angeles County Museum of Art, Los Angeles, CA; The Studio Museum in Harlem, New York, NY, among others. In 2016, her work was included in Photo-Poetics: An Anthology at the
303:'s essays, matches the work's wooden frame. Also nearby was an untitled work comprising two free-floating walls leaning against the gallery architecture. These minimalist objects are made of drywall and wood and were modeled on the texture and size of the gallery walls. They assert a content-free physicality that harmonized with the rest of the exhibition's pictorial and physical material.
163:"Hewitt has been described as a member of the postâcivil rights generation, which understands the civil rights movement through images and text rather than direct experience. More specifically, she is of a generation growing up just outside the immediate shadow of pressing political change, and one which also has a particular relationship to photography."
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Hewitt explores political, social, and personal narratives through photography, sculpture, and site-specific installations. Her work varies in scale from small compositions to billboard sized photographs which rest in wooden frames that lean against the wall and invite viewers to experience a space
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Hewitt's exhibition featured a collection of 10 highly stylized photographs from an ongoing series started in 2002. Shown together for the first time by the same name in a sleek installation, Untitled, 2011. Described as "postmodern takes on the still life", Riffs on Real Time is an exploration of
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through arrangements of objects from popular culture and personal ephemera. She is interested in how much we rely on images to provide memories of personal experience, how collective memory of past events is shaped and preserved, and in how the two overlap, coexist, and inform each other. Hewitt
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and producer Karen Chien. Untitled is a series of short silent film vignettes created in 2012. The films include footage from 2010 â 2012 of locations where iconic civil rights photographs were taken in the 1950s and 1960s in
Chicago, Memphis, and parts of Arkansas, which were all palpably
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In 2013, Hewitt released a series of photographs that were displayed at
Sikkema Jenkins & Co. within tilted maple box-frames, that brings into focus the morphing of images in a studio into object-like artworks shown in a gallery. In
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and used the camera as a tool to explore cultural memory through the construction of temporary still lifes. By repeatedly composing and photographing her arrangements she captured changes in daylight, gravity, and perception.
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She was the recipient of the Guna S. Mundheim Berlin Prize in the Visual Arts and Fellow at the
American Academy in Berlin for Spring 2012. In the fall of 2012 a solo exhibition of her work,
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and received a 2008 Art
Matters research grant to travel to the Netherlands to research Dutch still-life paintings created during the period of the Trans-Atlantic slave trade at the
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Hewitt has an extensive residency and exhibition history. In 2007, she spent a significant amount of time in
Houston participating in the Core Program and served as the
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draws much of her material from black popular culture of the 1970s and â80s. Items such as VHS tapes of black cinema, graffitied documents, and books by
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Hewitt has staged a large number of solo shows at galleries and museums in the United States and internationally. Her notable solo shows include
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Dominic, Molon; Johanna, Burton; Esperanza, Rosales; Lisa, Melandri; Samantha, Topol; Louis, Contemporary Art Museum St. (2013).
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The exhibition at the Menil
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that rests between sculpture and traditional photography. She references notions of non-linear perspective and
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915:"Leslie Hewitt, Bradford Young, and a Cold Intimacy - Gulf Coast: A Journal of Literature and Fine Arts"
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Fellowship at
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in
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702:"Leslie Hewitt â Radcliffe Institute for Advanced Study â Harvard University"
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725:"Leslie Hewitt: Sudden Glare of the Sun | Contemporary Art Museum St. Louis"
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579:"Leslie Hewitt explores the role of photography in recapturing the past"
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Hewitt has also participated in many group exhibitions, including the
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from 2001 to 2003. Hewitt has held residencies at the Core
Program at
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a solo exhibition with collaborative works made with cinematographer
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often appear in her photographs or reside within her installations.
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Website by Project Projects, www.projectprojects.com, 2006â2007.
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798:"SculptureCenter Exhibition â Leslie Hewitt: Collective Stance"
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A Movement in Every Direction: Legacies of the Great Migration
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in 2004. She studied Africana Studies and Cultural Studies at
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Leslie Hewitt trains her lens on photography charged history
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Hewitt is represented by contemporary art gallery Perrotin.
