Leah Guadagnoli: Love Lies Bleeding

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October 14–November 13, 2021 Essay by Gaby Collins-Fernandez



I cannot remember exactly how I was introduced to the work of Leah Guadagnoli. Perhaps it was the exhibition at Massaro House on Petre Island or the enthusiastic reviews in the New York Times, Hyperallergic, and Architectural Digest. But what I do recall is an eye-opening visit to her studio. There, I witnessed first-hand her astonishing and meticulous multi-step process of cutting insulation board into various shapes, stretching textiles and canvases over the irregular forms, applying acrylic paint mixed with pumice stone and other materials, and assembling them together. I was motivated and inspired by Guadagnoli and her work ethic, passion, and practice. Immediately after, I included Guadagnoli’s work in a group exhibition Breaking the Frame, the inaugural exhibition at Hollis Taggart Contemporary in 2019, and at the UNTITLED Art Fair in Miami, where her work was both celebrated and supported. It was during this time, that she was invited to join our growing contemporary division. Since then, her work has been featured in three additional group exhibitions at Hollis Taggart: Taggart Times 7 (Chelsea), Look Again: A Survey of Contemporary Painting (Southport, Connecticut) and Reunion: A Group Exhibition (Southport, Connecticut). In her first solo exhibition with Hollis Taggart, Love Lies Bleeding, Guadagnoli continues to push the boundaries of architecture, sculpture, painting, and design. In preparation for her show, Guadagnoli worked tirelessly through the pandemic at her studio in Upstate New York. The shift in landscape—and her passion for gardening and cooking—had a direct influence on her work as her compositions moved away from the more hard-edged geometric forms she made when living in Brooklyn. This new body of work features fluid organic configurations and mostly monochromatic, softer yet textured, shapes. I want to thank Leah for the opportunity to collaborate on this exhibition and very much appreciate her vision, enthusiasm, and commitment. It is an honor to present her new sensational sculptural paintings to the public. Paul Efstathiou


Flower—Form—Feeling Gaby Collins-Fernandez

Leah Guadagnoli’s exhibitions often have provocative titles, and this one is no exception: Love Lies Bleeding. You’d think you were walking straight into the post-betrayal scene of a TV drama, or caught singing a power ballad mid-chorus. The visual effect of this current body of work is subtler, like the fact that this title is also the name of a variant of amaranth which Guadagnoli grows. These works, in a continuation of Guadagnoli’s interest in colorful, wall-based bas-reliefs, curl and lilt between shapes and associative chains of meaning. New works including Cacophony (p. 26) and Got to Grow Down to Grow Up (p. 18), both from 2021, reference life on the sly in chattering similitudes: They spiral like a squash blossom opening, a chicken nesting, a thought pinwheeling between connections, anger teeming with feral teeth. Some of the terms have shifted from Guadagnoli’s earlier, more geometric pieces. Her studio looks out onto one of her four vegetable and flower gardens, and it is clear the view leaked into the work. In Strive Towards the Light (p. 16), shapes willingly give up nameability in favor of a snakier more movement as though growing toward the sun. Composition relinquishes equilibrium and dynamic tension for direction the way leaves grow out of their enclosures, as in the right-leaning stretch of Floral Futurism/Fortune Teller (p. 22) and the just-contained cowlick of The Night Is Neutral (p. 19). There is a greater resemblance to glyphs, now that the containing energy of right angles has relaxed into curves. Prints and patterns give way to gentle, painted gradients which nestle around dense centers and unfurl. Edges no longer align strictly, but quiver erratically so that slivers of negative space can peek out, a reminder that not everything in art has to be art. The allusions to organic forms from lettuces and vegetal tendrils to feathers and even up-done hair are undeniable yet remain unspecific. This slippery referentiality stands in direct contrast with the work’s physical solidity. Since at least 2015, Guadagnoli has modulated the depth of her surfaces, and, as in earlier pieces, the work is equally fluent in the language of geometric abstraction, vintage interior decoration, and fashion accessories. Lacking a referent to fixed space, compositions could be scaled-up pins or Baroque sconces, illuminated letterforms or formalist meditations. Abstraction in Guadagnoli’s work operates


