Upcoming: An Evening of Art & Song by lesley dill

Divide LightNHG 4x6 Flyer-01.jpg

In celebration of Lesley Dill's striking solo show at Nohra Haime Gallery, singers from New Camerata Opera will perform excerpts from DIVIDE LIGHT, conceived and directed by Lesley Dill, music by Richard Marriott.

DIVIDE LIGHT is an opera based on the texts of Emily Dickinson, being given its NYC premiere at Dixon Place, in April 2018, by NCO. Wine and refreshments will be served.

Nohra Haime Gallery in Chelsea, NYC by lesley dill


We at Lesley Dill Studio are preparing for her Solo Exhibition at Nohra Haime Gallery coming to Chelsea, New York City in February 2018! 

Lesley Dill will also continue to be represented by Arthur Roger Gallery in New Orleans.

Text Me: How We Live in Language by lesley dill

Text Me: How We Live in Language

Lesley Dill is proud to announce the inclusion of her work
at Museum of Design Atlanta.


Here is an excerpt from Text Me: How We Live in Language

"The individual component of language—text—is the prime vehicle used to express the experiences of our existence—from minor moments of daily life to the grand nature of the human condition. Our ancestors as far back as the cave man have been using symbols to document and record experiences.

Today, the visualization of our personal stories is an integral and essential part of nearly every moment of life, and we use text in all of its forms to define reality, emotions and even time itself. We are now living in a world wherein the condition of our visual communication reflects the condition of our culture. Conceived and curated by designer, podcaster, and brand strategist Debbie Millman, this exhibition is an attempt to organize, express, translate and reflect both how we live in language and how language now defines our lives."

Visit MODA's website for more information.
Thank you for your support!

Lesley Dill & Emily Dickinson: Poetry and Art by lesley dill


Lesley Dill Art Exhibition

Opening Reception
Friday, April 8 | 6:00-8:00PM

As part of its participation in the National
Endowment for the Arts’ “Big Read” program, Birmingham-Southern College
will host events this spring focused on Emily
Dickinson’s poetry, including a lecture and
exhibition by New York-based artist Lesley Dill,
who incorporates Dickinson’s text into her creations.

Durbin Gallery of the Doris Wainwright Kennedy
Art Center and Azar Art Studios
310 18th Street North, Suite 303
Birmingham, AL 35203
Gallery Hours 9 a.m. - 4:30 p.m. | Monday - Friday

Serigraphy Workshop
Thursday, April 7th 12:30PM-3:30PM
Kennedy Art Center Room 7

Artist Lecture
Thursday, April 7th 4:00PM-5:00PM
Norton Theatre

Lesley in Panel at Center for Book Arts on March 4, Friday at 6:30pm by lesley dill

  Installation view of Revealed Terrain: The Semantics of Landscape. Top left: "Cell Memory" by Macy Chadwick; bottom left: "Gravity (from Babblab series)" by Henrik Drescher and Wu Wing Yee; right: "I Had a Blueprint of History" by Lesley Dill.

Installation view of Revealed Terrain: The Semantics of Landscape. Top left: "Cell Memory" by Macy Chadwick; bottom left: "Gravity (from Babblab series)" by Henrik Drescher and Wu Wing Yee; right: "I Had a Blueprint of History" by Lesley Dill.

"Join us for a roundtable discussion in conjunction with our Winter 2016 Main Gallery Exhibition "Revealed Terrain: The Semantics of Landscape." Moderated by Guest Curators Cynthia Nourse Thompson and David Charles Chioffi. With Macy Chadwick, Artist; Lesley Dill, Artist; and Sue Gosin, Co-Founder, Dieu Donné


A landscape’s formation within the disciplines of the fine and applied arts is laden with both discernable and veiled artifacts to be unearthed. These foundations are interwoven as interpretative symbols, phonetics, or armatures to synthesize a visual voice and an independent sense of place. In Revealed Terrain: The Semantics of Landscape, a visual etymology of environments amid diverse works on paper is constructed. Through acknowledged and unaccustomed definitions within multiple layers and mediums, these formats reassert that the semantics of artistic landscapes are neither concrete nor static.
More at: http://bit.ly/1OunXJX


Co-curator Cynthia Nourse Thompson is Director of the MFA programs in Studio Art and Book Arts/ Printmaking at The University of the Arts in Philadelphia, where she is also an Associate Professor. She was recently Curator and Director of exhibitions at the University of Arkansas in Fayetteville; previously, she was a professor at Memphis College of Art (MCA) and served as chair of the Division of Fine Arts during her final year. For more than 12 years, she ran the book arts, letterpress and papermaking areas at MCA, and for seven of those years, she served as curator and director of visiting artist lectures.

