WorldCat Identities

Chamberlain, John 1927-2011

Overview
Works: 198 works in 321 publications in 5 languages and 4,232 library holdings
Genres: Exhibition catalogs  Catalogs  Interviews  Conference proceedings 
Roles: Illustrator, Performer, Honoree, Sculptor, Artist
Classifications: NB237.C43, 730.924
Publication Timeline
Key
Publications about  John Chamberlain Publications about John Chamberlain
Publications by  John Chamberlain Publications by John Chamberlain
posthumous Publications by John Chamberlain, published posthumously.
Most widely held works about John Chamberlain
 
moreShow More Titles
fewerShow Fewer Titles
Most widely held works by John Chamberlain
John Chamberlain : a catalogue raisonneĢ of the sculpture, 1954-1985 by Julie Sylvester ( Book )
3 editions published in 1986 in English and held by 515 WorldCat member libraries worldwide
Who gets to call it art? the legend of Henry Geldzahler, 1935-1994 ( Visual )
2 editions published between 2005 and 2006 in English and held by 350 WorldCat member libraries worldwide
Henry Geldzahler (1935-94), star curator and cultural impresario, lived a life worth examining. The first curator of the Department of 20th-Century Art at the Metropolitan Museum, first director of visual arts for the National Endowment of the Arts, and the first full-time commissioner of cultural affairs for New York City, his landmark 1969 show at the Metropolitan is still remembered with awe. "New York Painting and Sculpture: 1940-1970" filled 35 galleries with more than 400 groundbreaking works of contemporary art. This film is not a full biographical examination of this singular figure's life, but rather a portrait in profile, as many of 'his' artists talk about Geldzahler and what his friendship meant to them
John Chamberlain reliefs, 1960-1982 : the John and Mable Ringling Museum of Art, January 28-March 27, 1983 by Michael Auping ( Book )
1 edition published in 1982 in English and held by 278 WorldCat member libraries worldwide
Wide point : the photography of John Chamberlain by Donna M De Salvo ( Book )
1 edition published in 1993 in English and held by 60 WorldCat member libraries worldwide
De Kooning, Chamberlain : influence and transformation by Willem De Kooning ( Book )
3 editions published in 2001 in English and held by 59 WorldCat member libraries worldwide
De Kooning/Chamberlain : influence and transformation : September 21-October 20, 2001 by Bernice Rose ( Book )
3 editions published in 2001 in English and held by 45 WorldCat member libraries worldwide
It's all in the fit : the work of John Chamberlain : a symposium hosted by the Chinati Foundation, Marfa, Texas, April 22-23, 2006 ( Book )
1 edition published in 2009 in English and held by 40 WorldCat member libraries worldwide
John Chamberlain modern sculpture ( Visual )
2 editions published in 1999 in English and held by 23 WorldCat member libraries worldwide
On this program we meet John Chamberlain, a major American artist who has been making sculpture for more than forty years. Fashioned from car parts found in automobile grave yards, his work has an undeniably distinctive, powerful American style. Rooted in abstract expressionism, it reflects the car culture we live with daily. Seen here are his 1994 and 1998 exhibitions at the Pace-Wildenstein Gallery. Also included are extensive interviews with John Chamberlain and art dealer/collector Allan Stone
John Chamberlain : esculturas : Palacio de Cristal Parque del Retiro, Madrid, enero-marzo, 1984 by John Chamberlain ( Book )
8 editions published between 1983 and 1984 in Spanish and Undetermined and held by 20 WorldCat member libraries worldwide
Sculpture - John Chamberlain - 1970s & 1980s by Tex.) Menil Collection (Houston ( Book )
1 edition published in 1987 in English and held by 20 WorldCat member libraries worldwide
John Chamberlain [at the Contemporary Arts Museum : and in Amarillo, Texas] by John Chamberlain ( Book )
2 editions published in 1975 in English and held by 19 WorldCat member libraries worldwide
John Chamberlain - Papier Paradisio : Zeichnungen, Collagen, Reliefs, Bilder; [Kunstmuseum Winterthur, 3. September bis 20. November 2005] ( Book )
2 editions published in 2005 in German and held by 18 WorldCat member libraries worldwide
John Chamberlain : [Kunsthalle Baden-Baden 11.Mai bis 21.Juli 1991, Staatliche Kunstsammlung Dresden, Albertinum, 25. August bis 3. November 1991 by John Chamberlain ( Book )
6 editions published in 1991 in German and Undetermined and held by 15 WorldCat member libraries worldwide
Lynda Benglis, John Chamberlain, Joel Fisher, Mel Kendrick, Robert Therrien : Februari-Mars 1988 by Carter Ratcliff ( Book )
1 edition published in 1987 in Swedish and held by 14 WorldCat member libraries worldwide
Art as invention; sculptors John Chamberlain and George Segal discuss their work ( Recording )
1 edition published in 1971 in English and held by 12 WorldCat member libraries worldwide
John Chamberlain by John Chamberlain ( Book )
2 editions published in 2006 in English and held by 11 WorldCat member libraries worldwide
Transcribed interviews with John Chamberlain by Hans Ulrich Obrist
Hans Hofmann, the American years, retrospective. John Chamberlain, Sculpturen, Monotypien, Fotografien ( Book )
3 editions published in 1999 in German and held by 10 WorldCat member libraries worldwide
John Chamberlain : Choices by John Chamberlain ( Book )
3 editions published in 2012 in English and held by 10 WorldCat member libraries worldwide
