WITH ONE EYE ON WALKER EVANS and the other on Eugène Atget, Zoe Leonard began in 1998 to document a passing era of material and retail culture. For her monumental archive of some four hundred photographs, cannily titled Analogue, 1998–2007, she took frontal photographs of small independent stores, first around her home in Brooklyn and then in other parts of New York and in Chicago. She was particularly attracted to shops with deteriorating signage, quirky window displays, and an often seemingly random array of products. Especially compelling to her were handwritten signs whose wording, frequently misspelled, announced closing sales and rock-bottom bargains. In the resulting images, there are hair salons, clothing stores, television repair shops, and butchers selling goat meat. None of the American shopwindows Leonard selected displayed massive commercial logos, and noticeably absent from
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