John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags.
After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself.
Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel.
Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art.
Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993).
Chamberlain in his temporary living quarters and studio, Glueck’s Auto Parts salvage yard, Osprey, Florida, August 27,1980 Photo: Marcia Corbino © Marcia Corbino Courtesy the Estate of John Chamberlain and Hauser & Wirth
John Chamberlain
Biography
Print BiographyStudied at The Art Institute of Chicago, IL, 1952
Studied at Black Mountain College, NC, 1956
Solo Exhibitions
Hauser & Wirth, Bahnhofstrasse, 'John Chamberlain. Reclaimed', Zurich, Switzerland
LongHouse Reserve, ‘John Chamberlain. Foils,’ East Hampton NY
Gagosian, in collaboration with Galerie Patrick Seguin, 'John Chamberlain | Prouvé', New York NY
Dan Flavin Art Institute, Dia Art Foundation, 'John Chamberlain. It Ain’t Cheap', Bridgehampton NY
Fairchild Tropical Botanic Garden, 'Chamberlain at Fairchild', Coral Gables, FL
Installation at Seagram Building. Gagosian Gallery, 375 Park Avenue, New York, NY
Pinakothek der Moderne, 'John Chamberlain. CURVATUREROMANCE', Munich, Germany
Paula Cooper Gallery, 'John Chamberlain', New York NY
Gagosian Gallery, 'John Chamberlain. New Sculpture', New York NY
Gagosian Gallery, 'John Chamberlain. New Sculpture', London, England
More Gallery, 'John Chamberlain. SINKOPEEFEAST', Giswil, Switzerland
L & M Arts, 'John Chamberlain. Early Years', New York NY
The Menil Collection, 'Contemporary Conversations. John Chamberlain, “American Tableau”', Houston TX
Anthony Meier Fine Arts, 'John Chamberlain. New Work', San Francisco CA
Buchmann Galerie, 'John Chamberlain. It’s his show', Berlin, Germany (Travelling Exhibition)
Galerie Xavier Hufkens Gallery, 'John Chamberlain. New Work', Brussels, Belgium
PaceWildenstein, 'John Chamberlain. Recent Sculpture', New York NY
Waddington Galleries, 'John Chamberlain. Without Fear', London, England
Kunstmuseum Winterthur, 'John Chamberlain. Papier Paradiso', Winterthur, Switzerland
The Menil Collection, 'John Chamberlain Sculpture. Selections from The Menil Collection and Dia Center for the Arts', Houston TX
PaceWildenstein, 'John Chamberlain. Recent Sculpture', New York NY
Jablonka Galerie, 'John Chamberlain. "Sculptures"', Cologne, Germany
Stedelijk Museum, 'John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995', Amsterdam, Netherlands (Travelling Exhibition)
Kunstmuseum Wolfsburg, 'John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995', Wolfsburg, Germany (Travelling Exhibition)
Galerie Daniel Blau, 'Baby Tycoons. Skulpturen von John Chamberlain', Muenster, Germany
PaceWildenstein, 'John Chamberlain. Recent Sculpture', New York NY (Travelling Exhibition)
Daniel Weinberg Gallery, 'John Chamberlain. Recent Sculpture', Los Angeles CA (Travelling Exhibition)
Galerie Karsten Greve, 'John Chamberlain', Paris, France
Galerie Sonia Zannettacci, 'John Chamberlain Photographs', Geneva, Switzerland
Parrish Art Museum, 'Wide Point. The Photography of John Chamberlain', Southampton NY
The Pace Gallery, 'John Chamberlain. Recent Work', New York NY
Dan Flavin Art Institute and Dia Center for the Arts, 'John Chamberlain. New Work', Bridgehampton NY
Laura Carpenter Fine Art, 'John Chamberlain. New Sculpture', Santa Fe NM
Galleria Seno, 'John Chamberlain', Milan, Italy
Staatliche Kunstsammlungen Dresden, 'John Chamberlain', Dresden, Germany (Travelling Exhibition)
Pace Editions, 'John Chamberlain. Monotypes', New York NY
The Pace Gallery, 'John Chamberlain. New Sculpture', New York NY
Waddington Galleries, 'John Chamberlain', London, England
Margo Leavin Gallery, 'John Chamberlain', Los Angeles CA
The Menil Collection, 'Sculpture, John Chamberlain, 1970s & 1980s', Houston TX
Xavier Fourcade, Inc., 'John Chamberlain. Recent Sculpture', New York NY
Fabian Carlsson Gallery, 'John Chamberlain. Recent Sculpture', London, England
Galerie Fred Jahn, 'John Chamberlain. Oils', Munich, Germany (Travelling Exhibition)
Galerie Rudolf Zwirner, 'John Chamberlain. Oils', Munich, Cologne, Germany (Travelling Exhibition)
Margo Leavin Gallery, 'John Chamberlain. Sculpture', Los Angeles CA
Xavier Fourcade, 'John Chamberlain. New Sculpture', New York NY
Gallery Helen vand der Meij, 'John Chamberlain. Tonks', Amsterdam, Netherlands
Galerie Fred Jahn, 'John Chamberlain. Drawings', Munich, Germany
Palacio de Cristal Parque del Retiro, 'John Chamberlain. Esculturas', Madrid, Spain
Marian Goodman Gallery, 'Exhibits Tonks in John Chamberlain', New York NY
Robert L. Kidd Galleries, 'John Chamberlain', Birmingham MI
Butler Institute of American Art, 'John Chamberlain. Sculpture and Work on Paper', Youngstown OH
The John and Mable Ringling Museum of Art, 'John Chamberlain Reliefs 1960–1982', Sarasota FL
Dia Art Foundation, 'Chamberlain Gardens. Essex', Essex CT
Leo Castelli Gallery, 'John Chamberlin', New York NY
Stedelijk van Abbemuseum, 'John Chamberlain', Eindhoven, Netherlands (Travelling Exhibition)
Galerie Heiner Friedrich, 'John Chamberlain', Cologne, Germany (Travelling Exhibition)
Dia Art Foundation, Manhattan Psychiatric Center, Ward’s Island, 'The Texas Pieces', New York NY
Margo Leavin Gallery, 'View from the Cockpit', Los Angeles CA
Mayor Gallery, 'John Chamberlain. An Exhibition of Sculpture', London, England
Contemporary Arts Museum Houston, 'John Chamberlain. Recent Sculpture', Houston TX (Travelling Exhibition)
Saint Louis Botanical Gardens, 'John Chamberlain. Recent Sculpture', Saint Louis MO (Travelling Exhibition)
Minneapolis Institute of Arts, 'John Chamberlain. Recent Sculpture', Minneapolis MN (Travelling Exhibition)
Ronald Greenburg Gallery. 'John Chamberlain', Saint Louis MO
Dag Hammarskjold Plaza Sculpture Garden, 'John Chamberlain. The Texas Pieces', New York NY