"Often identified as the artist who successfully translated Abstract Expressionism into three dimensions, John Chamberlain wound through Franz Schubert, the U.S. Navy, hairdressing, the Art Institute of Chicago, and the Black Mountain College poets on his path to art. In Chicago, Chamberlain admired the work of Willem de Kooning and David Smith and learned to weld. Black Mountain instilled in him an intuitive collage sensibility and an approach to language that favored the visual appearance and sounds of words, dissociating them from their definitions. Chamberlain moved to New York in 1956 and within a few years hit upon the decision to utilize car metal as art material. His sculptures hewn from automobiles inevitably attracted the wrong interpretation; where Chamberlain employed creative re-use, others saw simply car crashes. He spent the rest of his life outrunning that association. His primary concern was and continued to be three-dimensional abstraction. More sensitive observers noted a kinship between his works and the dramatic modeling and contrapposto of Baroque art and sculptural drapery studies. With collage--the juxtaposition of heterogeneous elements--and abstraction--the elimination of figurative imager--as guiding principles, Chamberlain articulated the maxim that permeates his entire oeuvre: 'it's all in the fit.' Throughout his career, modulations in scale and medium provide a vital rhythm to his development. The sculptures range from the size of a fist to the girth of a generous hug to the height of a young, and eventually not so young, tree. Swelling and shrinking, in coats of multicolor, monochrome, or black-and-white paint, the survey of Chamberlain's career displays the integrity of the artist's gesture in diverse manifestations. Despite his commitment to abstraction, identifying anthropomorphic and zoomorphic traits in the lyrical, twisting forms is irresistible. Their playful titles are planted like so many red herrings: Belvo-Violet (1962), Miss Lucy Pink (1962), Rooster Starfoot (1976), Lord Suckfist (1989), and SPHINXGRIN TWO (1986/2010). Chamberlain brazenly defied the taboo of color in sculpture, a holdover from the rhetoric of medium specificity surrounding Abstract Expressionism (materials should be true to themselves, therefore color is the business of painting), which was still influential in the 1960s and considered one of the foremost problems in sculpture at the time. He originally circumvented the controversy by pleading that his color was found straight off of the assembly lines and highways of America. Shortly thereafter, he began to apply new paint to the metal, intervening in ever more elaborate ways with the surfaces of his materials. There are examples of airbrushing from the 1960s, drips and pours from the 1970s, sandblasting from the 1980s, and freehand and stenciled patterns from the 1990s forward. Amassing a body of work that could not be ignored, Chamberlain has been clumsily shoehorned into a variety of ill-fitting categories. Perhaps the most fertile of these is the retroactive link with Abstract Expressionism. His choice of vernacular materials also tied him to Pop. These same materials understood as products of standardized manufacturing associated him with Minimalism, encouraged by the unwavering critical support of Donald Judd. His method of assembly drew him toward Neo-Dada. He remains the inveterate rebel without a tribe, while still being recognized as a standard-bearer of sculptural practice. Driven by the pursuit of what he does not already know, the desire for unprecedented information and knowledge, Chamberlain turned away from car metal to experiment with new materials for a period. In the summer of 1966, he began squeezing and tying urethane foam. A succession of sculptures in other mediums followed: he crushed galvanized steel boxes that he had fabricated at the enlarged dimensions of a cigarette pack, he treated paper bags with a technique he called 'articulate wadding,' he melted and vacuum-mineral-coated Plexiglas boxes, and he crumpled aluminum. He also made films and videos, notably the cult art classic The Secret Life of Hernando Cortez (1968). By the mid-1970s he returned to automobile steel with renewed vigor. In recent years Chamberlain used vintage cars (formerly junk) of similar stock to the materials he started out with in the late 1950s. The sculptures grew in scale and possess a new-found gravity. He also embarked on the production of monumental aluminum sculptures, based on works that fit in the palm of the hand, which he had been making since the mid-1980s. His creations of the last five years stand as self-assured totems or sentinels at the culmination of nearly six decades of art making. This retrospective gathering of works celebrates the remarkable legacy of John Chamberlain, whose passing on December 21, 2011, we acknowledge with heartfelt remembrance."--Museum website
Chamberlain : Van Abbemuseum Eindhoven, 3 april-11 mei 1980 [,Kunsthalle Bern, april-mei 1980] by John Chamberlain ( Book )
1 edition published in 1979 in German and held by 9 WorldCat member libraries worldwide
 
moreShow More Titles
fewerShow Fewer Titles
Audience Level
0
Audience Level
1
  Kids General Special  
Audience level: 0.65 (from 0.27 for Who gets t ... to 0.96 for Hans Hofma ...)
Alternative Names
Chamberlain, John A.
Chamberlain, John Angus
Chamberlain, John Angus 1927-2011
John Angus Chamberlain
John Chamberlain
Languages
English (89)
German (16)
Spanish (7)
French (2)
Swedish (1)
Covers