This takes the idea of an artwork that has gone from creation, to destruction, to reanimation as the premise for a book that offers a much-needed glimpse into the ecology of the Bay Area art scene. It presents a template for how documentation and analysis can be used to honor the regions idiosyncratic art making practices.
Rather than pure archive, this book shows writer Hunter S. Thompson through the eyes of his assistant.
The publication’s release coincides with Leonard’s 2022 exhibition of the series at Mudam Luxembourg and the Musée d’Art Moderne de Paris, but it stands alone as a unique, multi-voiced analysis of the US-Mexico border, thanks to its intelligent and thoughtful two-volume format. The images and texts are richly complementary, together forming a complex portrait of the river as both physical and symbolic terrain.
Wolves, we all know, are not to be trusted. They disguise themselves in sheeps clothing or wait at the door for impending ruin. They come as a howl in the darkness, their presence heard but not seen. To cry wolf is to raise a false alarm, thereby forfeiting trust and belief. In music, a wolf sometimes lurks in a stringed instrument, often a cello.