中文簡介：

迄今為止關(guān)于莎拉·凱恩豐富的繪畫和裝置的蕞的出版物 與唐宮博物院出版。 洛杉磯畫家莎拉·凱恩（Sarah Cain，生于 979

年）在各種尺寸的畫布上創(chuàng)作，通常通過切割和編織、在所有側(cè)面繪畫以及將畫布的背面面向觀眾來安裝畫布。她還在其他表面上作畫，包括內(nèi)墻和外墻、地板、家具和美元鈔票。

凱恩的過程通常涉及改變和毀壞構(gòu)圖，直到原始圖像不再可識(shí)別。她的創(chuàng)作和破壞過程經(jīng)常包括發(fā)現(xiàn)的物品，并沉浸在繪畫和主義藝術(shù)實(shí)踐的歷史中。凱恩的作品是對繪畫的父權(quán)等級(jí)制度的挑戰(zhàn)。喬納森·格里芬（Jonathan

Griffin）在《紐約時(shí)報(bào)》上寫道：“凱恩畫作的幾乎所有內(nèi)容——它們的速度、它們的魯莽、它們的面條構(gòu)圖、它們的潑墨和噴漆涂鴉、它們俗氣的裝備、它們的荒謬感——似乎破壞了大型繪畫傳統(tǒng)上所表現(xiàn)出的莊嚴(yán)感。

” 莎拉·凱恩：進(jìn)入中心收錄了數(shù)十件藝術(shù)品的新著作和以前未發(fā)表的照片和文獻(xiàn)，重點(diǎn)關(guān)注該隱過去十年豐富而犭蟲特的繪畫和裝置。

原文簡介：

The most comprehensive publication to date on Sarah Cain’s exuberant

paintings\nand installations\n\nPublished with Tang Museum. \n \nLos Angeles-

based painter Sarah Cain (born 979) works on canvases of all\nsizes, often

modifying them by cutting and braiding, painting on all sides and\ninstalling

the canvas with the back of the painting facing the viewer. She\nalso paints

on other surfaces, including interior and exterior walls, floors,\nfurniture

and dollar bills. \nCain\'s process often involves altering and disfiguring a

composition until the\noriginal image is no longer recognizable. Her process

of creation and\ndestruction frequently includes found objects and is steeped

in the history of\npainting and feminist art practices. Cain\'s work is a

challenge to the\npatriarchal hierarchies of painting. \"Almost everything

about Cain\'s\npaintings―their speed, their brashness, their noodling

compositions, their\nsplashes and spray-painted scribbles, their tacky

accouterments, their sense\nof absurdity―seems to undermine the gravitas that

large-scale painting\ntraditionally projects,\" wrote Jonathan Griffin, in the

New York Times. \nSarah Cain: Enter the Center features new writings and

previously unpublished\nphotographs and documentation of dozens of artworks

with a focus on the last\ndecade of Cain\'s exuberant and unique paintings and

installations.\n\n