In finding your place in sculpture, you need to find the material that offers you just the right resistance. As it turns out, car metal offers me the correct resistance so that I can make a form—not overform it or underform it.
John Chamberlain’s (1927–2011) distinctive metal sculptures, often made of crushed automobile steel, reveal both the stately grace and the expressive plasticity of industrial materials. Exploring the interplay of color, weight, and balance, Chamberlain tapped into the energy of Abstract Expressionism, the premanufactured elements of Pop art and Minimalism, and the provocative folds of the High Baroque.
In the mid-1940s Chamberlain spent nearly three years aboard an aircraft carrier while serving in the US Navy. Traveling through the Pacific, Mediterranean, and Atlantic greatly influenced his sense of scale and viewpoint. Following his return to the United States, he studied at the Art Institute of Chicago (1951–52) and then at Black Mountain College in North Carolina (1955–56), where he fostered a keen appreciation for poetry and began to consider language as an integral part of his aesthetic approach.
Chamberlain moved to New York in 1956 and the following year made Shortstop, his first sculpture incorporating automobile parts. He continued to use this material, revealing the seemingly infinite formal potential of the shining chrome, flaking paint, hard edges, and voluminous folds. In 1961 his innovations led to his inclusion in the Art of Assemblage at New York’s Museum of Modern Art, where his sculptures were shown alongside Futurist, Surrealist, and Cubist works.
At the end of the 1960s Chamberlain began to incorporate galvanized steel, urethane foam, and mineral-coated Plexiglas into his work. Despite the physical differences of these materials, Chamberlain was consistent in his approach, constantly searching for the right “fit” and rearranging compositions until they “locked into place.”
Chamberlain returned to the nearly exclusive use of automobile parts in the mid-1970s, expanding his technique by cutting and painting the metal. Seeking a larger studio space with higher ceilings where he could expand the scale of his work, he moved from New York to Sarasota, Florida, in 1980. There he made the Gondolas (1981–82), long, low works often displayed in pairs or groups on the floor, like abstracted boats floating in a row. For the Giraffe series (c. 1982–83), he sandblasted painted car metal, removing the color in patterned, linear strips to reveal the raw surface beneath.
Chamberlain’s dynamic spatial abstractions extended beyond sculpture into film, photography, prints, paintings, reliefs, masks, and more. The Barges (1971–83), huge foam couches, form plush terrains in which visitors are invited to lounge. His colorized panoramic photographs, which he began in 1989, made using a moving camera, create abstracted scenes that the artist called “self-portraits of [his] nervous system.”
In 2007 Chamberlain began transposing miniature models crafted from aluminum foil into monumental outdoor sculptures. The resulting works, four of which were on view outside the Seagram Building, New York, in 2012, maintain the lightness, directness, and spontaneity of the fragile original models despite their stable, balanced forms. Some of the last works that Chamberlain made in his lifetime, the foil sculptures—with titles such as FROSTYDICKFANTASY (2008) and PINEAPPLESURPRISE (2010)—bring together the whimsical humor, technical mastery, and dynamic expression that run throughout the artist’s sixty-year career.
Extended through June 1, 2018
April 17–June 1, 2018
Davies Street, London
September 19–October 28, 2017
980 Madison Avenue, New York
September 7–November 3, 2016
August 10–November 16, 2012
Seagram Building, New York
May 20–June 18, 2011
Britannia Street, London
May 5–July 8, 2011
West 24th Street, New York
Dan Flavin & John Chamberlain
October 25–December 20, 2003
980 Madison Avenue, New York
In Foil Adventures: John Chamberlain’s Late Works in Aluminum, Corinna Thierolf discusses how, starting in the mid-1960s, the artist investigated and perfected working with this material.
Gagosian Quarterly Spring 2018
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
Patrick Seguin: Chamberlain and Prouvé
Two twentieth-century heavyweights collide in a show of works by John Chamberlain and Jean Prouvé in New York. Derek Blasberg talks to Patrick Seguin about Prouvé and design on the occasion of the exhibition.
Frieze New York 2019
May 2–5, 2019, booth C26
Randall’s Island Park, New York
Gagosian is pleased to participate in Frieze New York 2019, with a booth dedicated to the work of John Chamberlain and Steven Parrino. The included works highlight the ways in which Chamberlain and Parrino explored the act of folding and compressing materials. Through twisting, bending, or crushing, both artists variously disrupted the conventional rectilinear plane.
Left: Steven Parrino, Untitled, 2004 (detail) © Steven Parrino, courtesy Parrino Family Estate. Right: John Chamberlain, GOOSECAKEWALK, 2009 (detail) © 2019 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York
Art Basel Miami Beach 2018
December 6–9, 2018, booth D7
Miami Beach Convention Center
Gagosian is pleased to participate in Art Basel Miami Beach 2018 with modern and contemporary artworks by Georg Baselitz, Jean-Michel Basquiat, Joe Bradley, Glenn Brown, John Chamberlain, Dan Colen, John Currin, Urs Fischer, Katharina Grosse, Mark Grotjahn, Andreas Gursky, Keith Haring, Damien Hirst, Howard Hodgkin, Jeff Koons, Roy Lichtenstein, Vera Lutter, Man Ray, Peter Marino, Takashi Murakami, Pablo Picasso, Richard Prince, Sterling Ruby, Ed Ruscha, Jenny Saville, Rudolf Stingel, Tatiana Trouvé, Cy Twombly, Andy Warhol, Tom Wesselmann, and Jonas Wood, among others.
Jeff Koons, Ode to Love, 2010–17 © Jeff Koons
Art Basel 2018
June 14–17, 2018, booth B11
Gagosian is pleased to participate in Art Basel 2018, presenting works by modern and contemporary artists including Georg Baselitz, John Chamberlain, Dan Colen, John Currin, Willem de Kooning, Urs Fischer, Helen Frankenthaler, Ellen Gallagher, Jennifer Guidi, Andreas Gursky, Neil Jenney, Jeff Koons, Roy Lichtenstein, Henri Matisse, Takashi Murakami, Giuseppe Penone, Pablo Picasso, Richard Prince, Sterling Ruby, Richard Serra, Rudolf Stingel, Mark Tansey, Cy Twombly, Andy Warhol, Mary Weatherford, and Tom Wesselmann. To receive a PDF with detailed information on the works, please contact the gallery at firstname.lastname@example.org. To preview our booth go to www.artsy.net. To purchase tickets to attend the fair go to www.artbasel.com.
Georg Baselitz, Frau am Strand (Woman on the Beach), 1981 © Georg Baselitz 2018