Leo Castelli Gallery, 'John Chamberlain', New York NY
Locksley/Shea Gallery, 'John Chamberlain. Minneapolis Couches', Minneapolis MN
Mizuno Gallery, 'John Chamberlain', Los Angeles CA
Galerie Rudolf Zwirner, 'John Chamberlain', Cologne, Germany
Pomona College Art Department, 'John Chamberlain', Claremont CA
The Cleveland Museum of Art, 'Gallery 26. John Chamberlain', Cleveland OH
Galerie Ileana Sonnabend, 'John Chamberlain', Paris, France
Dilexi Gallery, 'John Chamberlain', Los Angeles CA
Leo Castelli Gallery, 'John Chamberlain', New York NY
Group Exhibitions
Rachel Uffner Gallery, 'Puff Pieces', New York NY
Whitney Museum of American Art, 'America Is Hard to See', New York NY
Gagosian Gallery (W. 24th Street) in collaboration with Galerie Patrick Seguin, 'Chamberlain | Prouve', New York NY
Sandra Gering Inc., 'Michael Scott and John Chamberlain. A Conversation', New York NY
Galerie Tanit-Beyrouth, 'Nine Shades of Black', Beirut, Lebanon
Pace Gallery, 'Carte Blanche', Zuoz, Switzerland
Timothy Taylor Gallery, 'Secrets of Sunset Beach', London, England
Rijksmuseum, 'Artzuid', Amsterdam, Netherlands
Parrish Art Museum, 'Making Connections. Permanent Collection Exhibition', Water Mill NY
Kunstmuseum Luzern, 'Revolution. John Chamberlain, Ida Ekblad, Christine Streuli', Luzern, Switzerland
Gagosian Gallery, 'Sculpture', Hong Kong, China
Acquavella Galleries, 'Robert & Ethel Scull. Portrait of a Collection', New York NY
The Pace Gallery, '50 Years at Pace', New York NY
P.S.1 Contemporary Art Center, '1969', New York NY
Whitney Museum of American Art, 'Artists Making Photographs. Chamberlain, Rauschenberg, Samaras, Ruscha, Warhol', New York NY
Tate Gallery, 'The Froehlich Foundation. German and American Art from Beuys and Warhol', London,
England
Museum für Moderne Kunst, 'Change of Scene V', Frankfurt, Germany
Royal Academy of Arts, 'American Art in the 20th Century. Painting and Sculpture 1913–1993', London, England (Travelling Exhibition)
Martin-Gropius-Bau, 'American Art in the 20th Century. Painting and Sculpture 1913–1993', Berlin, Germany (Travelling Exhibition)
Gagosian Gallery, 'Major Sculpture', New York NY
Musée National d’Art Moderne, Centre Georges Pompidou, 'Qu’est–ce que c’est la sculpture moderne?, Paris, France
The Cleveland Museum of Art, 'The Third Dimension', Cleveland OH (Travelling Exhibition)
Modern Art Museum of Fort Worth, 'The Third Dimension', Fort Worth TX (Travelling Exhibition)
Whitney Museum of American Art, 'The Third Dimension', New York NY (Travelling Exhibition)
Laguna Gloria Art Museum, 'Castelli and His Artists/Twenty–Five Years', auston TX (Travelling Exhibition)
Portland Center for the Visual Arts, 'Castelli and His Artists/Twenty–Five Years', Portland OR (Travelling Exhibition)
Leo Castelli Gallery, 'Castelli and His Artists/Twenty–Five Years', New York NY (Travelling Exhibition)
Aspen Center for the Visual Arts, 'Castelli and His Artists/Twenty–Five Years', Aspen CO (Travelling Exhibition)
La Jolla Museum of Contemporary Art, 'Castelli and His Artists/Twenty–Five Years', La Jolla CA (Travelling Exhibition)
Clocktower Gallery, 'Artists Make Toys', New York NY
The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 'Inaugural Exhibition', Washington DC
Dallas Museum of Fine Arts and Pollock Galleries, Southern Methodist University, 'Poets of the Cities. New York and San Francisco 1950-1965', Dallas TX
Monumenta, Newport RI
Pratt Institute, 'Large Scale Sculpture Show', Brooklyn NY
Moderna Museet, 'New York Collection for Stockholm', Stockholm, Sweden
World Trade Center, 'New York Artists on Tour', New York NY
Leo Castelli Gallery, 'Videotapes by Twelve Artists', New York NY
Seattle Art Museum, 'American Art. Third Quarter Century', Seattle WA
Whitney Museum of American Art, 'Whitney Biennial. Painting and Sculpture', New York NY
Michael C. Rockefeller Arts Center Gallery, State University College, 'Wreck', Fredonia NY
Indianapolis Museum of Art, 'Painting and Sculpture Today 1972', Indianapolis IN
Seibu Department Store, 'Martha Jackson Gallery Collection', Tokyo, Japan
Emily Lowe Gallery, Hoftra University, 'Art around the Automobile', Hempstead NY
Los Angeles County Museum of Art, 'Art and Technology', Los Angeles CA
The Museum of Modern Art, 'Younger Abstract Expressionists of the Fifties', New York NY
Palais des Beaux-Arts, 'Metamorphose des Dinges. Kunst und Antikunst 1910-1970', Brussels, Belgium
University Art Museum, 'Faculty Artists at UNM 1960-1970', Albuquerque NM
Contemporary Arts Center, 'Monumental Art', Cincinnati OH
Kunsthalle Nurnberg, 'Ding als Objekt. Europaische Objektkunst des 20 Jahrhunderts', Nuremberg, Germany
School of Fine and Applied Arts Gallery, Boston University, 'American Artists of the 1960s', Boston MA
Institute of Contemporary Art, University of Pennsylvania, 'The Highway', Philadelphia PA
The Metropolitan Museum of Art, 'New York Painting and Sculpture. 1940–1969', New York NY
Noah Goldowsky Gallery, 'John Chamberlain, Burgoyne Diller, Mark di Suvero, Myron Stout', New York NY
Indianapolis Museum of Art, 'Painting and Sculpture Today-1969', Indianapolis IN
Roberson Center, 'New Media. New Methods', Binghamton NY
New Jersey State Museum, 'Soft Art', Trenton NJ
The Contemporary Arts Center, 'John Chamberlain, Jim Dine, George Ortman Exhibition', Cincinnati OH
Museum of Contemporary Art, 'Selections from the Collection of Mr. and Mrs. Robert B. Mayer', Chicago IL
Georgia Museum of Art, University of Georgia, 'Soft and Apparently Soft Sculpture', Athens GA
Blossom Music Center, 'An Exhibition of Monumental Sculpture', Cuyahoga Falls OH
Heckscher Museum, 'Sculpture Now', Huntington NY
Neue Pinakothek, Haus der Kunst, 'Sammlung 1968 Karl Stoher', Munich, Germany
HemisFair ’68, 'Sculpture, Murals and Fountains', San Antonio TX
Galerie Heiner Friedrich, 'Satisfaction', Munich, Germany
Solomon R. Guggenheim Museum, 'Sculpture from Twenty Nations', New York NY