less as dogmatic non-objectivity and more as the maintenance of the space to assemble references without claiming them as subject matter. When you grow up seeing abstraction as pattern before semiotics; Euclidean truths deployed ubiquitously in chrome as Diner-chic; and the intricacies of Mondrian, Held, and Klee as ’80s-and-’90s logo design; it’s hard to take aesthetic essentialism seriously. The post-industrial commentary of minimalism has been baked and re-baked into industrial design; even Post Minimalism’s emphasis on lived experience and idiosyncrasy has been reformatted into the “personal branding” expected on social media as the objectification of the self. It’s no wonder that Guadagnoli’s artworks can play it cool. Amidst raucous color and visual playfulness, they maintain their distance at first, relying on both the heady connotations of formalism, and a more contemporary understanding that the true inheritance of mid-century American modernism is not a set of principles, but a style. For years, Guadagnoli has incorporated these categories and their interplay teasingly, warming nostalgic stylization up with jokes, especially in older works like Channel 46 (2015, fig. 1), which reimagines the negative space around Donald Judd’s iconic vertical Untitled (1980) as cartoon guitar frets. From Your Secret Admirer (2015, fig. 2) turns up the texture and mutes the color of the same, stacked formal motif, evoking clasped hands as easily as a Memphis Design dresser and the two-part couple necklaces common to mall kiosks and Claire’s Accessories. But Guadagnoli embeds other, more sinister feelings in the work, too. In titles ranging from descriptions of places she’s lived to her memories, her garden, her feelings, Guadagnoli makes textual room for her emotional life: Love. Lies. Bleeding. The apparent disconnect between these titles and the lack of illustrative narrative in Guadagnoli’s work begs the question of how she intends feelings and forms to coincide. If there is an unfolding narrative in this art, it is the staging of style through the physical abutment of forms. Style, like furniture, is itself a stage. It furnishes experience through inflection; it asks us to see and remember our experience in the light it casts. As décor, style frames the domestic happenings


which it surrounds without necessarily reflecting these. Our furniture remains impassive to our heartbreak, elation, and boredom, and yet, even emotion at its purest intensity is couched in the material specificity of its occurrence. Isn’t the memory of your first kiss with your first love shaded in the color and texture of the sweater you were wearing? The operation of style as staging is perhaps clearest in a work from 2017, Number Three Song in Heaven (2017, fig. 3). An area shaped roughly like stairs leads the eye up to a white rectangle (very much resembling a traditional painting surface) containing what looks like a dazed smiley made from two single quotations and a hyphen. These marks echo the scribbled curves of the pattern which frames the piece, a suggestion that all portraits are really interchangeable smudges of punctuation. If Number Three Song in Heaven highlights Guadagnoli’s continual emphasis on artifice, it also exposes how strangely her works engage representation, for all their signifying prowess. At the very point that a viewer might expect pattern to give way to an independent, illusionistic scene, the pattern is repeated once again, negating the idea that frames must contain “the real art” in order to communicate images, even while winking at the tradition of portraiture. The real art is the reminder of both context and genre without inhabiting either. Number Three Song in Heaven is, in effect, an illustration of how Guadagnoli turns image into furniture, a function which extends into her current work, and which allows her to activate sculptural nostalgia as domestic memory. Rather than only refer to an aesthetic past, the reposition of image as furniture allows art to witness the life we live in front of it. It is not irrelevant that Guadagnoli has been looking at stained glass windows, a format both materially resplendent and traditionally contingent on architecture. While Western religious stained glass windows often re-used architectural forms as the structural support for its didactic imagery—a relevant connection to the work discussed above—it is Art Deco and Tiffany, with their clear stylization of natural forms and attempts to mimic the effects of light using the striations and density of glass, that offer a closer parallel. Like a Tiffany lamp adorned with flower motifs, Guadagnoli’s renderings approximate organic forms to a point before submitting to direction of her sensibility and their own incandescent materiality. The gradients she paints suggest light, shadow, and the overlapping of edges before the color


FIG. 1 Channel 46, 2015 Oil, acrylic, molding paste, fabric, pumice stone, canvas, wood, and polyurethane foam on insulation board 70 × 42 × 4 1/2 inches (177.8 × 106.68 × 11.43 cms)

