Leah DeVun is an artist and historian living in Brooklyn, New York. Her photographs and installations explore the legacies of feminism— the landscapes of rural lesbian communes, the drag-like costumes of pre-teen obsessive Hannah Montana fans, the contents of a historic gay and lesbian archive — with a special interest in queer and gendered communities, music and fandom, history, memory, and identity. Committed to analog/wet-process photography while it lasts, she strives to produce art that is participatory, interdisciplinary, and socially active. Her work has been featured in Artforum, Capricious, LA Weekly, Art Papers, Modern Painters, Hyperallergic, Feministing.com, Gallerist, New York Magazine, and No More Potlucks, among other publications, and at venues such as DODGE Gallery, Johannes Vogt Gallery, Martina Johnston Gallery, MASS Gallery, the ONE Archives Gallery and Museum at the University of Southern California, Otis College of Art and Design, Centraltrak at the University of Texas Dallas, The Front (New Orleans), Sage Art Center at the University of Rochester, the Houston Center for Photography, the Contemporary Austin, Leslie-Lohman Museum, Blanton Museum, the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, and MoMA PS1 Contemporary Arts Center.
DeVun received her Ph.D. from Columbia University and is currently an associate professor at Rutgers University, where she teaches women's and gender history. Her essays and reviews have appeared in Wired, Spot, Radical History Review, GLQ, WSQ (Women's Studies Quarterly), Osiris, and Journal of the History of Sexuality, as well as in a number of books. She is the author of the award-winnning book Prophecy, Alchemy, and the End of Time (Columbia University Press). She has lectured internationally, and received grants and residential fellowships from the National Science Foundation, University of Wisconsin-Madison, UCLA, University of Texas Medical Branch, the Huntington Library, and the Stanford Humanities Center.