- »Spring« Stockholm, 2023
- »Plant Based« Berlin, 2021
- »Post Jacaranda« Mexico City, 2019
- »SARAH CROWNER/TUTSI BASKETS« Stockholm, 2016
- »Rehearsal« Stockholm, 2012
- Group Exhibition »OWL STRETCHING TIME« Berlin, 2010
- cv-pt-2023.pdf
- cv-scr-2023-web.pdf
- post-jacaranda.pdf
- crowner-2019-april.pdf
-
Julia Felsenthal: Sarah Crowner Crosses the Border and Collaborates With the Ghost of Frank Lloyd Wright at the Guggenheim, Vogue, Jan 30, 2017
-
Bartholomew Ryan: Medium as a medium, a conversation with Sarah Crowner, MASS MoCA, 2017
-
Elizabeth Karp-Evans: Sarah Crowner: Touch the Tile, Guernica, May 16, 2016
-
Lauren O'Neill-Butler: Sarah Crowner, Artforum, June 9, 2011
Ceiling (Stretched Pentagons), 2022, glazed terracotta tiles, plywood, aluminium, mortar, grout, dimensions variable, Valhalla at Punta Mita, Mexico. Architect: Tatiana Bilbao Studio. Photo by: Luis Gallardo / LGM Studio
Sarah Crowner
Sarah Crowner (1974) was born in Philadelphia; she lives and works in Brooklyn, New York.
Current solo exhibitions include Pulitzer Arts Foundation, St. Louis, Missouri, USA, and Hill Art Foundation, New York, USA (September 2023). Recent solo exhibitions were held at The Instituto Bardi / Casa de Vidro & auroras, São Paulo, Brazil (2023); a major solo exhibition at the Amparo Museum in Puebla, Mexico as well as a site specific installation at the Chianti Foundation in Marfa, Texas (both 2022), an exhibition at KMAC Museum, Louisville, Kentucky, USA (2018); a participation in the 57th Edition of Carnegie International (2018); the permanent installation at the Wright Restaurant, Salomon R. Guggenheim Museum, New York (2017) and the solo exhibition Beetle in the Leaves at MASS MoCA, North Adams (2016).
She has participated in various group exhibitions, among them Object & Thing at Long House, New York, and Los Angeles Country Museum, Los Angeles (both 2023), Hill Art Foundation, New York (2022), Museo de Arte De Zapopan, Zapopan, Carnegie Museum of Art, Pittsburgh (both 2021), American Academy of Arts and Letters (2018), WIELS Contemporary Art Centre, Bruxelles (2013), the Jewish Museum, NY (2015), and MoMA, NY (2013), among others. In 2013 she participated in a major survey exhibition on abstract painting at Walker Art Center in Minneapolis. She was part of the 2010 Whitney Biennial curated by Francesco Bonami and Gary Carrion-Murayari. Her works have been shown at White Columns, NY, Contemporary Art Museum St. Louis, ICA in London, Museum of Contemporary Art Detroit, de Appel in Amsterdam, Culturgest in Lisbon (all 2009), as well as DAAD Galerie, Berlin (2008). Crowner designed the scenography and costumes for Jessica Lang's “Garden Blue“ with the American Ballet Theatre, NY (2018) as well as the scenography for a revival of Robert Ashley’s “Perfect Lives“ (2012), which travelled to Marfa, Texas and then on to venues in Europe.
Untitled (Around Orange), 2023. Acrylic on canvas, sewn. Photography by Alise O'Brien Photography, © Sarah Crowner, Pulitzer Arts Foundation, Alise O'Brien Photography
Untitled (Around Orange), 2023. Acrylic on canvas, sewn. Photography by Alise O'Brien Photography, © Sarah Crowner, Pulitzer Arts Foundation, Alise O'Brien Photography
Wall (Hot red terracotta), 2023. Glazed terracotta tiles, 72 x 204 x 5 1⁄4 inches (183 x 518 x 13 cm). Photography by Alise O'Brien Photography, © Sarah Crowner, Pulitzer Arts Foundation and Alise O'Brien Photography
Installation view, The Sea, the Sky, a Window. Hill Art Foundation, September 22, 2023–February 17, 2024. © Hill Art Foundation. Photo: Matthew Herrmann.
Installation view, The Sea, the Sky, a Window. Hill Art Foundation, September 22, 2023–February 17, 2024. © Hill Art Foundation. Photo: Matthew Herrmann.
Installation view, Spring, Galerie Nordenhake Stockholm, 2023. Photo: Carl Henrik Tillberg.
Blues for Lina, 2022. Acrylic on canvas, sewn. Casa de Vidro, Instituto Bardi, São Paulo. Photo: Ding Musa.
Platform (Cobalt Snakeskin), terracotta, mortar and pestle, Amparo Museum, Puebla, Mexico, 2022. Photo: Amparo Museum.
Platform (Cobalt Snakeskin), terracotta, mortar and pestle, Amparo Museum, Puebla, Mexico, 2022. Photo: Amparo Museum.
Sarah Crowner, Platform (Blue Green Terracotta for JC), 2022. Photo by Alex Marks, courtesy of the Chinati Foundation.
Ceiling (Stretched Pentagons), 2022, glazed terracotta tiles, plywood, aluminium, mortar, grout, dimensions variable, Valhalla at Punta Mita, Mexico. Architect: Tatiana Bilbao Studio. Photo by: Luis Gallardo / LGM Studio
Installation at Los Cabos, Baja California Sur, Mexico – Architect: Torres y Campos, Photo by: Ramiro Chaves, 2022
Installation at Los Cabos, Baja California Sur, Mexico – Architect: Torres y Campos, Photo by: Ramiro Chaves, 2022
Installation view "Plant Based", Galerie Nordenhake, Berlin 2021
Installation view "Post Jacaranda", NHMX, Mexico City 2019
Installation view "Clay Bodies: Moving Through Ceramics", KMAC Museum, Louisville, KY, 2018
Installation view "Carnegie International", Carnegie Museum of Art, Pittsburgh 2018
Installation view "Carnegie International", Carnegie Museum of Art, Pittsburgh 2018
American Ballet Theatre: Jessica Lang & Sarah Crowner, The Metropolitan Museum of Art, New York 2018
Swimming pool, Fundacion Casa Proal – Artist Residency, Veracruz, Mexico 2018
Installation view, Guggenheim Museum’s Wright Restaurant, New York 2017
Installation view, Guggenheim Museum’s Wright Restaurant, New York 2017
Installation view "Sarah Crowner – Beetle in the Leaves", MASS MoCA, Massachusetts 2016
Installation view "Sarah Crowner – Beetle in the Leaves", MASS MoCA, Massachusetts 2016
Installation view "Sarah Crowner – Tutsi Baskets", Galerie Nordenhake Stockholm 2016
Untitled, 2016, acrylic on canvas, sewn, 198 x 152.5 cm
Bench (Open Angle), 2016, laquered plywood, 45 x 165 x 46 cm
Installation view "Sarah Crowner – Rehearsal", Galerie Nordenhake Stockholm 2012
Untitled, 2012, Stained mahogany, table, 58 x 24 x 28 cm, 76 x 16.5 x 15 cm, 91 x 22 x 19 cm
Kurtyna Teatru (after Maria Jarema), 2012, fabric paint on canvas, 200 x 600 cm