:just a bit about John Chamberlain #rip

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:gagosian

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.first of All, Rest in Peace Sir & thanks for all d progress!

I would like to mention on my blog for one of d first modern sculptors in d art history. Inventive for d time when he start with his creativity work and pretty unique to be part of d history as respected artist that was promoting d diversity of expression nowadays. It’s hard to find ur own signature, to be something that shows d quality of d artist also as d topic he is working on.

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John Angus Chamberlain [ b.April 16, 1927 – d. December 21, 2011] was American sculptor that is best known for creating sculptures from old automobiles (or parts of) that bring the Abstract Expressionist style of painting into three dimensions ..

His works have been exhibited around the world and have been included in the São Paulo Art Biennial (1961, 1994), the Venice Biennale (1964), the Whitney Biennial (1973, 1987) and Documenta, Kassel, Germany (1982) and he has had over 100 solo shows, traveling exhibitions, and retrospectives.

:d art artstory.org writes:

“he is creating vibrantly colored, dynamic sculptures from crushed, twisted and bent automobile parts. Inspired by the scale, color and impulsive creation of Abstract Expressionist work, Chamberlain was a pioneering force through his use of found materials and diverse colors. While also experimenting with a variety of sculptural media, as well as with film and painting, he greatly impacted many generations of artistic movements, including Minimalism and Pop Art, and continues to create inventive work today.”

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Key Ideas
  • Chamberlain retains the jagged edges and unrefined paint colors of his primary medium – steel automobile parts – to illustrate his spontaneous, improvisational process. This technique brings the instinctual and gestural brushstrokes of his Abstract Expressionist peers into three dimensions.
  • Rejecting the frequent comparison of his work to violent car crashes, Chamberlain intends his audience to view his work aesthetically without preconceived ideas about the materials’ past. He aims to give everyday objects entirely new meanings, ranging from poetic abstraction to figural allusion.
  • A main concept for Chamberlain is the idea of “fit,” a natural, innate interconnection between sections of his sculptures. Rather than predetermining structures, he lets the fragments’ shapes and colors dictate composition.

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:In d bulletin we can find this part that highlight part of his life and maybe d main reason why he start using this stuffs as material for his art.

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Automobiles are a loaded subject, especially in the decades following World War II in the United States, which has led some observers to ascribe specific social meanings to Chamberlain’s art. The crushed automobiles have been connected to the violent death of Abstract Expressionist painter Jackson Pollock — who died in a car crash in 1956 — and then to the slightly later, 1960s car-crash paintings of Pop artist Andy Warhol. Chamberlain was skeptical. Of his choice of automobile sheet metal, the artist once said, “Michelangelo had a lot of marble in his backyard, so to speak; I had a lot of this stuff.

Using a common material is best for sculpture, he added, because it “doesn’t get in the way of doing an uncommon thing.

The Line Up Dedicated to the Sarasota Police Dept_1982

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.In 1957 after his first work called Shortstop & made out of two fenders repeatedly run over by a truck we read from guardian.co.uk part of that what he said in that time:

“It was like, God, I finally found an art supply, and it was so cheap it just made you laugh,” he later said. “I think of my art materials not as junk but as garbage. Manure, actually: it goes from being the waste material of one being to the life-source of another.”

Rev. E. Piscpalian Swifty 2oo5

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.d Guggenheim museum in New York is preparing retrospective exhibition from his works in February. We can see nearly 100 pieces from his earliest monochromatic welded iron-rod sculptures to the large-scale foil creations of recent years. But if ur not in US and u are interested in this artist and his works and still between my lines, hope u like d selection that I’ve done for d white blog.

:witchesoasis 2o11

Onecaratstud, 2010

;gagosian

Day Flotilla 1982

flywheelsonata 2oo7

:gagosian

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do u like his style, u think he left traces for d future generations? . ..u can leave ur comments below or on :d white b[l]og ::: #facebook page

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:zen greeting::: Lee Ufan & ‘marking Infinity

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!lets we ALL say "OM"mmm. .. to this stOnes ~ :)

@ Solomon R. Guggenheim Museum

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.This stones .. no words can be butterfly in a front of this works. Master pieces, chef-d’œuvres of this times. D history of art have had changes like this in d decades and centuries ago, but this for sure is d change that fits my sense of understanding.

[@kihuPotru]

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Periodically I was seeing things from this artist, d stones yes and in same moment I felt some deep meditative energy that surrounds me. Every time when I watch this pieces of grande art I have d feeling that this connection is stronger even that is virtual, there is no pure communication between me and d stones or d environment, d space. ..d energy that they produce acting one, titled “Marking Infinity”. I like d title, very symbolic name for d 40 year retrospective exhibition of artist Lee Ufan [b. 1936, South Korea]

stunning interventions with d stone like element that play with d gravity mostly everywhere in his works, gives them some role of levitation souls that travel around d space even that they are strongly situated in one single place in d gallery. He make his spiritual zone, marks his infinity of understanding d universe and his living in deeper sense.

:u can see the short video from this performance where sir Lee is putting d stone on this sensitive glass platform. if we mention d dialog that he use in deep sense in other works too he is celebrating in a way d confrontation between d inner personality [soul] with this glass bell reality.

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#shortly artnet mention:

Titled “Marking Infinity,” the show inhabits the museum’s spiraling exhibition ramp, rotunda and two ancillary galleries with minimalist expanses of canvas and spare configurations of stone and steel. It’s a Zen Garden of matter, form and space.

:The artist-philosopher Lee Ufan from d early 60ties is marking one special way of expressing trough his art and since then he land in d art community as person pretty important for d modern art history. His deep intellectual combination of d visual, conceptual and theoretical brings his art pieces in a stadium that is comfortable for all d viewers. Meditation by itself.

” Since his early Mono-ha period, Lee has restricted his choice of sculptural materials to steel plates and stones, focusing on their precise conceptual and spatial juxtaposition. The steel plate—hard, heavy, solid—is made to build things in the modern world; the stone, in its natural as-is state, “belongs to an unknown world” beyond the self and outside modernity, evoking “the other” or “externality.”

Arranging the plates in precise relationships to the stones, Lee’s Relatum series (1968– ) presents a durational form of coexistence between the made and the not made, the material and the immaterial elements of our surroundings. The series title is a philosophical term denoting terms, objects, or events between which a relation exists. In Lee’s mind, the occasion of the site-specific work and the network of dynamics it triggers is more important than the object per se, and we the viewer enter the scene as an equal part of the whole.”

:Alexandra Munroe, Samsung Senior Curator,Asian Art [from guggenheim]

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:besides this works with stones that I most prefer in this retrospective exhibition Sir Lee Ufan presents some paintings, some of them called dialogs at d @guggenheim:

:from line

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!hope u like this post, if u have anything else to mention here I would be very happy if I see ur opinions.. for me this are not d only projects that I like from him, he really creates chef-d’œuvres. .. u can leave ur comments below or on :d white b[l]og ::: #facebook page

:Zen greeting::: Lee Ufan & ‘Marking Infinity