FIG. 2 From Your Secret Admirer, 2015 Oil, acrylic, pumice stone, fabric, canvas, and polyurethane foam on insulation board 60 × 46 × 3 inches (152.4 × 116.84 × 7.62 cms)

veers ecstatically—rudely, sometimes—into declarative violets, limey greens and blues, yellow sunlight. Neither the color nor the format is a conceit. Guadagnoli lives and works in a house that was once a church. At dusk, twilight casts its cerulean into window frames like paintings, the interior illuminated by a neon sign announcing the “GRAVES GRAVES GRAVES” in the old cemetery out back in shades of magenta. There are mirrors everywhere. Mirrors cover a full side of the exterior, losing the house in the garden and trees as you approach it. The mirrors inside are as apt to reflect an artwork as a slice of the weather. The work, too, re-presents



these reflections, the shards of Guadagnoli’s domestic life that, entangled, recall each other. But if the work is a window, it looks out over a scene remembered in Guadagnoli’s particular forms. If the work does sing a power ballad, it is a song about the echoing shapes of things that fill our eyes over days and years. The betrayal will resemble the amaranth, not the other way around. –––––––––––– Gaby Collins-Fernandez is an artist living and working in New York City. She holds degrees from Dartmouth College (BA) and the Yale School of Art (MFA, Painting/ Printmaking). Collins-Fernandez’s writing has appeared in Cultured Magazine, The Miami Rail, and The Brooklyn Rail. She is a founder and publisher of the annual magazine Precog, and a co-director of the artist-run art and music initiative BombPop!Up.

FIG. 3 Number Three Song In Heaven, 2017 (installation image). Acrylic, pumice stone, molding paste, Plexiglas, found fabric, canvas, insulation board, and polyurethance foam on aluminum panel 60 × 38 × 3 inches (152.4 × 96.52 × 7.62 cms)




Love Lies Bleeding, 2021 Acrylic, canvas, polyurethane foam, and insulation board on LusterBoard 54 × 39 × 2 inches (137.2 × 99.1 × 5.1 cms)



Strive Towards the Light, 2021 Acrylic, canvas, polyurethane foam, and insulation board on LusterBoard 71 × 46 × 2 inches (180.3 × 116.8 × 5.1 cms)



Got to Grown Down to Grow Up, 2021 Acrylic, canvas, polyurethane foam, and insulation board on LusterBoard 73 × 55 × 23/4 inches (185.4 × 139.7 × 7 cms)


The Night Is Neutral, 2021 Acrylic, canvas, polyurethane foam, and insulation board on LusterBoard 63 × 53 × 3 inches (160 × 134.6 × 7.6 cms)


Truth Serum, 2021 Acrylic, canvas, polyurethane foam, and insulation board on LusterBoard 52 × 321/2 × 2 inches (132.1 × 82.5 × 5.1 cms)



Floral Futurism/Fortune Teller, 2021 Acrylic, canvas, polyurethane foam, and insulation board on LusterBoard 37 × 30 × 21/2 inches (94 × 76.2 × 6.3 cms)



Glow (In the Dark), 2021 Acrylic, canvas, polyurethane foam, and insulation board on LusterBoard 35 × 311/4 × 2 inches (88.9 × 79.4 × 5.1 cms)


Fireworks Are Wasted in the Day, 2021 Acrylic, canvas, polyurethane foam, and insulation board on LusterBoard 40 × 37 × 21/2 inches (101.6 × 94 × 6.3 cms)


Cacophony, 2021 Acrylic, canvas, polyurethane foam, and insulation board on LusterBoard 50 × 40 × 2 inches (127 × 101.6 × 5.1 cms)



Leah Guadagnoli Biography

Leah Guadagnoli was born in Chicago in 1989 and lives and works in New York’s Hudson Valley. She received her BFA from the University of Illinois at UrbanaChampaign and completed her MFA at Rutgers University. Guadagnoli was an artist-in-residence at Yaddo, the Macedonia Institute, Wassaic Project, and the Tilleard Projects Artist Residency in Lamu, Kenya. In 2017, she was awarded the Lighthouse Works Fellowship and in 2016, she received a full fellowship to attend the Vermont Studio Center. Guadagnoli is also dedicated to arts education and was a part-time lecturer at the Mason Gross School of Art in New Jersey, the founder of the Maple Terrace Artist Residency and Mentorship Program in Brooklyn, New York, and is currently an instructor of painting and drawing at SUNY Albany. Guadagnoli has had solo presentations at Asya Gesiberg, New York; Victori + Mo, Brooklyn, New York; and 247365, New York, among others. Recent group exhibitions include Tiger Strikes Asteroid, Brooklyn, New York; Cooke Latham Gallery, London; White Columns, New York; and Allouche Benias Gallery, Athens, Greece. Her work has been reviewed by numerous publications such as the New York Times, Hyperallergic, Art F City, Cultured Magazine, and Architectural Digest.


