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|  Featured image, "Ultrafull Private" (1967) is reproduced from Choices, published by Guggenheim Museum, in which sculptor Charles Ray writes, "As a teenager I heard a friend’s father refer to his son’s beat-up car as a rolling John Chamberlain. I mention this because the association shows just how the nature of the work could be misunderstood. In a sense, there are no dents in a Chamberlain—when we look for the spot welds, we find the beauty of deliberate decisions.
As a young sculptor, I embraced Donald Judd’s take on Chamberlain. Judd pointed to the hollow core around which Chamberlain built his sculptures. Through Judd I saw past the Pop imagery of the smashed car parts; empty space as a material armature caught my attention, and the nature of Chamberlain’s expression dissolved and was reborn to fit with my then-present sculptural concern." | | |  | JOHN CHAMBERLAIN: THE FOAM SCULPTURES
Text by Klaus Kertess, Marianne Stockebrand, Iris Winkelmeyer.
THE CHINATI FOUNDATION
ISBN: 9781604613704 | US $35.00
Pub Date: 3/1/2008
Active | Awaiting stock
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|  | JOHN CHAMBERLAIN: PAPIER PARADISIO
Edited by Dieter Schwarz. Essays by Robert Creeley and Fielding Dawson.
RICHTER VERLAG
ISBN: 9783937572413 | US $55.00
Pub Date: 3/1/2006
Active | In stock
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| |  | JOHN CHAMBERLAIN
CANTZ
ISBN: 9783893222391 | US $65.00
Pub Date: 10/2/1991
Out of print | Not available
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| Text by Donna De Salvo, Susan Davidson, Dave Hickey, Helen Hsu, Adrian Kohn, Don Quaintance, Charles Ray.
Published by Guggenheim MuseumJohn Chamberlain rose to prominence in the late 1950s with energetic, vibrant sculptures hewn from disused car parts, achieving a three-dimensional form of Abstract Expressionism that astounded critics and captured the imaginations of fellow artists. For a seven-year period in the mid-1960s, the artist abandoned automotive metal and turned to other materials. Motivated by scientific curiosity, Chamberlain produced sculptures in unorthodox media, such as urethene foam, galvanized steel, paper bags, mineral-coated Plexiglas and aluminum foil. Since returning in 1972 to metal as his primary material, Chamberlain limited himself to specific parts of the automobile, adding color to found car parts, dripping, spraying and patterning on top of existing hues to an often wild effect. In recent years, the artist has embarked on the production of a new body of work that demonstrates a decided return to earlier themes. John Chamberlain: Choices accompanies the Guggenheim Museum exhibition, which comprises 95 works, from the artist’s earliest monochromatic iron sculptures to the outsized foil creations he is working on today, encompassing shifts in scale, material and methods informed by the collage process that has been central to Chamberlain’s working method. This fully illustrated exhibition catalogue includes essays by Susan Davidson, Donna De Salvo, Dave Hickey, Adrian Kohn and Charles Ray with an extensive chronology by Helen Hsu and a lexicon by Don Quaintance.
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| Vol. 2Published by Walther König, KölnThe American sculptor John Chamberlain, known for using parts of wrecked automobiles in his volumetric, abstract work, is widely considered one of the most important artists of the 60s generation. Here, he speaks with curator, museum director, writer and cultural catalyst Hans Ulrich Obrist, editor of The Conversation Series, about everything from the need for a redesigned hospital gown, to his relationship to Donald Judd and Marfa, Texas, to "recipes" for making art, his years spent in the Navy, becoming a hairdresser in order to meet women, being cast as a drunken womanizer by Black Mountain College scholars, Andy Warhol's Factory, John Waters, Robert Creeley and even Chamberlains, the restaurant he owned with his son in the mid-1990s.
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| Text by Klaus Kertess, Marianne Stockebrand, Iris Winkelmeyer.
Published by The Chinati FoundationHere is the flip side of John Chamberlain's well-known crushed car sculptures: his work in foam. Just as revelatory in their formal sophistication, these works, primarily made from 1966 to 1970, with a few made in the late 1970s and early 1980s, boggle the eye with their simplicity. To make them, Chamberlain looped rope around a mass of plain or painted urethane foam and tightened it to create dynamic tensions, which resulted in seductively rounded volumes. These sculptures are essential to Chamberlain's oeuvre, and this is the first publication to address them. Its first section is based on the Marfa, Texas, Chinati Foundation exhibition of 2005-2006, with installation shots and photographs of each exhibited piece; the second section assembles a total of 85 foam sculptures, constituting an almost complete catalogue of this group and an update to Chamberlain's catalogue raisonné of 1986. Essays by Klaus Kertess, Iris Winkelmeyer and Marianne Stockebrand treat the sculptures in the larger context of Chamberlain's oeuvre and discuss the issue of conservation.
|  | STATUS: Temporarily out of stock pending additional inventory. |
| Edited by Dieter Schwarz. Essays by Robert Creeley and Fielding Dawson.
Published by Richter VerlagWhen John Chamberlain began his career in the late 1950s, his starting point was Abstract Expressionist painting. As has since been remarked, his twisted, lacquered, partially painted, metal sculptures eventually created a new, three-dimensional Abstract Expressionism. This collection of his two-dimensional works from different creative phases brings him back to that starting point and suggests other directions he might have taken--and quietly did take, in sketching--reinforcing both the pictorial character of his work and his unconventional way with materials. Papier Paradisio includes subtle improvised works on paper, small reliefs made in cardboard and metal, spray paintings and Formica.
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| Artwork by John Chamberlain, Lawrence Weiner. Contributions by Julie Sylvester.
Published by Dia Art FoundationA book on the series of large, low sculptures from 1981-1982 which Chamberlain called "Gondolas," along with a large scale related work, "Dooms Day Flotina."
|  | STATUS: Out of print | 12/11/2007
For assistance locating a copy, please see our list of recommended out of print specialists > |
| Published by Cantz
|  | STATUS: Out of print | 4/23/2003
For assistance locating a copy, please see our list of recommended out of print specialists > |
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