It should be made clear right up front that Schrager isn’t exactly comfortable sharing personal, mostly logistical information, primarily because her lack of hesitation regarding the sharing of her most holy of holies online with thousands-scratch that, millions-of pseudo strangers (potential stalkers) puts her at something of a security risk. The cumulative cultural impact of these avatars (in the West) are coinciding nicely with a major shift in the rapidly evolving discussion regarding sexual performance, taboo, self-representation, sex work (post-millennial “work” in general), creative agency, the expanding and/or retracting definition of “Art” and feminism, #MeToo, and the Phoenix-like rise of post-modern American Puritanism. Leah (a softer Sigourney Weaver in relaxed Gatekeeper mode), who lives in Brooklyn, has at least two other clearly defined personalities that can slip and slide back and forth across the nebulous online and IRL divide. The works are essentially digitally manipulated impressionistic selfies and romantically glitched-out self-portraits that push Schrager’s autoerotic imagery into finer, more “female friendly” realms. On February 22 nd, Schrager will debut a collection of 16 new works from her Reality Instagram Project in Manifestations, a new solo show at Roman Fine Art in East Hampton, New York. It’s safe to say it’s going to be harder and harder from here on out, in both the mainstream media and the contemporary art world, to dismiss, let alone ignore the artist who calls her base reality persona, Leah Schrager.

Leah Schrager, Dressed for Excess, 15'' x 20'', color photograph

Ona artist desnuda