From unknown Tue Aug 12 14:45:13 2008 X-Opera-Status: 04000000000002611148a1a1f90000248c00040000000025260000008400000001000000ed0000000000000147000000000000000000000000 Content-Type: multipart/alternative; boundary=----------rMeWKMGob32tmNRTBd4fEC MIME-Version: 1.0 From: Hadams6 Message-ID: Subject: Peter Cain (artist) Date: Tue, 12 Aug 2008 14:45:13 GMT ------------rMeWKMGob32tmNRTBd4fEC Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 8bit Hadams6: '''Peter Cain''' (b. 1959, Orange, New Jersey; d. New York, New York, 1997) was a painter who was known for his meticulously executed paintings and drawings of mutant cars. His style has been said to combine aspects of Surrealism, Photorealism, and the art of [[James Rosenquist]]. He is of the same generation of painters who came to prominence in the 1990s like Elizabeth Peyton, John Currin, Peter Doig, and Karen Kilimnik. He died at age thirty seven of a brain hemorrhage having completed sixty-three paintings over the course of his short career. He was represented by the [[Matthew Marks Gallery]] in New York during his lifetime. ==Work== Cain studied at the Parsons School of Design from 1977-1980 and the School of Visual Arts from 1980-1982. His early paintings derived their subjects from advertisements for used automobiles. He then made collages by which he could distort and abbreviate the original car’s form. In Pathfinder, included in the 1993 Whitney Biennial (1992-93, oil on linen), the front fender and headlights of a black SUV have been merged with the rear third of the vehicle. The car’s hood, front doors and cab have completely disappeared, and the newly transmogrified Pathfinder has then been tipped up on its trunk against a solid white ground. Writing on a similar painting, critic Jerry Saltz said that the car paintings “cleverly question the nature of intelligence by presenting the image of a ‘thing’ that is knowable and unclassifiable in a painting that is like a filmstrip of a painting all collapsed and run together in to a single dense frame.”“Wild Thing: Peter Cain’s ''Untitled''” ''Arts Magazine'', March 1990, 14 * In 1996, Cain digressed from cars to Los Angeles gas stations and strip malls a year before his death. The numerous signs which dot store windows and around the pump have not been filled in except for their ground color. The face that greets Los Angeles car culture is eerily blank, and what can be understood as foliage is rendered in micro-faceted and hallucinogenic masses of green paint. The gas stations are spare in their content, but rich in their painterliness. When the Los Angeles paintings had their posthumous premier at the Matthew Marks Gallery in 1997, they were praised by critics for challenging the conventional wisdom that painting’s capacity to express genuine emotion was long gone. Peter Schjeldahl lamented, “I had trouble with Cain’s car pictures while being enchanted by the promise of his painterly gifts and ambition. Now we see the beginning of the promise’s fulfillment in the same instant as its end: an exceptional talent nipped in mid-blossoming, just short of full bloom. ”“Hail and Fairwell,” ''Village Voice'', February 25, 1997. ==Exhibtions== Peter Cain’s work has been the subject of several solo shows at the Matthew Marks Gallery and was included in the 1993 and 1995 Whitney Biennials. [http://www.matthewmarks.com/index.php?n=1&a=129&b=1 Click here for a complete biography and exhibition chronology] ==References== {{Reflist}} ==Selected Bibliography== ===Books on Peter Cain=== * Cain, Peter. ''More Courage and Less Oil''. New York: Matthew Marks Gallery, 2002. * Cain, Peter. ''The Los Angeles Pictures''. New York: Matthew Marks Gallery, 2006. * ===Articles on Peter Cain=== * Raczka, Tony. “Demfamiliarizing an American Icon.” ''Artweek'', November 15, 1990. * Saltz, Jerry. “Wild Thing: Peter Cain’s Untitled.” ''Arts Magazine'', March 1990, 13-14. * Saltz, Jerry. “Carpe Diem.” ''The Village Voice'', October 23-29, 2002, 67. * Schjeldahl, Peter. “Hail and Farewell.” ''The Village Voice'', February 25, 1997. * Smith, Roberta. “A New Surge of Growth Just as Death Cut It Off.” ''New York Times'', February 14, 1997. ==External Links== [http://www.matthewmarks.com/index.php?n=1&a=129&im=1 Peter Cain at Matthew Marks] http://en.wikipedia.org/wiki/Peter_Cain_(artist) ------------rMeWKMGob32tmNRTBd4fEC Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: Quoted-Printable

Hadams6:

'''Peter Cain''' (b. 1959, Orange, New Jersey; d. New York, New Yor= k, 1997) was a painter who was known for his meticulously executed paint= ings and drawings of mutant cars. His style has been said to combine asp= ects of Surrealism, Photorealism, and the art of [[James Rosenquist]]. H= e is of the same generation of painters who came to prominence in the 19= 90s like Elizabeth Peyton, John Currin, Peter Doig, and Karen Kilimnik. = He died at age thirty seven of a brain hemorrhage having completed sixty= -three paintings over the course of his short career. He was represented= by the [[Matthew Marks Gallery]] in New York during his lifetime.