Education 2014 MFA in Visual Arts, Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ

2020 Conversations in Colour, Cooke Latham Gallery, London, England

2017 Tech Support, SOIL Gallery, Seattle

Look Again: A Survey of Contemporary Painting, Hollis Taggart, Southport, CT

Gray Saturday, Sadie Hallie Projects, Minneapolis, MN

2012 BFA in Painting and Art History, University of Illinois at UrbanaChampaign

Taggart Times 7, Hollis Taggart, New York

2011 University of Georgia Studies Abroad Program, Cortona, Italy

American Women, Allouche Benias Gallery, Athens, Greece Sounds Sienna, SK Art, New York

Solo Exhibitions

2019 Untitled Art Fair with HT Contemporary, Miami

2021 Love Lies Bleeding, Hollis Taggart, New York 2019 Soft Violence, Asya Geisberg Gallery, New York 2018 Sweedeedee, One River School, Larchmont, NY I Just Want to See You Underwater, Victori + Mo, Brooklyn, NY 2017 Everything All at Once, Sadie Halie Projects, Minneapolis, MN 2016 Addison Assassin, 247365, New York

Selected Group Exhibitions 2021 Reunion: A Group Exhibition, Hollis Taggart, Southport, CT Rose Tint, Tiger Strikes Asteroid, Brooklyn, NY Glyphadelphia, Hesse Flatow, New York

Coming Soon, curated by Ryan Turley, Art Austerlitz, NY

Miami Is Nice, Spacecamp Gallery, Baltimore, MD Material Matters: Contemporary Art Meets Frank Lloyd Wright, Massaro House, Petre Island, NY TWO X TWO for AIDS and Art, The Rachofsky House, Dallas Like a Rolling Stone, Castor Gallery, New York Flat Files, Deli Gallery, Curated by Flat Files, Long Island City, NY

Breaking the Frame, Hollis Taggart Contemporary, New York

Center Piece, BombPop!Up Productions, Brooklyn, NY

Hillsdale, LabSpace, Hillsdale, NY OyG Projects / Paddle8 Fundraiser Auction, Ortega y Gasset Projects, Brooklyn, NY

Suicide Squeeze, Yo Mama Pop Up Space, Brooklyn, NY

Earthly Delights, The Re Institute, Millerton, NY

Bluff Projects at Hero Beach Club, Montauk, NY The Cactus Show, Craryville, NY

BAM Auction, Brooklyn Expo Center, Brooklyn, NY

Ocotillo, Stella Elkins Gallery, Tyler School of Art, Philadelphia

Play Date, The Flutter Experience, curated by Karen Robinovitz, Los Angeles, CA

2016 NADA Miami Beach with 247365, Miami

2018 Cut, Copy, Paste, It’s Not What You Think, Terrault Gallery, Baltimore, MD

Painting/Object, Library Street Collective, Los Angeles

Nurture Art Benefit, Elisabeth Foundation for the Arts, New York Dwellings, Lobo Gallery, Brooklyn, NY Mnēmonikos, Tiger Strikes Asteroid, Los Angeles Summer of Love, Freight and Volume, New York Reading Between the Lines, Hashimoto Contemporary, San Francisco When Geometry Smiles, Ortega y Gasset Projects, Brooklyn, NY House, Feast Gallery, Fayetteville, AK

Scale a Wall, organized by Town Hall Meeting, Cuevas Tilleard, New York IF YOU BUILD IT, The Willows, New York She Moonage Daydream, CULT Exhibitions, San Francisco Common Threads, Danese Corey, New York Recess, Harper’s Books, East Hampton, NY Elysian Redux, Asya Geisberg Gallery, New York White Columns Benefit Auction and Exhibition, White Columns, New York


2015 NADA Miami with 247365, Miami BHQFU Transparent Critique, NADA, New York 2014 Jersey Fresh, Pioneer Works, New York Fat Moon, Mason Gross Art Gallery, New Brunswick, NJ 2013 Welcome Back Show, Mason Gross Art Gallery, New Brunswick, NJ The Breakfast Club, 144 Spencer Street, Brooklyn, NY

Residencies and Awards 2018 The Macedonia Institute, Chatham, NY Tilleard Projects Residency, Lamu Island, Kenya Wassaic Artist Residency, Wassaic, NY 2017 The Lighthouse Works Fellowship, Fishers Island, NY Soaring Gardens Artist Residency, The Ora Lerman Charitable Trust, Meshoppen, PA 2016 Vermont Studio Center, Johnson, VT 2015 Yaddo, Saratoga Springs, NY 2013 Dedalus Foundation MFA Fellowship Nomination, New York 2012 Mason Gross Tepper Family Annual Scholarship in Visual Art UIUC Outstanding Senior in Painting Award, Champaign, IL