Co-curator David Charles Chioffi is an Associate Professor of Graphic Design, The J. William Fulbright College of Arts & Sciences at the University of Arkansas. Previously, he was an Associate Professor and Head of the Department of Design, and Chair of the Division of Design Arts at Memphis College (MCA). His traditional and experimental work emphasizes the sensory triality of alphabetic matrices and forms, as well as how phonetic structures and visual architecture formulate and synthesize content. In addition to his private design practice, prior posts have included Executive Vice-President of Design and Communications at The Hospice Institute for Education, Training and Research, Inc.; and Associate Director of Packing Design and Visual Identities, Polo Ralph Lauren Corporation in New York City.

Macy Chadwick received an MFA in Book Arts and Printmaking from The University of the Arts in Philadelphia and assisted book artist Julie Chen at Flying Fish Press for three years. She currently resides in Oakland, California, where she creates books and limited edition prints in her letterpress studio. Macy is on the faculty at the Academy of Art University, San Francisco, and her work is in prominent collections in the U.S. and abroad, including the Victoria and Albert Museum, Yale University Special Collections, and the Jack Ginsberg Collection in South Africa.

New York-based artist Lesley Dill explores text relationships between sculpture, photography and performance, using a variety of media and techniques to explore themes of language, the body, and transformational experience. She received her master of arts in teaching from Smith College in 1974 and her master of fine arts from the Maryland Institute College of Art in 1980. Her work has been widely exhibited can be found in the collections of the Metropolitan Museum of Art; Museum of Modern Art; and the Whitney Museum of American Art, among many others. 

Susan Gosin received her MFA in 1976 from the University of Wisconsin, Madison, after studying with Walter Hamady in the book arts and Warrington Colescott in intaglio. She then co-founded Dieu Donné Press and Paperworks in New York City. For more than thirty-five years, she has collaborated with artists and writers as designer and publisher of two and three-dimensional art as well as limited editions of artist books. Her artist books have been exhibited and collected by such institutions as The Metropolitan Museum of Art, NY, The Library of Congress, Washington, D.C. and The American Cultural Center, Tel Aviv, Israel. She has been awarded grants from The National Endowment for the Arts and The Tiffany Foundation and in 2006 received the Printmaker Emeritus Award from the Southern Graphics Council."

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Lesley/LA Exhibit & Residency by lesley dill


2016 Artist in Residence: Lesley Dill

Gallery Opening: Thursday, February 11, 5-7 PM

In Residence: March 14-17

 Fullerton College is honored to present Lesley Dill as our 2016 Artist in Residence. Lesley Dill works in sculpture, photography, and performance using a variety of media and techniques to explore themes of language, the body, and transformational experience.

Her work is in the collections of the Metropolitan Museum of Art, Museum of Modern Art, and Whitney Museum of American Art, among many others. The Fullerton College Art Gallery will be exhibiting a selection of her work from the Frederick R. Weisman Art Foundation. Dill lives and works in Brooklyn, New York. The exhibition will be accompanied by an artist lecture and a weeklong series of demonstrations as part of the distinguished Fullerton College Artist in Residence program.

2016 Artist in Residence

Lesley Dill: The Poetic Voice, Selections from the Frederick R. Weisman Art Foundation

Fullerton College Art Gallery

1000 Building, Room 1004

321 E. Chapman Ave., Fullerton, CA 92832

Thursday, February 11 - Monday, April 4

Opening Reception: Thursday, February 11 from 5 p.m. - 7 p.m.