Philadelphia Museum of Art, 'American Sculpture of the Sixties', Philadelphia PA (Travelling Exhibition)
Los Angeles County Museum of Art, 'American Sculpture of the Sixties', Los Angeles CA (Travelling Exhibition)
Leo Castelli Gallery, 'New Work. Chamberlain, Lichtenstein, Stella', New York NY
Leo Castelli Gallery, 'Ten Years', New York NY
Whitney Museum of American Art, 'Contemporary American Sculpture: Selection I', New York NY
Seth Siegelaub Contemporary Art, '“25”. Painting and Sculpture', New York NY
Cordier & Ekstrom Gallery, 'Hommage a Caissa', organized by Marcel Duchamp
Musée Rodin, 'Etats-Unis sculptures du XX siècle', Paris, France
Galerie Bruno Bischofberger, 'Pop Art', Zurich, Switzerland
Flint Institute of Arts, 'American Sculpture 1900-1965', Flint MI
Institute of Contemporary Art, 'Painting Without a Brush', Boston MA
Galerie Rudolf Zwirner, 'Two-person exhibition (with Allan D’Arcangelo)', Cologne, Germany
Jewish Museum, 'Recent American Sculpture', New York NY
XXXII Esposizione Biennale Internationale d’Arte Venezia, Venice, Italy
Institute of Contemporary Art, 'U.S.A.. Rauschenberg and Noland and Johns and Louis and Chamberlain and Dine and Stella and Oldenburg, The Biennale Eight', Boston MA
Art Institute of Chicago, '24th Annual Exhibition of the Society for Contemporary American Art', Chicago IL
Circarama Building, New York State Pavilion, World’s Fair, 'Group', Queens NY
Tate Gallery, 'Painting and Sculpture of a Decade. 54–64', London, England
Institute of Contemporary Art, University of Pennsylvania, 'The Atmosphere of ’64', Philadelphia PA
Pasadena Museum of Art, 'New American Sculpture', Pasadena CA
Leo Castelli Gallery, 'Chamberlain, Johns, Lichtenstein, Rauschenberg, Stella', New York NY
York NY
Washington Gallery of Modern Art, 'Sculptors of Our Time', Washington D.C.
The Museum of Modern Art, 'Sculpture in the Open Air', New York NY
Robert Fraser Gallery, 'American Sculptors', London, England
Galerie Ileana Sonnabend, 'Pop Art américain', Paris, France
Boston University Art Gallery, 'Six Sculptors', Boston MA
Martha Jackson Gallery, 'Sculpture/International', New York NY
Dwan Gallery, 'My Country "Tis of Thee"', Los Angeles CA
Leo Castelli Gallery, 'Two-person show (with Frank Stella)', New York NY
Solomon R. Guggenheim Museum, 'Modern Sculpture From the Joseph H. Hirshhorn Collection', New York NY
Leo Castelli Gallery, 'Group Show', New York NY
Museo Nacional de Bellas Artes, 'Premio Internacional de Escultura Instituto Torcuato Di Tella', Buenos Aires, Argentina
Institute of Contemporary Art, 'Art Since 1950', Boston MA (Travelling Exhibition)
Rose Art Museum, Brandeis University, 'Art Since 1950', Waltham MA (Travelling Exhibition)
Seattle World’s Fair, 'Art Since 1950', Seattle WA (Travelling Exhibition)
Green Gallery, 'Contemporary Painting and Sculpture', New York NY
Art Institute of Chicago, '65th Annual American Exhibition. Some Directions in Contemporary Painting and Sculpture', Chicago IL
Carnegie Institute, 'The 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture', Pittsburgh PA
Dwan Gallery, 'Six Sculptors', Los Angeles CA
San Francisco Museum of Art, 'The Art of Assemblage', San Francisco CA (Travelling Exhibition)
Dallas Museum for Contemporary Arts, 'The Art of Assemblage', Dallas TX (Travelling Exhibition)
The Museum of Modern Art, 'The Art of Assemblage', New York NY (Travelling Exhibition)
Allen Memorial Art Museum, Oberlin College, 'Three Young Americans', Oberlin OH
Museu d’Arte Moderna, 'VI Bienal de São Paulo', São Paulo, Brazil
Galerie Rive Droite, 'Le nouveau realisme a Paris et a New York' (organized by Pierre Restany), Paris, France
Leo Castelli Gallery, 'Sculpture and Relief. Bontecou, Chamberlain, Higgins, Scarpitta', New York NY
Galerie Claude Bernard, 'Aspects de la sculpture américaine', Paris, France
Martha Jackson Gallery, 'New Media – New Forms II', New York NY
Stable Gallery, 'New Sculpture Group. Fifth Exhibition', New York NY
Martha Jackson Gallery, 'New Media-New Forms I', New York NY
Museum of Fine Arts, 'Recent Sculpture USA', Boston MA (Travelling Exhibition)
City Art Museum of Saint Louis, 'Recent Sculpture USA', Saint Louis MO (Travelling Exhibition)
Los Angeles County Museum of Art, 'Recent Sculpture USA', Los Angeles CA (Travelling Exhibition)
Tucson Fine Arts Association, 'Recent Sculpture USA', Tucson AZ (Travelling Exhibition)
Denver Art Museum, 'Recent Sculpture USA', Denver CO (Travelling Exhibition)
The Museum of Modern Art, 'Recent Sculpture USA', New York NY (Travelling Exhibition)
Martha Jackson Gallery, 'The Enormous Room. Four Artists', New York NY
Hansa Gallery, 'Contemporary Americans', New York NY
Hansa Gallery, 'Three Men Drawings', New York NY
Davida Gallery, New York, NY, with Joseph Fiore
Awards & Honors
Skowhegan Medal for Sculpture, Skowhegan School of Painting and Sculpture, Maine, 1993
Lifetime Achievement Award in Contemporary Sculpture, International Sculpture Centre, Washington D.C., 1993
Member of the American Academy and Institute of Arts and Letters, New York, 1990
Distinction in Sculpture Honour from the Sculpture Center, New York, 1999
Bibliography
Monographs
Davidson, Susan, 'John Chamberlain. Choices', New York: Guggenheim Museum Publications, 2012 (exh. cat.)
Nash, Steven, Kertess, Klaus + [et. al.], 'It's All in the Fit. The Work of John Chamberlain', Marfa: Chinati Foundation, 2009
Hindry, Ann, Frèches-Thory, Claire, 'Correspondences – Vincent Van Gogh / John Chamberlain', Paris: Argol Éditions, 2007 (exh. cat.)
Sandler, Irving, 'John Chamberlain. Recent Sculpture', New York: Pace Wildenstein, 2005 (exh. cat.)
___, 'Conversations with Myself', New York: Pace Editions, 1992
___, 'John Chamberlain', Milan: Galleria Seno, London: Edward Totah Gallery, 1992 (exh. cat.)
Poetter, Jochen, Beckmann, Angelika, 'John Chamberlain', Baden-Baden: Kunsthalle Baden-Baden, 1991 (exh. cat.)