2010–12 Murphy Art & Chemistry Research Grant, Urbana, IL 2008–12 UIUC School of Art and Design Tuition Waiver, Champaign, IL

Selected Bibliography American Women, exh. cat. (Athens, Greece: Allouche Benias Gallery, 2020). Alina Cohen, “11 Emerging Artists Redefining Abstract Painting,” Artsy, January 6, 2020, artsy. net/article/artsy-editorial-11emerging-artists-redefiningabstract-painting. “Leah Guadagnoli—Untitled Miami,” Inertia Studio Visits, December 8, 2019, inertiastudiovisits.com/ 2019/12/08/leah-guadagnoli-atuntitled-art-fair-miami/. Cassidy Dawn Graves, “Trippy Paintings and Dreamy Colors,” Bedford and Bowery, October 21, 2019, bedfordandbowery.com/ 2019/10/art-this-week-trippypaintings-and-dreamy-colors/. Annie Block, “Multi-Artist Installation ‘Flutter’ Embodies Playfulness,” June 20, 2019, interiordesign.net/projects/ multi-artist-installation-flutterembodies-playfulness/. Kyle Raymond Fitzpatrick, “Flutter Pop Up Museum,” Cool Hunting, May 31, 2019, coolhunting. com/culture/flutter-pop-upmuseum-la/. Jessica Ritz, “Flutter Showcase Tasks 15 Artists…,” Architectural Digest, May 22, 2019, architecturaldigest.com/story/ flutter-fair-15-artists-play-datespaces-la.

Jillian Steinhauer, “What to See in New York Art Galleries This Week,” New York Times, January 30, 2019, nytimes.com/ 2019/01/30/arts/design/what-tosee-in-new-york-art-galleriesthis-week.html. Claire Selvin, “Victori + Mo Gallery Will Move to First-Floor Location in Chelsea,” ARTnews, January 28, 2019, artnews.com/ art-news/market/victorimogallery-will-move-first-floorlocation-chelsea-11768/. Kate Mothes, “Two-or-So Days in New York City in January,” Young Space, January 27, 2019, yngspc. com/news_opinion/2019/01/ two-or-so-days-in-new-york-cityin-january/. Emily Havens, “Chelsea’s Best Shows Right Now,” Cultured Magazine, January 12, 2019, culturedmag.com/best-chelseagallery-shows-january-2019/. Cara Ober, “BmoreArt’s Ten Best Exhibitions of 2018,” BmoreArt, December 31, 2018, bmoreart. com/2018/12/bmorearts-ten-bestexhibitions-of-2018.html. “Editorial Selection by ARTMAZE,” ArtMaze Mag, Autumn Edition, issue 9 (August 30, 2018), artmazemag.com/autumnissue-9/. Kate Menard, “Leah Guadagnoli’s ‘I Just Want to See You Underwater’ at Victori + Mo,” Arte Fuse, 2018. Danielle Murphy, “Mega Nostalgia!,” What Should We Do, June 28, 2018, whatshouldwedo.com/blog/ weekend-events-nyc-june-29july-1-2018/. Darren Clanford, “Made from Odd Materials,” Creative Boom, June 14, 2018, creativeboom.com/ inspiration/leah-guadagnolisplayful-3d-abstract-constructionsand-giant-sculptures-made-fromodd-materials/.

Chiara Harrison Lambe, “Dancing in My Underpants,” Roll Magazine, 2016, rollmagazine. com/dancing-in-my-underpantson-the-emergence-of-leahguadagnoli/.

Danny Brody, “Leah Guadagnoli Wants to See You Underwater,” Quiet Lunch, June 5, 2018.

Jennifer Campbell, “In Fixation: 1980–95,” Garageland, no. 20, July 2016, pp. 47–48.

Malcom Lomax, “Code Switch: Alex Ebstein and Leah Guadagnoli,” Bmore Art, February 5, 2018, bmoreart.com/2018/02/ code-switchers-alex-ebsteinand-leah-guadagnoli.html.

Jeremy Schwartz, “She Moonage Daydream + Q & A w/Leah Guadagnoli,” The Brvtalist, August 6, 2016, thebrvtalist.com/ archive/2016/8/6/she-moonagedaydream-qa-wleah-guadagnoli.

Micah Castelo, “Weekend Lineup,” Baltimore Magazine, January 4, 2018, baltimoremagazine.com/ section/events/weekend-lineupjan-5-7/.

