{"id":110321,"date":"2017-04-26T17:39:38","date_gmt":"2017-04-26T21:39:38","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110321"},"modified":"2017-04-26T17:53:05","modified_gmt":"2017-04-26T21:53:05","slug":"rose-gold","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/04\/26\/rose-gold\/","title":{"rendered":"Rose Gold"},"content":{"rendered":"

\u201cRose Gold<\/a>,\u201d 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\u2019s most coveted iPhone color<\/a>, introduced in 2015. In the film at the center of the show, also called<\/em>\u00a0Rose Gold,<\/em>\u00a0two voices, one male and one female, offer observations about consumer desire, at once pointed and disaffected: \u201cI keep finding watch advertisements where all the clocks are set to 8:20 \u2026 what time was it really? I go to check what time the Apple Watch is set to and end up wanting one \u2026 Several male artists have told me that I\u2019m having a moment, as if the moment will pass soon<\/em>.<\/em>\u00a0Rose Gold is having a moment, too \u2026 What is the right way to talk about something? People understand \u00a0more if you communicate through things bought and sold.\u201d\u00a0<\/em>Cwynar also examines\u00a0Melamine, a brand\u00a0of luridly colored plastic kitchenware from the fifties\u2014the plastic was supposed to be unbreakable, but over time it grew brittle and faded.\u00a0Her\u00a0photos include\u00a0studio portraits of her friend Tracy overlaid with found objects and detritus; and\u00a0a set of shiny Avon \u201cpresidential aftershave\u201d bottles from the seventies. Robbed of their caps\u2014i.e., their golden presidents\u2019 heads\u2014they look\u00a0denuded, as if forcibly neutralized.<\/em><\/p>\n

<\/a>

Sara Cwynar, Tracy (One Hundred Consecutive Years)<\/i>, 2017, dye-sublimation print on aluminum, 30″ x 38″.<\/p><\/div>\n

<\/p>\n

<\/a>

Tracy (Grid 2)<\/i>, 2017, pigment print mounted on Dibond, 30″ x 38″.<\/p><\/div>\n

<\/a>

Tracy (Gold Circle)<\/i>, 2017, dye-sublimation print on aluminum, 30″ x 38″.<\/p><\/div>\n

<\/a>

Avon Presidential Bust (Lincoln, Gold)<\/i>, 2017, C-print mounted on Dibond, 30″ x 24″.<\/p><\/div>\n

<\/a>

Armor (Jakob Schnatz, Plankengestechteile Erzh. Ferdinands II., 1545\u201350 Kat. Nr. 122)<\/i>, 2017, C-print mounted on Dibond, 62″ x 42″.<\/p><\/div>\n

 <\/p>\n

All photos\u00a0\u00a9\u00a0Sara Cwynar<\/span>, courtesy Foxy Production, New York.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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