Gallery Review ~ Breach: Logbook 21 ~

Gwen Slaughter

Photo by Katherine Leister

"Can a culture sustain itself when it no longer has access to the environment on which survival depends?" This question should be in the minds of every viewer while they meander through the small oasis of cascading oyster shells, vibrant paintings, and the intricate ceramics of Courtney M. Leonard's exhibition BREACH: Logbook 21. BREACH: Logbook 21 is the Gallatin Galleries' latest exhibition, featuring the art of Artist and Filmmaker Courtney M. Leonard, who is an assistant professor in Art and Art History at St. Olaf College in Minnesota. The show runs from November 1, 2021, to January 21, 2022. Leonard is a member of the Shinnecock Nation of Long Island, New York, an Indigenous community heavily linked with marine life; this connection largely informs her work and exhibition in the Gallatin Galleries. Specifically, the community is culturally and historically connected to whales, water, and sustainability. These distinct aspects of Leonard's coastal Indigenous heritage greatly influence her incredible work.

Before delving into the art, visitors may ask why Leonard's series of exhibitions are called 'breach'? There are countless ways that 'breach' can be defined as a noun. That said, as a verb, 'breach' is described "as a leap especially of a whale out of water." This word defines the wondrous act of whales' momentarily defying gravity as they flip their bodies in the air. Leonard plays with the multiple definitions of the word 'breach' in her art. Another key definition of 'breach' is "defined as an act of breaking or failing to observe a law, agreement or code of conduct." This specific definition significantly relates to Leonard's Shinnecock heritage. The Shinnecock men were banned from whaling in the 1800s, which was such an integral part of their culture. In her personal blog, Leonard highlights that their restriction from interacting with the whales causes an unjust disconnect with their own culture, "being from an indigenous culture, whose history lies strongly in the sustenance and ceremony of the whale, but, whose current cultural practice does not practice whaling." This fact brings up the question, 'can cultures sustain themselves when they no longer have access to the environment?'

The various meanings thread themselves throughout her art. Leonard describes her intentions with her series in her blog, writing, "I have chosen to embody work that does not have me 'standing on the shore' waiting for a connection to this past but to actively connect with a present culture of ocean, land, and whale." This concept and intention are what glues all of her pieces together. As a viewer of her work, this statement creates an acute awareness of the physical materials used in the exhibition; Leonard's use of oyster shells and earthenware in her weaving presents a noticeable dedication to marine sustainability. Leonard's art intentionally reunites the connection between the whale and her Indigenous heritage. Her exhibition serves as an active educational tool, rather than interpretive, which art often is. 

I noticed many viewers walking through the gallery without reading the provided exhibition text. A spectator with no previous knowledge of Leonard's background or intent may initially be confused by the exhibition. From the first glance and walkthrough, the multiple components of the show may come across as overwhelming. It is essential that each viewer reads the provided exhibition text at the entrance to the gallery to absorb each piece's intentions fully. The intended purpose is so important in this exhibition, rather than being physically admired. Although art often has more profound meanings, not every artist intends to teach the spectators distinct lessons. There are projected videos of whales and the ocean stenciled in the shape of Long Island, a myriad of oyster shells supporting ceramic pieces that are cascading off of wooden grates, 'more traditional' abstract canvas work, and multiple beautiful ceramic articles. Leonard's ceramic work greatly resembles the muted colors of the shells: grey, ivory, beige, and hints of blue. That said, her acrylic paintings contain contrasting colors such as yellow and deep purples that are striking against the marine tones of her work. Leonard's work has such beauty and complexity, but the true meaning of the piece comes alive through background information of the artist and materials used she deliberately chose.  

Logistically, if you were to break down the exhibition into what it consists of, it has 18 pieces of physical art. There are nine 'Coiled Soda Fired Stoneware,' supported on a foundation of oyster shells, all hand collected from Governors Island. Each ceramic piece represents the ocean's different tides and the oceans where Leonard found the stones.: Amber Tide, Red Sea, High Tide, Low Tide. The exhibition also has three woven pieces, from coiled earthenware and birch, and five mixed media pieces of acrylic on canvas. The projected videos of whales are all viewed through the lens of the shape of Long Island. When the gallery is quiet, you hear the melodic sounds of the sea and the whales. This combination of the images and sounds makes you feel as though you are underwater with them—especially when viewing the exhibition late in the day when it is empty and quiet. This immersive experience made me realize that marine sustainability can be used in art and so many 'out of the box' forms. I think taking time to view this exhibition is needed, not just because of the art's beauty, but the vital lessons it teaches.

In a phone interview with Professor Eugenia Kisin, she discussed her active involvement with the exhibition's opening. She worked alongside the artist and gallery curator Keith Miller. Kisin journeyed to Governer's island with the help of three students to work with the Billion Oyster Project, where they collected the Oysters used in Leonard's artwork. This organization collects and recycles oyster shells from restaurants to help rebuild oyster reefs and donate the used shells. When I first viewed this exhibition with a fellow Gallatin student, she stated, "I was struck by the text on the wall talking about not impeding on nature and wondered how the shells were taken in a way that didn't disrupt the pre-existing ecosystems. However, I appreciated the way the shells were organized and was mentally transported to the seaside."(Anja Westhues, class of ‘24). We were both curious about how the oysters were removed without splitting from their natural habitat. I think it would be beneficial to include Billion Oyster Project's involvement in the gallery text to inform the viewers of their message and its alignment with Leonard's artistic intentions.  

Leonard's exhibition is far more than just visual art of various media. It expresses the issues of marine environmental vulnerabilities and shows the settler state's failure to sustain a relationship with Indigenous coastal nations. Leonard states in her blog, "Over the past few years, BREACH has become a logbook, documenting a visual account of our current relationships to water, whale, and ultimately environmental sustainability as it pertains to cultural viability. Water is Life. A simple three-letter sentence that weighs heavy in my heart through current travels and cultural exchanges." BREACH: Logbook 21 is Leonard's most recent addition to her "Breach" series, carrying on Leonard's visual documentation of her relationship with marine life and sustainability. Her show is a beautiful lesson on the kinship between her heritage and the intricacies of life within water.