192:/ Core Fellow from 2006â07. Hewitt participated in the 2008
135:'s School of Art in 2000 and later received an M.F.A. from
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New Pictures: Leslie Hewitt, A Series of Projections
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in New York City. Hewitt received a B.F.A. from the
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861:"Leslie Hewitt by Whitfield Lovell - BOMB Magazine"
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1334:Skowhegan School of Painting and Sculpture alumni
976:Rutland, Beau (November 2013). "Leslie Hewitt".
878:Banai, Nuit (November 2017). "Leslie Hewitt".
82:For the Advancement of Science and Art, B.F.A.
19:For the journalist, politician and judge, see
119:) is an American contemporary visual artist.
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153:Skowhegan School of Painting and Sculpture
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882:. Vol. 50, no. 3. p. 277.
1010:from the original on December 23, 2022.
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42:Leslie Hewitt Exhibition at Power Plant
1256:from the original on December 11, 2022
1036:from the original on December 23, 2022
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218:Leslie Hewitt: Sudden Glare of the Sun
1030:Institute of Contemporary Art, Boston
407:. Contemporary Art Museum St. Louis.
325:Institute of Contemporary Art, Boston
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601:"Leslie Hewitt by Whitfield Lovell"
353:; Contemporary Focus: Leslie Hewitt
77:, Africana Studies/Cultural Studies
1149:"Contemporary Focus Leslie Hewitt"
1104:from the original on July 15, 2021
1070:from the original on June 30, 2022
823:"Perrotin: Artists: Leslie Hewitt"
543:Leslie Hewittâs Riffs on Real Time
127:Leslie Hewitt was born in 1977 in
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1339:American women conceptual artists
1124:"Leslie Hewitt | The Power Plant"
1064:Contemporary Art Museum St. Louis
333:Contemporary Art Museum St. Louis
321:Momentum Series 15: Leslie Hewitt
226:Leslie Hewitt: Collective Stance,
900:Art Matters Foundation. (2009).
846:Art Matters Foundation. (2009).
345:Collective Stance: Leslie Hewitt
145:The Museum of Fine Arts, Houston
1242:"A Movement in Every Direction"
518:"Leslie Hewitt | Clough Hanson"
1354:People from St. Albans, Queens
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1344:21st-century American artists
1090:"New Pictures: Leslie Hewitt"
771:"Photo-Poetics: An Anthology"
541:Hopkins, R. (2011, April 7).
341:Minneapolis Institute of Arts
1098:Minneapolis Institute of Art
626:Guggenheim Collection Online
469:Minneapolis Institute of Art
444:Guggenheim Collection Online
1309:American conceptual artists
962:Mears, E. (2007, January).
558:. The Kitchen. May 10, 2010
149:The Studio Museum in Harlem
51:1977 (age 46–47)
16:American artist (born 1977)
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1329:New York University alumni
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1056:"Sudden Glare of the Sun"
723:Design, TOKY Branding +.
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1314:African-American artists
1284:Sikkema Jenkins & Co
315:(2006), LAXART Gallery,
1250:Baltimore Museum of Art
1208:"2008 Whitney Biennial"
369:Bridgehampton, New York
329:Sudden Glare of the Sun
236:in Queens NY in 2016.
1319:Yale University alumni
978:Artforum International
931:Christoph, S. (n.d.).
880:Artforum International
55:Saint Albans, New York
1128:www.thepowerplant.org
297:Untitled (Perception)
272:Untitled (Structures)
1153:The Menil Collection
902:Midday Leslie Hewitt
848:Midday Leslie Hewitt
802:sculpture-center.org
775:www.brooklynrail.org
357:The Menil Collection
174:double consciousness
129:Saint Albans, Queens
117:Saint Albans, Queens
1324:Cooper Union alumni
650:. Damelioterras.com
599:Lovell, Whitfield.
282:transformed by the
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206:Radcliffe Institute
141:New York University
75:New York University
1182:Dia Art Foundation
750:"Artist Biography"
497:www.guggenheim.org
249:Riffs on Real Time
190:Project Row Houses
796:SculptureCenter.
690:. March 16, 2012.
648:"D'Amelio Terras"
365:Dia Bridgehampton
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290:Still-life series
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1260:December 23,
1258:. Retrieved
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