Schedule of Events

Artist-in-Residence Lecture in the Wilshire Auditorium:

Monday, March 14 at 1 p.m., featuring an excerpt from her opera  

 Artist Demonstrations in the Gallery:

March 15-17, Tuesday - Thursday: 8:30-11:00 a.m. & 12:00-3:30 p.m.


Gallery Hours:

Monday - Thursday, 10 am - 12 pm & 2 - 4 pm

Evening Hours: February 17, 23, 29 & March 31, 6 - 8pm

 Admission: All events are free and open to the public. 


For Additional Information:

E-mail: CHenke@FullColl.edu


About Fullerton College's Artist in Residence Program:

The Artist in Residence program is a continuing project coordinated by the Fullerton College Art Department and was originally established in 1972 when Wayne Theibaud participated. Through this program, world-renowned artists are invited to the Fullerton College campus to exhibit their work and interact with students while providing insight into their artistic careers. All listed events are free and open to the public.

The gallery is located in Room 1004 in the Art Building, 1000. For more gallery information, please call 714-992-7116 or visit us at http://art.fullcoll.edu.


Available for $2.00 per day in the tiered parking structure on the southwest corner of Lemon St. and Chapman Ave.

Visit Us Online

Fullerton College Art Deparment

large scale photographs by admin

315 email sample 315 Gallery is pleased to present large scale photographs, an exhibition of photographs by Lesley Dill. Dill's work examines the relationship between language and the human body. Drawing on inspiration from poetry and literature, she uses text as a subject to explore the ways in which societies communicate through spoken word and physical manifestation of their bodies.

For further information please contact jack@315gallery.com.

Performance As Art by admin

Divide Light Performance Still

Lesley Dill: Performance As Art at the McNay Art Museum

June 10 through September 6, 2015

Interweaving aspects of contemporary art and theatre, this exhibition focuses on Lesley Dill's emotionally evocative work in performance and brings together a number of costumes, ephemera, photographs, and video projections from more than two decades. An illustrated publication accompanies the exhibition.


ArtSlant Rack Room by admin

Big Gal Faith, Installation view from Faith & the Devil, Travelling exhibition

Arts and Letters: Lesley Dill in Conversation

By Lee Ann Norman

March 2015, Brooklyn, NY: Lesley Dill works in sculpture, photography, and performance, using a range of media and methods to explore themes of language, the body, and what it means to be transformed by an experience. She recently participated in Beautiful Beast at the New York Academy of Art, an exhibition that explored the intersection of beauty and abjection through sculpture, often depicting our humanity through distortion. I am always interested in work that defies disciplinary boundaries and convention, and Dill's keen fondness for words drove my curiosity about her work even more. I met with the artist at her home and studio in downtown Brooklyn recently where we discussed representations of the feminine and masculine in culture, mentorship in the art world, faith, and of course words.

Lesley Dill: Over the years I’ve made dress forms in various materials—paper, fabric, metal. I don’t think of the dress image as sentimental or pretty. It is a shape. I love Martin Puryear’s dedication to form. In my dress sculptures, I compress the bodice into fragility and open the skirt wide. The delicacy of the top invites intimacy, but defies familiarity because the expansion of the edge creates a boundary.

What changed my thoughts about gender presentation was when [my husband] Ed got a job in New Delhi in 1990, and I went with him. In New York we sculptors wore jeans, tight black t-shirts and work boots. In India, no one dressed like that—even the women who broke rocks for highways wore skirts. My friends who were lawyers and doctors wore either saris or salwar kameez. The look was very, very feminine. We lived there for two years, and that’s when I really began to associate femininity with power.

Lee Ann Norman: I don’t think we have that same sensibility here.

LD: No. Since living there, I’ve stopped wearing pants and only wear dresses. I was so influenced by that time in India. The interest in femininity and forcefulness is something that lasted for me.

LAN: Can you tell me a little more about words as armor, how that came into being when you started making the dress forms and adding words? It’s making me think of Islamic art where so much of it is based in calligraphy because to make an image of God would be considered blasphemous.

