The First Art Newspaper on the Net   Established in 1996 United States Monday, April 23, 2018


Gagosian opens an exhibition of metal sculpture by John Chamberlain
John Chamberlain, Murmur, 2002. Painted and chrome-plated steel, 16 x 26 x 19 inches 40.6 x 66 x 48.3 cm. © 2018 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York. Courtesy Gagosian. Photo by Rob McKeever.


LONDON.- Gagosian presents “ENTIRELYFEARLESS,” an exhibition of metal sculpture by John Chamberlain. Organized in collaboration with the Estate of John Chamberlain, the exhibition is the first in London since “New Sculpture” at Gagosian Britannia Street in 2011.

Chamberlain’s distinctive metal sculptures, often made of crushed and torqued automobile steel, reveal both the stately grace and the expressive plasticity of industrial materials. Exploring the interplay of color, sheen, weight, and balance, Chamberlain taps into the dynamic energy of Abstract Expressionism, the pre-manufactured elements of Pop and Minimalism, and the provocative curves and swells of high baroque.

In this exhibition, large-scale floor sculptures and wall-mounted works made over the course of four decades attest to the seemingly infinite variations of shape and color that Chamberlain explored throughout his career. The centerpiece, ENTIRELYFEARLESS (2009), towers over the viewer, its scrunched red sides bracketed by car bumpers in shiny silver chrome. As fluid as folded drapery, and arresting as a marble monument, it subverts expectations of both abstraction and representation, while exuding a subtle figural quality. In BISHOPBUDD (2009), a nest of twisted metal strips sits atop a huddle of larger contorted planes of black and white steel—the robust, doming form recalling both an elegant tree and a menacing mushroom cloud. Chamberlain fostered a keen appreciation for poetry during the year he spent at Black Mountain College in 1955, and began to consider language as an integral part of his aesthetic approach. His dynamic titles—usually in all caps without spacing—often act as semiotic echoes of the sculptures themselves.

WANDERINGWHISPER (1986) and MURMUR (2002) show the evolution of Chamberlain’s use of color, with a rosette-like swirl of silver, orange, and red in the former, embellished with occasional scratches and dents, and bold turquoise, green, and purple in the latter, brightly reminiscent of the graphics, graffiti, and decals of the early 2000s. On the wall, the more muted tones of Rebel Ruckus (1975) contrast with GLEAMINGSPOTLIGHT (1992), in which rust peeks out from the twists and folds of polished metal, creating distorted, overlapping reflections.

John Chamberlain was born in Rochester, Indiana, in 1927, and died in New York in 2011. Collections include Tate, London; Stedelijk Museum, Amsterdam; Museum für Moderne Kunst, Frankfurt; Museum moderner Kunst Stiftung Ludwig, Vienna; Museu Coleção Berardo, Lisbon; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Dia: Beacon, NY; Chinati Foundation, Marfa, TX; Menil Collection, Houston; Los Angeles County Museum of Art; and Museo Jumex, Mexico City. His first retrospective at the Solomon R. Guggenheim Museum, New York (1971) was followed by more than one hundred solo exhibitions, including “John Chamberlain: Sculpture, An Extended Exhibition,” Dia Art Foundation (1982–85); “John Chamberlain: Sculpture, 1954–1985,” Museum of Contemporary Art, Los Angeles (1986); “John Chamberlain,” Staatliche Kunsthalle Baden-Baden, Germany (1991); “John Chamberlain: Sculpture,” Stedelijk Museum, Amsterdam (1996); “John Chamberlain: Foam Sculptures (1966–79); Photographs (1989–2004),” Chinati Foundation, Marfa (2005–06); and “John Chamberlain: American Tableau,” Menil Collection, Houston (2009). A second retrospective at the Solomon R. Guggenheim Museum, “Choices,” took place in 2012. Other recent exhibitions include “John Chamberlain: It Ain’t Cheap,” Dan Flavin Art Institute, Dia Art Foundation, Bridgehampton, NY (2014); and “John Chamberlain,” Inverleith House and Royal Botanic Garden, Edinburgh (2015).

“John Chamberlain: Foils,” an outdoor installation of two monumental aluminum foil sculptures, is on view at LongHouse Reserve, East Hampton, NY, through October 2018.





Today's News

April 17, 2018

Boy and an amateur archaeologist unearth legendary Danish king's trove in Germany

Gagosian opens an exhibition of metal sculpture by John Chamberlain

Christie's to offer two 17th century bronze masterpieces from 'The Court of the Sun King' Louis XIV of France

Christian Boltanski's first solo exhibition in London since 2010 on view at Marian Goodman Gallery

Drouot to offer a unique and exceptional collection of 7 works by Frank Overton Colbert

Freeman's to offer diamond from the Collection of Dorrance "Dodo" H. Hamilton in May auction

Getty Museum appoints James A. Ganz to Senior Curator of Photographs

High Museum unveils plans for reinstallation led by Selldorf Architects

Zsa Zsa Gabor Estate shatters expectations at Heritage Auctions

Nationalmuseum Sweden acquires mirror ordered by Count Fabian Wrede in the 1690s

Thames & Hudson publishes 'Misère: The Visual Representation of Misery in the 19th Century' by Linda Nochlin

Museum Ludwig opens a survey exhibition with over 120 works by Haegue Yang

'Full Metal Jacket' star R. Lee Ermey dead at 74

Exhibition of black and white images by Tereza Zelenkova on view at the Ravestijn Gallery

Brooklyn-based painter Eric LoPresti opens exhibition at Burning in Water

Frank Gehry leads $2 million investment in expansion of arts-fueled school reform program

Follies: Architectural Whimsy in the Garden outdoor exhibition on view at Winterthur

DinnerWear Jewelry turns broken antique china into beautiful, wearable keepsakes

Exhibition explores how Catholicism shaped and moulded Western image culture

The National WWII Museum breaks ground on Bollinger Canopy of Peace

Estorick Collection opens exhibition focusing on glamour and modernity in 1930s Italian cinema

Julien's Auctions to offer 300 items of celebrity sporting memorabilia

Ten contemporary Australian artists reimagine historic works from the Bendigo Art Gallery collection

'Versus' by visual artists PichiAvo on view at Underdogs Gallery

Most Popular Last Seven Days



1.- Boy and an amateur archaeologist unearth legendary Danish king's trove in Germany

2.- Exhibition at The Met illustrates what visitors encountered at The palace of Versailles

3.- Philadelphia Museum of Art opens "Modern Times: American Art 1910-1950"

4.- Exhibition at Michael Hoppen Gallery presents a cross-section of works from Thomas Mailaender's career

5.- New York's Chelsea Hotel celebrity door auction raises $400,000

6.- Stevie Ray Vaughan's first guitar drives Entertainment & Music Memorabilia Auction to nearly $2.9 million

7.- Lichtenstein's Nude with Blue Hair tops $2.4 million sale of Modern & Contemporary Prints & Multiples

8.- $6.7 million Fancy Intense Blue Diamond sets auction record at Sotheby's New York

9.- Mexico court blocks sales of controversial Frida Kahlo Barbie doll

10.- Dutch museums to conduct new research on the paintings of Pieter de Hooch



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 

Founder:
Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez


Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful