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Rose Gold

“Rose Gold,” an exhibition of photographs and a film by Sara Cwynar, is at Foxy Production through May 14. Cwynar, who lives and works in Brooklyn, New York, took the title of her show from Apple’s most coveted iPhone color, introduced in 2015. In the film at the center of the show, also called Rose Gold, two voices, one male and one female, offer observations about consumer desire, at once pointed and disaffected: “I keep finding watch advertisements where all the clocks are set to 8:20 … what time was it really? I go to check what time the Apple Watch is set to and end up wanting one … Several male artists have told me that I’m having a moment, as if the moment will pass soon. Rose Gold is having a moment, too … What is the right way to talk about something? People understand  more if you communicate through things bought and sold.” Cwynar also examines Melamine, a brand of luridly colored plastic kitchenware from the fifties—the plastic was supposed to be unbreakable, but over time it grew brittle and faded. Her photos include studio portraits of her friend Tracy overlaid with found objects and detritus; and a set of shiny Avon “presidential aftershave” bottles from the seventies. Robbed of their caps—i.e., their golden presidents’ heads—they look denuded, as if forcibly neutralized.

Sara Cwynar, Tracy (One Hundred Consecutive Years), 2017, dye-sublimation print on aluminum, 30″ x 38″.

Tracy (Grid 2), 2017, pigment print mounted on Dibond, 30″ x 38″.

Tracy (Gold Circle), 2017, dye-sublimation print on aluminum, 30″ x 38″.

Avon Presidential Bust (Lincoln, Gold), 2017, C-print mounted on Dibond, 30″ x 24″.

Armor (Jakob Schnatz, Plankengestechteile Erzh. Ferdinands II., 1545–50 Kat. Nr. 122), 2017, C-print mounted on Dibond, 62″ x 42″.

 

All photos © Sara Cwynar, courtesy Foxy Production, New York.



from The Paris Review http://ift.tt/2p5BRvD

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