LD: Muslim warriors in the 18th century would go into battle and have a prayer to Allah engraved on their armor, and thus be protected by an amulet of words. Historically, there’s not been much protective armor for women. So what does that mean? Are we not battle heroes to be protected? Think of the woman character [Brienne of Tarth] in the TV series Game of Thrones—she’s fantastic—big and strong, and she’s armored, yet still a girl. My metal linguistic dresses are perforated with solids of metal words and spaces where they are wired together. Clothing, like language, selectively conceals and reveals.

Read More at artslant.com >> Image : Big Gal Faith, Installation view from Faith & the Devil, Traveling Exhibition [emphasis added]

Sculpture Magazine, September 2014 by admin



Sculpture Magazine, September 2014, Vol 33 No.7

A publication of the International Sculpture Center

On view at the deCordova Sculpture Park and Museum through October 13, 2014, www.decordova.org >>

A sculptor, photographer, printmaker, and performance artist, Dill has spent 20 years exploring the human form, language, and sensory experience. Language is her "touchstone [and] pivot point" : stitched and woven into her works, the words of Emily Dickinson, Salvador Espriu, Franz Kafka, and other writers find a new kind of visual life. This exhibition features 16 works made between 1993 and 2012, ranging from drawings, bronze and paper dress sculptures, and a large-scale metal and fiber tapestry to outdoor sculpture. While her early works display an ephemeral lightness of touch and a quiet spirituality, these recent pieces open fresh avenues into materiality, using the metaphors of language and clothing to explore the elusive boundaries separating mind, body, and spirit.

www.sculpture.org >> Image : Lesley Dill, installation view with (left to right) Dress of Opening and Close of Being, Rapture's Germination, and Wood Word Woman with Wood Word Pedestal

Lesley Dill at deCordova Sculpture Park and Museum by admin


Lesley Dill at the deCordova Sculpture Park and Museum

May 16 - October 13, 2014

VIDEO : Interview with Jennifer Gross, Chief Curator of the deCordova Scuplture Park and Museum >>

A 20-year survey of work by the American artist, the exhibition Lesley Dill features oil pastel drawings, a large-scale metal wall drawing, and bronze and paper sculptures in the Joyce and Edward Linde Gallery, as well as an outdoor sculpture on the Pollock Terrace.

Dill is known for combining language with the human form in a variety of mediums. In her work, she uses text as a mode of communication, as a physical subject, and as a symbol by painting it onto bronze sculptures, stitching it into paper, and sculpting it in metal. The words of poets including Emily Dickinson, Franz Kafka, Salvador Espriu, and most recently Tom Sleigh, inspire and find physical form within her visceral works. Lines of text appear on disembodied heads, hands, and dresses–all reoccurring motifs in Dill's oeuvre–communicating the artist's interest in the politics of the figure, psychology, and faith.

Dill calls herself a collector and a creature of language: "I'm interested in the alchemy of language, the uncertainty of meaning and the resonance within our bodies with a metaphor clicks… Language is a manifestation of the human need to reach out. As much as my work is about language, it's also about what the image does to you, and how the two together make a whole."

The exhibition at deCordova features sixteen works made between 1993 and 2012. Highlighting Dill's ambitious artistic experimentation with material as well as the tension between two- and three-dimensional sculpture are Hair Poem Dress (1993), a small dress made of horse hair, thread, and paper; Rush (2006–2007), a 60-foot long mural made of silver foil, organza, and wire; and Wood Word Woman with Wood Word Pedestal (2011), a bust covered with oil stick and silver leaf.

Poems by Emily Dickinson are Dill's conceptual starting point for several works including Word Made Flesh (2002), a small paper sculpture of an outstretched hand holding a pile of letters; and Rapture's Germination (2010), a large oil pastel drawing on Tyvek. Here, Dickinson's words are enlarged, multiplied, and elongated, taking on new shape and meaning through their adaptation into physical form. The visual echoing of letters in Dill's practice alludes to mantras, prayers, and poetry, all of which are commonly recited repeatedly to enforce meaning and memory.

In her most recent artist's book, I Had a Blueprint of History, Dill found inspiration in the words of her contemporary, poet Tom Sleigh. The indignation and darkness Dill discovers in Sleigh's poems counterbalance Dickinson's references to ecstasy and faith, enabling a full range of emotional and psychological expression for Dill's images.

www.decordova.org >>