___, 'John Chamberlain. New Sculpture', New York: The Pace Gallery, 1991 (exh. cat.)
___, 'John Chamberlain. Esculturas', Madrid: Ministerio de Cultura, 1984 (exh. cat.)
___, 'Chamberlain', Paris: Galerie Ileana Sonnabend, 1964 (exh. cat.)
Selected Publications
Press
Engel, Xymna, 'Wie Kaufdorfer Autowracks zu Kunst wurden', on: bernerzeitung.ch, 5 May 2022, ill.
___, 'Hauser & Wirth: John Chamberlain', in: Moralmoda Magazine, vol. 3, no. 48, Spring 2022, ill.
Clavarino, Elena, 'John Chamberlain: Reclaimed', on: airmail.news, 3 May 2022, ill.
Waddoups, Ryan, 'In Marfa, a Trove of John Chamberlain Works Is Reopening', on: surfacemag.com, 29 April 2022, ill.
Morby, Alice, 'Iconic Donald Judd Building Reopens in Marfa', on: hypebeast.com, 29 April 2022
Angeleti, Gabriela, 'Three Exhibitions to see in New York this weekend', on: theartnewspaper.com, 1 October 2021, ill.
Kurz, Larissa, 'Three new individual exhibits filling the gallery at MJMAG for summer', on: moosejawtoday.com, 8 August 2021, ill.
Searle, Adrian, 'The sculptures chew at space, blunder and bulge. I feel threatened', on: the guardian.com, 23 June 2020, ill.
Wouk Almino, Elisa, 'John Chamberlain’s Previously Unknown Poems From Black Mountain College', on: hyperallergic.com, 16 April 2020, ill.
Micchelli, Thomas, ‘An Unlikely Matchup of Paper and Steel’, on: www.hyperallergic.com
Miller, M.H., ‘A Major Artist’s Miniature Sculptures’, on: www.nytimes.com, 6 September 2019, ill.
Armstrong, Annie, ‘Deep in the West of Texas. A Report from the First Marfa Invitational Art Fair’, on: www.artnews.com, New York, 5 April 2019, ill.
Whatley, Jack, ‘“Portraits of “Max’s Kansas City,” the epicentre of New York’s wild side. 1965-1981’, on: www.faroutmagazine.co.uk, London, 30 March 2019, ill.
Gayford, Martin, ‘Powerful elegy for a world slipping away. Tate Britain’s Asset Strippers reviewed’, on: www.spectator.co.uk, London, 30 March 2019, ill.
Nunes, Andrew, ‘Far Out! These 5 Cosmic Art Projects Prove That Outer Space Is the Next Avant-Garde Frontier’, on: www.artnet.com, New York, 12 February 2019, ill.
Pundir, Pallavi, ‘Vincent Van Duysen designs a minimalist urban loft in Antwerp’, on: www.architecturaldigest.in, Mumbai, 12 March 2018, ill.
Phelps, Nicole, ‘Fall 2018 Ready-To-Wear. Bottega Veneta’, on: www.vogue.com, New York, 9 February 2018, ill.
Tarmy, James, ‘This Heap of Metal Costs $4.5 Million, and That May Be a Bargain’, on: www.bloomberg.com, New York, 13 December 2016, ill.
Wong, Ryan Lee, ‘Two Men and a Show’, on: www.nytimes.com, New York, 15 November 2016, ill.
Landes, Nora, ‘In 1969, Warhol, Rauschenberg, and Chamberlain Sent Their Art to the Moon’, on: www.artsy.net, New York, 3 November 2016, ill.
Neuendorf, Henri, ‘Galerie Karsten Greve Offers a Rare Look at John Chamberlain’s Photographs’, on: www.artnet.com, New York, 9 February 2016, ill.
Leitch, Luke, ‘Fall 2016 Menswear. Christopher Kane’, on: www.vogue.com, New York, 11 January 2016, ill.
Cumming, Laura, ‘Edinburgh art festival 2015 review—a great year for sculpture’, on: www.theguardian.com, London, 2 August 2015, ill.
Morris, Ali, ‘Heavy metal. John Chamberlain’s first UK exhibition takes Edinburgh’, on: www.wallpaper.com, London, 31 July 2015, ill.
Wullschlager, Jackie, ‘John Chamberlain, Inverleith House, Edinburgh’, on: www.ft.com, London, 31 July 2015, ill.
Busch, Michael, ‘Mangled Cars and Sleek Architecture’, on: www.hyperallergic.com, New York, 31 March 2015, ill.
Bell, Larry and Lynne Cooke, ‘Perfect Fit. John Chamberlain Remembered’, in: Artforum, New York, March 2012, ill.
Chou, Kimberly, ‘A Life in Nuts and Bolts’, on: www.wsj.com, New York, 23 February 2012, ill.
Rosenberg, Karen, ‘Beyond the Junkyard’, on: www.nytimes.com, New York, 23 February 2012, ill.
Johnson, Ken, ‘The Hamptons, A Playground for Creativity’, on: www.nytimes.com, New York, 6 August 2004
Colman, David, ‘A Horn That Sings of Smoky Clubs’, on: www.nytimes.com, New York, 22 February 2004
Johnson, Ken, ‘ART REVIEW. Where Quiet Contemplation Beats the Rewards of Shock’, on: www.nytimes.com, New York, 20 February 2004
Kimmelman, Michael, ‘John Chamberlain—“Early Works”’, on: www.nytimes.com, New York, 14 November 2003
Kramer, Hilton, ‘Monster Minimalism. Dia Beacon Museum A Vast, Ascetic Folly’, on: www.observer.com, New York, 15 September 2003
Johnson, Ken, ‘ART REVIEW. Long Island Shows. The Gilded Age to the Swirl of the Double Helix’, on: www.nytimes.com, New York, 25 July 2003
Wilken, Karen, ‘The Gallery. Minimal Art Maximal Setting’, in: The Wall Street Journal, New York, 15 July 2003, p. D8
Princenthal, Nancy, ‘Dia.Beacon. The Imperturbables’, in: Art in America, New York, July 2003, pp. 62-72
Long, Robert, ‘Chamberlain on Chamberlain’, in: The East Hampton Star, East Hampton, 26 June 2003, pp. C1, C5
Douglas, Sarah, ‘Wider Commercial Scene. John Chamberlain. Recent Sculpture, PaceWildenstein. Agnes Martin. Recent Paintings, PaceWildenstein’, in: The Art Newspaper, New York, February 2003, p. 4
Kimmelman, Michael, ‘The Dia Generation’, on: www.nytimes.com, New York, 6 April 2003
Long, Robert, ‘Chamberlain’s Paradoxical Works’, in: The East Hampton Star, East Hampton, 20 February 2003, pp. C1, C3
Finch, Charlie, ‘Thoughts on the Passing Scene’, on: www.artnet.com, New York, 23 January 2003, ill.
