Untitled
9 x 9 inchesUntitled, 1973
9 x 9 inches
Edition of 300
Numbered, signed by the artist in pen
Printer Styria Studio
Publisher Experiments in Art & Technology Condition pristine; never framed, hinged or matted.
Unframed
This print has been safely stored since it was published in 1973.
Museum Collections
National Gallery of Art, Washington D.C.
Museum of Modern Art, New York
Walker Art Center, Minneapolis
John Chamberlain’s distinctive metal sculptures, often made of crushed automobile chassis, reveal both the grace and expressive potential of industrial materials. Exploring the interplay of color, weightand balance, Chamberlain tapped into the energy of Abstract Expressionism, elements of Pop and Minimalism.
JOHN CHAMBERLAIN
John Chamberlain’s distinctive metal sculptures, often made of crushed automobile chassis, reveal both the grace and expressive potential of industrial materials. Exploring the interplay of color, weightand balance, Chamberlain tapped into the energy of Abstract Expressionism, elements of Pop and Minimalism.
In the 1940s Chamberlain spent three years in the US Navy, traveling through the Pacific, Mediterraneanand Atlantic. This experience he credits with greatly influencing his viewpoint and sense of scale. Following his return to the United States, he studied at the Art Institute of Chicago and at Black Mountain College in North Carolina, where he developed an appreciation for poetry and began to consider language as an integral part of his artistic process.
Chamberlain moved to New York in 1956 and in 1957 created his first sculpture incorporating automobile parts. He continued to using this material for its shining chrome, flaking paint, hard edgesand folds. In 1961 his work was included in the Art of Assemblage at the Museum of Modern Art, where his sculptures were shown alongside Futurist, Surrealistand Cubist works.
At the end of the 1960s Chamberlain began to incorporate galvanized steel, urethane foamand 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.