=3D=3DWork=3D=3D

Cain studied at the Parsons School of Design from 1977-1980 and the Scho= ol of Visual Arts from 1980-1982. His early paintings derived their subj= ects from advertisements for used automobiles. He then made collages by = which he could distort and abbreviate the original car=E2=80=99s form. I= n Pathfinder, included in the 1993 Whitney Biennial (1992-93, oil on lin= en), the front fender and headlights of a black SUV have been merged wit= h the rear third of the vehicle. The car=E2=80=99s hood, front doors and= cab have completely disappeared, and the newly transmogrified Pathfinde= r has then been tipped up on its trunk against a solid white ground. Wri= ting on a similar painting, critic Jerry Saltz said that the car paintin= gs =E2=80=9Ccleverly question the nature of intelligence by presenting t= he image of a =E2=80=98thing=E2=80=99 that is knowable and unclassifiabl= e in a painting that is like a filmstrip of a painting all collapsed and= run together in to a single dense frame.=E2=80=9D<ref>=E2=80=9CWi= ld Thing: Peter Cain=E2=80=99s ''Untitled''=E2=80=9D ''Arts Magazine'', = March 1990, 14</ref>
*
In 1996, Cain digressed from cars to Los Angeles gas stations and strip = malls a year before his death. The numerous signs which dot store window= s and around the pump have not been filled in except for their ground co= lor. The face that greets Los Angeles car culture is eerily blank, and w= hat can be understood as foliage is rendered in micro-faceted and halluc= inogenic masses of green paint. The gas stations are spare in their cont= ent, but rich in their painterliness. When the Los Angeles paintings had= their posthumous premier at the Matthew Marks Gallery in 1997, they wer= e praised by critics for challenging the conventional wisdom that painti= ng=E2=80=99s capacity to express genuine emotion was long gone. Peter Sc= hjeldahl lamented, =E2=80=9CI had trouble with Cain=E2=80=99s car pictur= es while being enchanted by the promise of his painterly gifts and ambit= ion. Now we see the beginning of the promise=E2=80=99s fulfillment in th= e same instant as its end: an exceptional talent nipped in mid-blossomin= g, just short of full bloom. =E2=80=9D<ref>=E2=80=9CHail and Fairw= ell,=E2=80=9D ''Village Voice'', February 25, 1997.</ref>
=3D=3DExhibtions=3D=3D
Peter Cain=E2=80=99s work has been the subject of several solo shows at = the Matthew Marks Gallery and was included in the 1993 and 1995 Whitney = Biennials.
[http://www.matthewmarks.com/index.php?n=3D1&a=3D129&b=3D1 Click= here for a complete biography and exhibition chronology]

=3D=3DReferences=3D=3D
{{Reflist}}

=3D=3DSelected Bibliography=3D=3D

=3D=3D=3DBooks on Peter Cain=3D=3D=3D
*
Cain, Peter. ''More Courage and Less Oil''. New York: Matthew Marks Gall= ery, 2002.
*
Cain, Peter. ''The Los Angeles Pictures''. New York: Matthew Marks Galle= ry, 2006.
*
=3D=3D=3DArticles on Peter Cain=3D=3D=3D
*
Raczka, Tony. =E2=80=9CDemfamiliarizing an American Icon.=E2=80=9D ''Art= week'', November 15, 1990.
*
Saltz, Jerry. =E2=80=9CWild Thing: Peter Cain=E2=80=99s Untitled.=E2=80=9D= ''Arts Magazine'', March 1990, 13-14.
*
Saltz, Jerry. =E2=80=9CCarpe Diem.=E2=80=9D ''The Village Voice'', Octob= er 23-29, 2002, 67.
*
Schjeldahl, Peter. =E2=80=9CHail and Farewell.=E2=80=9D ''The Village Vo= ice'', February 25, 1997.
*
Smith, Roberta. =E2=80=9CA New Surge of Growth Just as Death Cut It Off.= =E2=80=9D ''New York Times'', February 14, 1997.
=3D=3DExternal Links=3D=3D
[http://www.matthewmarks.com/index.php?n=3D1&a=3D129&im=3D1 Pete= r Cain at Matthew Marks]

http://en.wikipedia.org/wiki/Peter_Cain_(artist= )

------------rMeWKMGob32tmNRTBd4fEC-- From unknown Tue Aug 12 17:01:47 2008 X-Opera-Status: 04000000000000000048a1c1fb000003f800040000000004a50000008400000001000000ed000000000000014d000000000000000000000000 Content-Type: multipart/alternative; boundary=----------zvPA2H1lFuMBzdnGoo2LXl MIME-Version: 1.0 From: Raymond102589 Message-ID: Subject: (S.U.E.)Stack's Up Entertianment Date: Tue, 12 Aug 2008 17:01:47 GMT ------------zvPA2H1lFuMBzdnGoo2LXl Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 8bit Killervogel5: Requesting speedy deletion ([[WP:CSD#A1|CSD A1]]). ([[WP:TW|TW]]) {{db-nocontext}} This Is A Record Label Formed By Rap Artist Ray Stack's. http://en.wikipedia.org/wiki/(S.U.E.)Stack%27s_Up_Entertianment ------------zvPA2H1lFuMBzdnGoo2LXl Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: 8bit

Killervogel5: Requesting speedy deletion ([[WP:CSD#A1|CSD A1]]). ([[WP:TW|TW]])

{{db-nocontext}}
This Is A Record Label Formed By Rap Artist Ray Stack's.

http://en.wikipedia.org/wiki/(S.U.E.)Stack%27s_Up_Entertianment

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