Carrier, David, ‘New York. Modern Sculpture’, in: Burlington, London, January 2002, pp. 55-56
Kalina, Richard, ‘Willem de Kooning and John Chamberlain at PaceWildenstein’, in: Art in America, January 2002, p. 105
Johnson, Ken, ‘Willem de Kooning and John Chamberlain—“Influence and Transformation”’, in: The New York Times, New York, 19 October 2001, p. E39, ill.
Myers, Holly, ‘Behold the Hard-Boiled Fantasy World of Glenn Barr’, on: www.latimes.com, Los Angeles, 25 May 2001
Obrian, John, ‘Ed Moses and John Chamberlain’, in: ArtScene, Los Angeles, May 2001, pp. 15-16
__, ‘Easy as Aby’, in: The New York Observer, New York, 2 August 1999, p. 21
King, Elaine A., ‘New York. John Chamberlain’, in: Sculpture, New York, May 1999, pp. 73-74
Johnson, Ken, ‘Galleries. SoHo, John Chamberlain’, in: The New York Times, New York, 27 March 1998
__, ‘Precious Metal’, in: Time Out, New York, 19-26 March 1998, p. 61
Kandel, Susan, ‘Discovering a Rainbow in Metalwork’, in: The Los Angeles Times, Los Angeles, 9 January 1998, p. F26
Chambers, Karen, ‘Joan Mitchell and John Chamberlain. A Juxtaposition’, in: Review, New York, 15 December 1997, p. 23
Anderton, Frances, ‘The gallery strikes back’, in: The Art Newspaper, New York, July/August 1996, p. 34
Griffin, Tom, ‘John Chamberlain. PaceWildenstein’, in: Time Out, New York, 12-19 June 1996, p. 26
Pollack, Barbara, ‘New Day at Dia’, in: ARTnews, New York, May 1996, p. 53
Brozan, Nadine, ‘In Bryan Park, the face of violence’, in: The New York Times, New York, 22 April 1996, p. B5
Gardner, Paul, ‘Pleasure, Pain & Protocol. Studio Visits’, in: ARTnews, New York, March 1996, pp. 106-109
Stevens, Mark, ‘Energy Made Visible’, in: New York, New York, 19 February 1996, pp. 62-63
De Bure, Gilles, ‘Qui sont les tetes de l’art’, in: Beaux Arts, Paris, October 1995, pp. 21-27
Goodwin, Betty, ‘Gallery Party Leaves Them Out on the Streets’, in: The Los Angeles Times, Los Angeles, 2 October 1995
Drohojowska-Philip, Hunter, ‘Still Making Things Happen’, in: The Los Angeles Times, Los Angeles, 17 September 1995, pp. 36-37
__, ‘A Question of Taste’, in: ARTnews, New York, September 1995, p. 30
Knight, Christopher, ‘A Blue-Chip Gallery Sees Blue Skies in L.A.’, in: The Los Angeles Times, Los Angeles, 17 September 1995, pp. 36-37
Vogel, Carol, ‘Art in the Hamptons. More is Clearly More’, in: The New York Times, New York, 8 August 1995, p. C13, ill.
Kalina, Richard, ‘John Chamberlain at PaceWildenstein’, in: Art in America, New York, January 1995, pp. 101-102
Adlmann, Jan Ernst, ‘Report from Santa Fe. Going Mainstream’, in: Art in America, New York, January 1995, pp. 51-55
Smith, Roberta, ‘Art in Review. John Chamberlain’, in: The New York Times, New York, 23 September 1994, p. C35
Baker, Kenneth, ‘Metal Packed with Form, Light’, in: The San Francisco Chronicle, San Francisco, 18 June 1994
Mannheimer, Steve, ‘Photos Take the Place of Smashed Cars’, in: The Indianapolis Star, Indianapolis, 1 May 1994, pp. 1-12
Strickland, Carol, ‘Unshackled, Unconventional Sculptor’, in: The New York Times, New York, 13 June 1993, p. 21, ill.
Vogel, Carol, ‘Finding the Specialists Upstairs in SoHo’, in: The New York Times, New York, 16 April 1993, pp. C1, C26, ill.
Baudot, Francois, ‘Chamberlain. Le Chic du Choc’, in: Elle, Paris, 12 April 1993
Fugate, Marty, ‘Interview. John Chamberlain’, in: Sarasota Arts Review, Sarasota, April 1993, pp. 19-22
Domino, Christophe, ‘Chamberlain Americano Mecano’, in: Beaux Arts, Paris, April 1993, pp. 42-47
Hochfield, Sylvia, ‘White by Any Name’, in: ARTnews, New York, March 1993, pp. 20,22
Spring, Justin, ‘Reviews’, in: Artforum, New York, November 1992
Gardner, Paul, ‘An extraordinary gift of art from ordinary people’, in: Smithsonian Magazine, Washington DC, October 1992, pp. 124-130
Wallach, Amei, ‘Taking a Long Last Look at the Best of Summer’, in: New York Newsday, New York, 4 September, 1992
Silvka, Rose, ‘From the Studio’, in: The East Hampton Star, East Hampton, 3 September 1992
Lesser, Adrienne, ‘Artist Shows His Mettle’, in: The Southampton Press, Southampton, 3 September 1992
Feaver, William, ‘Reviews. Sculpture, Waddington’, in: ARTnews, New York, September 1922, p. 133
Braff, Phyllis, ‘John Chamberlain’s Colorful Automobile Parts’, in: The New York Times, New York, 23 August 1992, p. 12
Smith, Roberta, ‘Long Island Shows. Small, Closely Focused and Odd’, in: The New York Times, New York, 21 August 1992, p. C22, ill.
Sansegundo, Seridan, ‘At the Galleries’, in: The East Hampton Star, East Hampton, 6 August 1992, p. 116
Rice, Robin, ‘The Gang’s All Here’, in: Philadelphia City Paper, Philadelphia, July 1992, p. 14
Dullea, Georgia, ‘With This Spiral. Guggenheim Inaugurates a Marriage’, in: The New York Times, New York, 26 June 1992, pp. B1-B2, ill.