Maria Brito, “Leah Guadagnoli & Her Shapes of Things to Come,” Maria Brito, June 14, 2016.

Alex Allenchey, “Your Art Weekend,” Sugarlift, January 21, 2016.

Casey Lesser, “15 NY Gallery Shows Where You’ll Find Exciting Young Artists This June,” Artsy, June 2, 2016, artsy.net/article/ artsy-editorial-15-new-yorkgallery-shows-where-you-llfind-exciting-young-artiststhis-june.

Jersey Fresh MFA Exhibition, exh. cat. (Brooklyn, NY: Pioneer Works, 2014), p. 14.

Austin Bey, “Cut, Copy, Paste, It’s Not What You Think,” Fifteen Gallery, January 7, 2018. Ryan Turley, “Studio Visit with Leah Guadagnoli,” The Coastal Post, January 2, 2018. Kelsey King, “Everything all At Once,” In Review, Winter Issue, 2017, inreview.org/leahguadagnoli-everything-all-atonce/. Sean J. Patrick Carney, “Q & A with Sadie Halie Projects,” Humor and the Abject, November 2, 2017. Cara Ober, “A Wedding Ceremony Takes the Shape of an Art Exhibition,” Hyperallergic, October 26, 2017, hyperallergic. com/407800/spacecampzachary-z-handler-and-nickhoran-golden-girls-marriage/. Todd Franson, “Miami Is Nice at SpaceCamp,” Metro Weekly, October 5, 2017, metroweekly. com/2017/10/gallery-miaminice-spacecamp/. Sean J. Patrick Carney, “Worthy Artist-Run Spaces,” Artnet, August 30, 2017, news.artnet.com/ market/5-worthy-art-spaces1064771. Common Threads, exh. cat. (New York: Danese/Corey, 2016), pp. 17–19. Precog Magazine, Vol. 2: Techno Disco, 2016, pp. 18, 28, 29.

“10 Must-See Hamptons Art Shows,” Dan’s Papers, June 1, 2016, danspapers.com/2016/ 06/10-must-see-hamptons-artshows-this-weekend-june-3-52016/. Paddy Johnson, “This Week’s Must See Events,” Art F City, May 16, 2016, artfcity.com/2016/ 05/16/this-weeks-must-seeevents-speculative-future-toreflect-on-iphone/. “MFA Annual #123,” New American Paintings: Juried Exhibitions-in-Print, no. 123, April/May 2016, pp. 64–67. Aaron Ziolkwoski, “Featured Artist and Interview,” Maake Magazine, issue 2, April 2016, pp. 35, 60–61. Sarah R. Radin, “Visual Happenings Small Talk,” Culture Island, March 9, 2016. “Featured Artist,” Little Star Weekly, February 12, 2016.

Merrily Kerr, “Don’t Miss,” New York Art Tours, February 1, 2016.

Nathan Mullins, “I’m a Painter But...,” Mississippi Modern, August 4, 2014.

Public Lectures 2020 Open Studio, The Wassaic Project (virtual) Taggart Time, Hollis Taggart (virtual) Lighthouse Works Together Series, Lighthouse Works (virtual) Center for Educational Innovation, New York 2019 The Amy Beecher Show WGXC Afternoon Show 2018 Van Doren Waxter, New York Maryland Institute of Art, Baltimore, MD 2014 Nassau County Museum of Art, Roslyn Harbor, NY

“What’s On,” SculptureCenter’s Curators’ Notebook, February 5, 2016, sculpture-center.tumblr. com/post/138614133026/ whats-on-leah-guadagnoliaddison-assassin.


This catalogue has been published on the occasion of the exhibition “Leah Guadagnoli: Love Lies Bleeding” organized by Hollis Taggart, New York, and presented from October 14–November 13, 2021. All Artwork © Leah Guadagnoli Essay © Gaby Collins-Fernandez ISBN: 978-1-7378463-0-7 Publication © 2021 Hollis Taggart All rights reserved. Reproduction of contents prohibited. Frontispiece: Leah Guadagnoli in her studio, photograph by Mark Holthusen Page 4: Fireworks Are Wasted in the Day, 2021 (detail) Pages 14–15: Love Lies Bleeding, 2021 (detail)

Hollis Taggart 521 West 26th Street 1st Floor New York, NY 10001 Tel 212 628 4000 Fax 212 570 5786 www.hollistaggart.com Catalogue production: Kara Spellman Copyediting: Jessie Sentivan Design: McCall Associates, New York Printing: Point B Solutions, Minneapolis, MN Photography: Mark Holthusen