Urban Sketching Group Exhibition

By CAM Raleigh | May 29, 2015

CAM Raleigh is proud to exhibit the work of the Urban Sketching Group, a monthly group led by artist and teacher Scott Renk. Pausing at inspiring vistas, ignored buildings, curious landscapes, or forgotten details, their goal is to take time to study their surroundings and exercise dormant drawing skills. For more information, please see our calendar of events.

Big thanks to Scott! Check out his work and blog here.

Big, Bent Ears

By AZalonis | May 20, 2015

May 23, 2015 - February 7, 2016

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May Free First Friday

By CAM Raleigh | January 28, 2015

Join us for one of your last chances to view Sarah Anne Johnson: WONDERLAND Mid-Career Survey 2002-2014. Accompanying this exhibit are Food Trucks, a make-and-take craft in the Creation Station, our Middle School Docents, and surprise entertainment. WONDERLAND is up until May 3rd.

We hope to see you down in the Warehouse District!

Members Opening: The Nothing That Is – a drawing show in 5 parts

By AZalonis | January 27, 2015

Members Opening: June 4, 6 - 8 pm

The Nothing That is: a drawing show in five parts
June 5 - September 7, 2015

CAM Raleigh is pleased to present The Nothing That Is: a drawing show in five parts curated by Bill Thelen. This extraordinary exhibition includes more then 85 local, national and international artists all exploring contemporary approaches to drawing, mark making and gesture. The Nothing That Is will be presented in five parts throughout the museum and also includes drawing projects in the community.

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Sarah Cain: The Imaginary Architecture of Love

By AZalonis | January 27, 2015

Sarah Cain: The Imaginary Architecture of Love
October 2, 2015 - January 3, 2016


Video courtesy Design Story Works, Inc. © 2015

CAM Raleigh (Contemporary Art Museum) is pleased to present The Imaginary Architecture of Love by Sarah Cain. Cain has created a monumental painting directly on the walls and floor of the Main Gallery. As is typical of her practice, Cain has embedded objects found in situ such as cut crystal pendants, towels, and a string of wooden beads.

Cain is committed to translating lived experience into a language of color and form. Her investment in abstraction is based on her belief in its capacity to express ideas that are beyond language. Building upon a present tense call-and-response to the environment at hand, Cain attempts to expand the potential of painting by challenging its conventions. In advance of making a work on site, Cain gathers materials, inspiration, and visual cues from the outside world.  Through improvisation based on her gathered materials and impressions, she makes decisions about the palette, gestures, and composition on site. The Imaginary Architecture of Love flows from the museum's entrance lobby into the main gallery, moving through the former produce warehouse's corners and cracks while responding to structural details such as arched windows and poured-in-place columns.

Read more about Sarah Cain: The Imaginary Architecture of Love