Morgan, Robert C., ‘Psycho’, in: Tema Celeste, Milan, Summer 1992, p. 79
Tarbell, Bethany, ‘IFAR’s Most Wanted’, in: Art & Antiques, Wilmington, Summer 1992
Vetrocq, Marcia E., ‘Report from Turin. Back to Basics’, in: Art in America, New York, April 1992, pp. 67-72
Reynaud, Berenice, ‘Donald Judd regle ses comptes’, in: Beaux Arts, Paris, March 1992, pp. 53-59
Armstrong, Richard, ‘American Life in American Art, 1950-1990’, in: Atelier, March 1992, pp. 42-55
Schwan, Gary, ‘Florida artists shine at exhibit’, in: The Palm Beach Post, Palm Beach, 21 February 1992
Sabin, Selma, ‘South Florida Museum of Art an exciting stop’, in: The Advocate, New York, 19 February 1992
Hurlburt, Roger, ‘Talent shines with “Stars in Florida”’, in: The Sun-Sentinel, Ft. Lauderdale, 16 February 1992
Gardner, Paul, ‘Do Titles Really Matter?’, in: ARTnews, New York, February 1992, pp. 92-97
Schmitz, Rudolf, ‘Forever Young. John Chamberlain in Baden-Baden’, in: Parkett, Zürich, vol. 29, 1991, pp. 124-131
Heartney, Eleanor, ‘“Constructing American Identity” at the Whitney Museum Downtown’, in: Art in America, New York, September 1991, p. 133
Gimelson, Deborah, ‘Chicago Fairs’, in: Art & Auction, New York, September 1991
Sommerschuh, J., ‘Autoblech im Albertinum’, in: Sachsische Zeitung, Dresden, 24 August 1991
Smith, Roberta, ‘Visions of the 60’s, from 2 Dealers Who Shaped It’, in: The New York Times, New York, 16 August 1991, p. C1
__, ‘A Big Slice of the Cake But Not Much Filling’, in: The Art Newspaper, New York, vol. 10, July/September 1991
__, ‘John Chamberlain, Une Oeuvre Soudee’, in: Beaux Arts, Paris, vol. 92, July/August 1991
__, ‘John et Les Ferrailleurs’, in: City Magazine International, Paris, June 1991, p. 13
Harris, Dale, ‘Deep in the Art of Texas’, in: Travel and Leisure, New York, June 1991
Gookin, Kirby, ‘Reviews. John Chamberlain/Pace Gallery’, in: Artforum, Summer 1991, pp. 107-108
Altahe, Joan, ‘Color Me Sarasota’, in: The Sarasota Herald Tribune, Sarasota, 21 April 1991
Russel, John, ‘Art View. Where Little Nothings Turn into Big Somethings’, in: The New York Times, New York, 7 April 1991, pp. 33, 35
__, ‘Goings On About Town/Galleries-57th Street Area. John Chamberlain’, in: The New Yorker, New York, 1 April 1991
Johnson, Ken, ‘Of Industry & Intuition’, in: Art in America, New York, April 1991, pp. 128-135
__, ‘Satellite’, in: Artscribe, London, March/April 1991, p. 19
Tuchmann, Phyllis, ‘Art Review. One Man’s Power of Melding’, in: New York Newsday, New York, 27 March 1991, pp. 57, 84
__, ‘Biennale de sculptures de Monte Carlo’, in: Quotidien de Paris, Paris, 19 February 1991
__, ‘Painted Forms. Recent Metal Sculpture’, in: The New York Times, New York, 4 January 1991
__, ‘New York in Review’, in: Arts, New York, November 1990
Plunkett, Robert and Janis R. Frawley (ed.), ‘The Creative Spirit. Sarasota Artists and their Sense of Place’, in: Sarasota, Sarasota, October 1990, p. 19
Temata, Christine, ‘The variety is dazzling in “The Unique Print” at the MFA’, in: The Boston Sunday Globe, Boston, 23 September 1990
Parks, Cynthia, ‘You can see anything under the sun at “Florida” exhibition’, in: The Florida Times-Union, Jacksonville, 23 September 1990
Parks, Cynthia, ‘Fine Art for All Seasons’, in: The Florida Times-Union, Jacksonville, 23 September 1990
Gutterman, Scott, ‘World Chronicle-New York. Natural and Unnatural Causes’, in: Art International, Lugano, Fall 1990
Riley, Charles A., ‘Previews. Basel’, in: Art & Auction, New York, June 1990
__, ‘Chamberlain Inducted into Arts Hall of Fame’, in: Sarasota Herald Tribune, Sarasota, 27 May 1990
Altabe, Joan, ‘John Chamberlain from a New Angle’, in: Sarasota Herald Tribune, Sarasota, 13 May 1990
Clothier, Peter, ‘Living with Art’, in: ARTnews, New York, May 1990
Smith, Roberta, ‘Sculpture in the City. From Blankets to Bronze’, in: The New York Times Magazine, New York, 20 April 1990
__, ‘Current Shows’, in: The Independent, London, 17 April 1990
Norman, Geraldine, ‘Contemporary Art Market. Abstract Expressionism shows its staying power’, in: The Independent, 16 April 1990
Kent, Sarah, ‘John Chamberlain. Waddington’s’, in: Time Out, London, 11-18 April 1990
Ehrlich, Jane, ‘From junkyard to art gallery. The man who brought us auto parts cum fine arts cruises into London’, in: The American, Salisbury, 6 April 1990
Vaizey, Marina, ‘Talking in many tongues’, in: The Sunday Times, London, 5 April 1990
Kuspit, Donald, ‘Troubled Titan. John Chamberlain’s Existential Vernacular’, in: Arts, New York, April 1990
Dawson, Fielding, ‘Self-Portrait in Steel. A Talk with John Chamberlain’, in: Arts, New York, April 1990
Bekkers, Ludo, ‘Kunst uit Florida in Hasselt. Naar waar de applesienen grocien’, in: Cultuur, 31 March 1990
Gebruers, Paul, ‘Reizende expo. Made in Florida’, in: Het Nieuwsblad, Dilbeek, 23 March 1990
__, ‘Tips Tentoonstelling. Made in Florida’, in: De Standaard, Dilbeek, 16 March 1990
__, ‘In de Musea. Made in Florida’, in: De Standaard, Dilbeek, 16 March 1990
Gilsoul, Guy, ‘Exposition. L’art en Floride’, in: Spectacles, March 1990
Hurlburt, Roger, ‘The Accidental Artist’, in: The Sun Sentinel, Ft. Lauderdale, 25 February 1990
Clothier, Paul, ‘Living with Art’, in: ARTnews, New York, December 1989
Steffan, Barbara, ‘View’, in: Artscribe, London, November/December 1989
Wechsler, Max, ‘Bilderstreit’, in: Artforum, New York, September 1989
Princenthal, Nancy, ‘Western Tilt’, in: Art in America, New York, Summer 1989
__, ‘Blick Uber Den Atlantik und Zuruck’, in: Madame, Paris, June 1989
Princenthal, Nancy, ‘John Chamberlain at Pace’, in: Art in America, New York, June 1989
Hayt-Atkins, Elizabeth, ‘John Chamberlain’, in: ARTnews, New York, May 1989
Grove, Nancy, ‘Getting into Shape’, in: Art and Antiques, Wilmington, May 1989
