Sara Cwynar

Cwynar grew up in Vancouver, Canada, where her twin sister Kari Cwynar is currently a curator. She was introduced to the idea of “kitsch,” which features prominently in her work, by the figure-skating costumes that she and her sister would wear in competition.[1] She studied English literature at the University of British Columbia and eventually earned a Bachelor of Design Honours degree from York University in Toronto in 2010. Cwynar works as a freelance graphic designer for The New York Times.[2][3] She earned an MFA in Photography from Yale University in 2016.[4][5]

Cwynar uses a variety of media, including photography, collage, book-making and installation, to explore the nature of photographic images and the power and limitations of the medium itself. Cwynar's background in literature and graphic design helps to create the fascinating hybridity of her pieces. Through the use of saved personal photographs and found images from both printed resources and the internet, Cwynar's work communicates not only about the final image of a photograph but also about the process of image making.[6]

Cwynar has been exhibiting work since 2009, when she was featured in her first group show at Gallery 1313 in Toronto called "Wayfaring: Towards Answering a Call".[7] She designed the cover art for Parascom, 2013 album of the band Washed Out, starting from a combination of images of flowers from the New York Public Library, using also hand drawings and Photoshop.[8][9]

Cwynar had an exhibition in 2014 at Flat Death at Foxy Production in New York. The exhibition had its ideological roots in Kitsch Encyclopedia and explored “a kind of ‘ritual extermination’ upon the hyperreal by confusing representation and reality.” Like Cwynar’s work in general, this show was a mix of photography, collage, rephotography, appropriation and studio set-ups.[10]

Cwynar's 2015 project Presidential Index featured photographs of Avon Presidential Bust Cologne bottles that she bought on eBay and removed the heads of the presidents so that only their torsos are visible. In some pieces, she enlarged the busts to be as large as her own torso and in others she arranged the bottles according to the popularity of that president’s scent. She paired these images with pictures of a make-up palette from “Ultra Cosmetics” and two photographs of rugs. Cwynar's ideas behind this piece link these objects to the desire for aesthetic change through commercial and material goods.[11]

Her work is in the permanent collection at the Dallas Museum of Art; Foam Fotografiemuseum Amsterdam; Milwaukee Art Museum; MoMA Collection, New York; Minneapolis Institute of Art; SFMOMA, San Francisco; Guggenheim Museum, New York; Art Gallery of Ontario, Toronto; Fondazione Prada, Milan; Baloise Art Collection, Basel, Switzerland; Kadist Art Foundation, San Francisco; Nerman Museum of Contemporary Art, Kansas City; Zabludowicz Collection, London; Centre Pompidou, Paris; MMK Museum für Moderne Kunst, Frankfurt Soho House, Toronto; and TD Bank Canada Collection, Toronto.

Rose Gold (2017) is a research-oriented mediation on the emotional impact of color: how color can manifest desire. It has the tone and structure of an educational film, like the National Film Board of Canada documentaries produced in the 1960s and ‘70s.It is richly layered reflection on the relationship between color, technology, material objects, and desire elicited from the talismanic powers of the Apple Rose Gold iPhone.[12][13]

She has published two books,

• Cwynar, Sara. Kitsch Encyclopedia: A Survey of Universal Knowledge. Blonde Art Books, 2014. ISBN 9780989967617
• Cwynar, Sara. Pictures of Pictures.New York : Printed Matter Inc., 2014. ISBN 9780894390784

Kitsch Encyclopedia builds on an interest in the ordinary object that Cwynar attributes to her reading of Milan Kundera’s The Unbearable Lightness of Being. The title reflects Cwynar’s understanding of Kundera’s definition of “kitsch” as images that we are drawn to in order to escape from all that is aesthetically unpleasant in life.[6]

• 2019 – Rose Gold. Foxy Production, New York, NY
• 2019 – Good Life. Blitz, Valletta, Malta
• 2016 –Soft Film. Foxy Production, New York, NY[14]
• 2015 – Presidential Index. Retrospective, Hudson, NY
• 2014 – Flat Death. Foxy Production, New York, NY[15]
• 2014 – Flat Death. Rosenwald-Wolf Gallery, The University of the Arts, Philadelphia, PA
• 2013 – Flat Death. Cooper Cole, Toronto, ON
• 2013 – Everything in the Studio (Destroyed). Foam Photography Museum, Amsterdam, The Netherlands
• 2012 – All The Greens. Printed Matter, New York, NY,
• 2012 – Accidental Archives. Cooper Cole, Toronto, ON

• 2020 – Sobey Art Award
• 2019 – Kodak Film Prize, IV Moscow International Experimental Film Festival
• 2019 – Louis Comfort Tiffany Foundation 2019 Biennial Grant[16]
• 2018 – MAST Foundation for Photography Grant on Industry and Work
• 2018 – International Film Festival Rotterdam, Ammodo Tiger Short Prize
• 2016 – Bâloise Prize, Statements, Art Basel 47
• 2013 – Printed Matter Emerging Artist Publication Series Grant
• 2012 – The Camera Club of New York, Darkroom Residency, Runner-up Award
• 2011 – Print Magazine, 20 Under 30 New Visual Artist Award[17]
• 2011 – Art Director's Club Young Guns Award
• 2009 – Kondor Fine Arts Award
• 2008–2009 – Dean's Prize for Excellence, Faculty of Fine Arts, York University

• Official website