Sarah Cain

Sarah Cain (born February 3, 1979) is an American contemporary artist who lives and works in Los Angeles, California.

Sarah Cain
Born (1979-02-03) February 3, 1979
Albany, New York, U.S.
NationalityAmerican
EducationSan Francisco Art Institute
University of California, Berkeley
Known forPainting
Websitehttp://www.sarahcainstudio.com/

Life

Cain was born in Albany, New York, growing up in nearby Kinderhook,[1] and moved to California in 1997 to study art at the San Francisco Art Institute, where she received her BFA in 2001. She went on to study at the University of California, Berkeley receiving her MFA in studio art and attended the Skowhegan School of Painting and Sculpture in 2006.[2] Since 2007, she's lived and worked in Los Angeles.

Work
Sarah Cain "i touched a cactus flower" 2019, Installation in the Paramount Studios Backlot, curated by Ali Subotnick, Frieze LA International Art Fair

The paintings and installations of Sarah Cain employ a variety of materials including traditional canvas, stretcher bars, and paint, but also introducing unusual and poetic artifacts: from musical notations to leaves and branches, expanding outside of the two-dimensional plane of the canvas and into the surrounding environment, creating many site-specific installations.[3]

Critic Quinn Latimer in describing Cain's work writes "They court seemingly bad ideas — drawings sport feathers and doilies; installations feature eggs and hippy art teacher-like fabric swatches — and then transform them so deftly into serious painting that it can take a minute to understand what you’re looking at." [4] In 2011, Cain collaborated with noted Beat-era artist George Herms at the Orange County Museum of Art, where the curator Sarah Bancroft wrote for the accompanying catalog that the two artists share "an interest in language and a frustration over its limits in describing abstract work" [5]

In 2011, Cain completed a major site-specific work in a former Masonic lodge in Marfa, Texas, for Los Angeles Nomadic Division (LAND). Titled Forget me not, the installation spread across the first floor of the building and explored the imagery of the forgot-me-not flower, used by Masons and later by Nazis. Exploring belief systems, doubt and faith, the paintings spread across the building's walls and floors. One large painting even incorporated an overturned cupboard into its composition. Such recycling and inclusion of domestic furniture has become a mainstay of Cain's practice; couches, chairs and benches figure large in her recent works. In 2015, she painted in red splatters a seat that her neighbor abandoned after his wedding was called off, calling it "Loveseat".[6]

She has had solo exhibitions at Institute of Contemporary Art in Los Angeles, the Aspen Art Museum, San Diego Museum of Contemporary, amongst others. And has been included in collective exhibitions at Los Angeles County Museum of Art, Imperial Belvedere Palace Museum in Vienna, and the Busan Biennale. In 2019, she completed her first major permanent public work at San Francisco International Airport: a 150-foot stained glass window with 270 colors, framed in soldered zinc, which was "painstakingly arranged so that no two adjoining fragments are the same shade."[7]

Poet Bernadette Mayer in her poem "Dear Sarah", described a painting by the artist as "it's like seeing a rainbow in the middle of the forest." [8]

Selected Exhibitions

Further reading

Selected Press

Public Collections

Los Angeles County Museum of Art

San Francisco Museum of Modern Art

Blanton Museum of Art: The University of Texas at Austin

Zabludowicz Collection, London

The FLAG Art Foundation, New York City

The Margulies Collection, Miami

Perez Art Museum, Miami

Pizzuti Collection, Columbus, Ohio

UBS Art Collection

Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga, NY

North Carolina Museum of Art

Museum of Contemporary Art, San Diego

San Antonio Museum of Art

Sarah Cain Studio Website

Sarah Cain Studio Instagam

Anthony Meier Fine Arts - Sarah Cain

Gallery Lelong - Sarah Cain

Vielmetter Los Angeles - Sarah Cain

gollark: Also, the lower plank yield is just annoying.
gollark: Furnaces cost compressed cobblestone and coal and such, and this really seems pointless.
gollark: I'm also playing E2E, and while it's generally interesting I must say that some changes annoy me.
gollark: 2028.
gollark: Why would you pay for music software when the computronics sound card is free?

References
  1. Newell-Hanson, Alice (February 7, 2009). "The Artist Creating a 150-Foot-Long Glass Rainbow". The New York Times. Retrieved April 19, 2019.
  2. "CV". SARAH CAIN. Retrieved 2017-03-25.
  3. Garza, Evan J "Q&A: A Conversation with Sarah Cain," New American Painting, November 2010.
  4. Latimer, Quinn. SEILER + MOSSERI-MARLIO GALERIE, ZURICH "Sarah Cain: Double Future."
  5. Bancroft, Sarah, Two Schools of Cool, Orange County Museum of Art and Prestel Publishing, 2012.
  6. "Sarah Cain | Ocula". 2018-05-30. Retrieved 2018-05-30.
  7. Newell-Hanson, Alice (February 7, 2009). "The Artist Creating a 150-Foot-Long Glass Rainbow". The New York Times. Retrieved April 19, 2019.
  8. Meyer, Bernadette (2015). Dear Sarah. Raleigh: Contemporary Art Museum, Raleigh / DAP. p. 13. ISBN 978-0-9906909-1-7.
  9. Knight, Christopher (June 12, 2013). "Review: 'Painting in Place' flings open conceptual abstraction doors". The Los Angeles Times. Retrieved April 19, 2019.
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