Gachnang, Johannes and Rudolf Schmitz, ‘Keeping the Whole Thing in Motion’, in: Tema Celeste, Milan, May 1989
Decter, Joshua, ‘John Chamberlain’, in: Arts, New York, May 1989
Brandt, Tohy, ‘Second Outdoor Exhibition in Monte Carlo’, in: The Journal of Art, Beaverton, April 1989
__, ‘Bilderstreit’, in: Flash Art, Milan, March/April 1989
Flam, Jack, ‘Making the Gallery Rounds’, in: The Wall Street Journal, New York, 22 March 1989
__, ‘Goings on about Town’, in: The New Yorker, New York, 13 March 1989
Kramer, Hilton, ‘A Rare Sculptor Who Succeeds with Color’, in: The New York Observer, New York, 13 March 1989
Kimmelman, Michael, ‘John Chamberlain’, in: The New York Times, New York, 3 March 1989
Cooke, Lynne, ‘Etranger. John Chamberlain’, in: Beaux Arts, Paris, March 1989
Simmons, Ira, ‘Sculptor and his art’, in: The Courier Journal, Louisville, 31 July 1988
W.W., ‘La Cienega Area’, in: The Los Angeles Times, 17 June 1988
Kipling, Kay, ‘In John’s Chambers’, in: Sarasota, Sarasota, May 1988
Sozanski, Edward J., ‘Works of Four Prominent Sculptors’, in: The Philadelphia Inquirer, Philadelphia, 17 March 1988
Kohen, Helen, ‘Five from Florida’, in: The Miami Herald, Miami, 10 January 1988, pp. 1K, 3K
Griffiths, John, ‘Deconstructionist Tendencies in Art’, in: Art and Design, New Orleans, 1988, pp. 53-60
Agee, William, ‘The Year of John Chamberlain’, in: The New Criterion, New York, November 1987
Kreis, Elfi, ‘Die Form ist der Gegenstand. Chamberlain, Tuzina, Kiecol und Halley bei Onnasch’, in: Der Tagesspeigel, Berlin, 12 August 1987
Raynor, Vivien, ‘Art. Pure Sculpture by John Chamberlain’, in: The New York Times, New York, 22 May 1987, p. C23
Graham-Dixon, Andrew, ‘Fender bender’, in: The Independent, London, 25 April 1987
__, ‘Klein, Chamberlain, Penck, Kruger. Un Arcangelo italiano, la Bach e la Graves’, in: Il Giornale Dell’Arte, Turin, April 1987
Yau, John, ‘Reviews’, in: Artforum, New York, November 1986, p. 131
McManus, Michael, ‘The Poetics of Process’, in: Artweek, Castro Valley, 27 September 1986, p. 1
Mankin, Eric, ‘MOCAmendation’, in: LA Weekly, Los Angeles, 29 August 1986, p. 4
Morgan, Robert C., ‘The Look’, in: The Village Voice, New York, 26 August 1986, p. 83
Wilson, William, ‘Chamberlain’s Tough/Tender Heavy Metal’, in: The Los Angeles Times, Los Angeles, 17 August 1986, p. H29
Russell, John, ‘Art’, in: The New York Times, New York, 10 August 1986, p. 2G
Conal, Robbie, ‘Heavy Metal’, in: LA Weekly, Los Angeles, 8 August 1986, p. 47
McGill, Douglas C., ‘Art People’, in: The New York Times, New York, 1 August 1986, p. C28
Drohojouska, Hunter, ‘Artist with wanderlust is driven to sculpt with autos’, in: The Los Angeles Herald Examiner, Los Angeles, 27 July 1986
Muchnic, Suzanne, ‘The Art Galleries. La Cienega Area’, in: The Los Angeles Times, Los Angeles, 25 July 1986
Sylvester, Julie, ‘Conversations with John Chamberlain’, in: The Contemporary, Los Angeles, Spring 1986
Shepard, Michael, ‘The most of the minimum’, in: The Sunday Telegraph, London, 5 January 1986, p. 15
Buchloch, B.H.D., ‘La Conclusion de la Sculpture Moderniste’, in: Revue d’art contemporain, Paris, pp. 6-14
Danoff, Michael I., ‘How the Sculptures Were Selected for State Street Exhibit’, in: The Chicago Sun Times, Chicago, 5 May 1985
Hicks, Alistair, ‘Temple to Mao’, in: The Spectator, London, 6 April 1985
Wilson, William, ‘The Galleries. La Cienega Area’, in: The Los Angeles Times, Los Angeles, 15 March 1985
Russell, John, ‘Art. Just the Show for Summer in Hamptons’, in: The New York Times, New York, 3 August 1984, pp. C1, 20
__, ‘Magnet New York. Die alten Miester sind noch jung’, in: Art Das Kunstmagazin, Hamburg, May 1984, p. 34
Muchnic, Suzanne, ‘Two Sculptors Show Their Creative Metal’, in: The Los Angeles Times, Los Angeles, 16 April 1984, pp. 1,6
Ames, Richard, ‘Two-man show at UCSB’, in: News-Press Santa Barbara, Santa Barbara, 31 March 1984, pp. 13-32
Ianco-Starrels, Joseine, ‘Sculpture from Auto Parts, Wire’, in: The Los Angeles Times, Los Angeles, 25 March 1984, p. 84
Levin, Kim, ‘Art. John Chamberlain’, in: The Village Voice, New York, 7-13 March 1984
Raynor, Vivien, ‘Art’, in: The New York Times, New York, 2 March 1984
Smith, Duncan, ‘In the heart of the Tinman. An Essay on John Chamberlain’, in: Artforum, New York, January 1984, pp. 39-43
__, ‘The Vasari Diary. The Whitney Calls for Philip Morris’, in: ARTnews, New York, May 1983, p. 19
Auping, Michael, ‘An Interview with John Chamberlain’, in: Art Papers, Atlanta, January/February 1983
Ammann, Jean-Christophe, ‘Documenta. Reality and Desire’, in: Flash Art, Milan, November 1982, p. 38
Bardeschi, Marco Dezzi, ‘From Johnson to John Sloane’, in: Domus, Milan, September 1982, pp. 43-48
Hemphill, Christopher, ‘A Matter of Mood. An Expression of Contemporary Sensibility’, in: Architectural Digest, New York, May 1982, pp. 172-179
Hawthorne, Don, ‘Does the Public Want Public Sculpture?’, in: ARTnews, New York, May 1982, pp. 56-63
Frackman, Noel, ‘Tracking Frank Stella’s Circuit Series’, in: Arts, New York, April 1982, pp. 134-137
Ratcliff, Carter, ‘The “Art” of Chic’, in: The Saturday Review, New York, April 1981, pp. 14-15
Gachnang, Johannes, ‘Bericht einer Reise’, in: Kunstbulletin, Zürich, April 1979
Whelan, Richard, ‘New Editions’, in: ARTnews, New York, March 1979, p. 44
Power, Kevin, ‘Robert Creeley on Art and Poetry’, in: The Niagara, Fall 1978
Kuspit, Donald B., ‘John Chamberlain at Heiner Friedrich’, in: Art in America, New York, July/August 1978, p. 112
French-Frazier, Nina, ‘New York Reviews’, in: ARTnews, New York, February 1978, p. 152
DeAk, Edit, ‘John Chamberlain at Heiner Friedrich Gallery’, in: Artforum, New York, February 1978, p. 62
Tatransky, Valentin, ‘Arts Reviews’, in: Arts, New York, January 1978, p. 27
Burr, James, ‘Round the Galleries’, in: Apollo, London, August 1977, p. 156
Frackman, Noel, ‘John Chamberlain at Castelli Gallery’, in: Arts, New York, June 1976, p. 19
Baracks, Barbara, ‘John Chamberlain at Leo Castelli Gallery Uptown’, in: Artforum, New York, June 1976, p. 70
Nordland, Gerald, ‘Los Angeles Newsletter’, in: Art International, Lugano, March/April 1976, p. 56
Larson, Philip, ‘Cy Twombly. John Chamberlain’, in: Arts, New York, June 1975, p. 30
Bell, Jane, ‘John Chamberlain. New Sculpture’, in: Arts, New York, June 1975, pp. 88-89
Ellenzweig, Allen, ‘Group Show’, in: Arts, New York, April 1975, p. 12
__, ‘New York Sculpture’, in: Craft Horizons, Minneapolis, February 1975, p. 58
Schwartz, Barbara, ‘New York’, in: Craft Horizons, Minneapolis, April 1974, p. 48
Foote, Nancy, ‘John Chamberlain at Castelli’, in: Art in America, New York, March/April 1974, p. 105
Thomsen, Barbara, ‘Reviews and Previews’, in: ARTnews, New York, February 1974, p. 90
Schwartz, Barbara, ‘Letter from New York’, in: Craft Horizons, Minneapolis, April 1972, p. 58
Ratcliff, Carter, ‘New York Letter’, in: Art International, Lugano, 20 February 1972, p. 53
Welish, Marjorie, ‘Chamberlain at the Guggenheim’, in: Arts, New York, February 1972, pp. 54-55
Tuchman Phyllis, ‘An Interview with John Chamberlain’, in: Artforum, New York, February 1972, pp. 38-43, cover
Rose, Barbara, ‘On Chamberlain’s Interview’, in: Artforum, New York, February 1972, pp. 44-45
Baker, Elizabeth C., ‘The Chamberlain Crunch’, in: ARTnews, New York, February 1972, pp. 26-31, cover
Genauer, Emily, ‘Art and the Artist’, in: The New York Post, New York, 8 January 1972
Kramer, Hilton, ‘Serving a Period Taste’, in: The New York Times, New York, 2 January 1972, p. 17
Lusker, Ron, ‘New York. The Season in Sculpture’, in: Craft Horizons, Minneapolis, August 1971, pp. 65-66
Domingo, Willis, ‘New York Galleries’, in: Arts, New York, Summer 1971, p. 53
Baker, Elizabeth C., ‘Reviews and Previews’, in: ARTnews, New York, Summer 1971, p. 11
Coplans, John, ‘An Interview with Don Judd’, in: Artforum, New York, June 1971, p. 44
Baker, Kenneth, ‘New York’, in: Artforum, New York, June 1971, p. 82
Canaday, John, ‘John Chamberlain’s Sculptures’, in: The New York Times, New York, 24 April 1971, p. 25
Mueller, Gregoire, ‘Points of View. A Taped Conversation with Robert C. Scull’, in: Arts, New York, November 1970, p. 39
Plagens, Peter, ‘Los Angeles’, in: Artforum, New York, October 1970, p. 88
__, ‘Fashions in Living. John Chamberlain’s Environments’, in: Vogue, New York, 15 April 1970, p. 154
Rose, Barbara, ‘Artist’s buddy, give money, and total love’, in: Vogue, New York, 1 February 1970, pp. 179, 221
Plagens, Peter, ‘Los Angeles’, in: Artforum, New York, December 1969, p. 74
Nordland, Gerald, ‘Robert Natkin’, in: Art International, Lugano, October 1969, p. 53
Wasserman, Emily, ‘Review. New York’, in: Artforum, New York, April 1969, pp. 72-74
Baker, Elizabeth C., ‘The Secret Life of John Chamberlain’, in: ARTnews, New York, April 1969, pp. 48-51, 63-64
Pomeroy, Ralph, ‘Soft Objects at the New Jersey State Museum’, in: Arts, New York, March 1969, p. 47
Benedikt, Michael, ‘Reviews and Previews’, in: ARTnews, New York, March 1969, p. 14
Schjeldahl, Peter, ‘The Vicissitudes of Sculpture’, in: The New York Times, New York, 9 February 1969
Meadmore, Clement, ‘Thoughts on Earthworks, Random Distribution, Softness, Horizontality, and Gravity’, in: Arts, New York, February 1969, pp. 26-27
Kelly, Kay, ‘Chickie, It’s a Groove and a Gas…’, in: Twin Citian, Minneapolis, March 1968, pp. 51-58
Alloway, Lawrence, ‘Peter Forakis since 1960’, in: Artforum, New York, January 1968, p. 25
Tillim, Sidney, ‘Scale and the future of Modernism’, in: Artforum, New York, October 1967, pp. 14-18
Fry, Edward F., ‘The Issue of Innovation’, in: ARTnews, New York, October 1967, p. 40
Fry, Edward F., ‘Sculpture of the Sixties’, in: Art in America, New York, September/October 1967, p. 26
Alloway, Lawrence, ‘Marilyn as Subject Matter’, in: Arts, New York, September/October 1967, p. 40
Schulze, Franz, ‘Collector A. James Speyer’, in: Art in America, New York, July/August 1967, p. 40
__, ‘Reviews and Previews’, in: ARTnews, New York, Summer 1967, p. 13
Anderson, Wayne, ‘American Sculpture. The Situation in the Fifties’, in: Artforum, New York, Summer 1967, pp. 60-67
Leider, Philip, ‘A New Medium for John Chamberlain’, in: Artforum, New York, February 1967, pp. 48-49
Coates, Robert M., ‘The Art Galleries. Sculpture at the Whitney’, in: The New Yorker, New York, 7 January 1967, pp. 84-86
Townsend, Benjamin, ‘Albright-Knox-Buffalo. Work in Progress’, in: ARTnews, New York, January 1967, p. 30
Langsner, Jules, ‘Los Angeles’, in: ARTnews, New York, January 1967, p. 63
Lippard, Lucy R., ‘New York Letter’, in: Art International, Lugano, April 1965, pp. 48, 53
Seldies, Henry J., ‘West Coast Milestone’, in: Art in America, New York, April 1965, p. 109
Edgar, Natalie, ‘Reviews and Previews’, in: ARTnews, New York, February 1965, p. 13
Rose, Barbara, ‘Looking at American Sculpture’, in: Artforum, New York, February 1965, p. 30
Gassiot-Talabot, Gerald, ‘La Panoplie de l’oncle Sam a Venise’, in: Aujourd’hui, Paris, October 1964, p. 32
Chevalier, Denys, ‘La Sculpture a la XXXIIe Biennale de Venise’, in: Art International, Lugano, 25 September 1964, pp. 42-44
Judd, Donald, ‘In the Galleries’, in: Arts, New York, September 1964, p. 71
Swenson, Gene R., ‘Reviews and Previews’, in: ARTnews, New York, September 1964, p. 10
Johnson, Philip, ‘Young Artists at the Fair and at Lincoln Center’, in: Art in America, New York, August 1964, pp. 112, 117
__, ‘Venice. The Biennale XXXII’, in: Arts, New York, May/June 1964, pp. 76-77
Seldis, Henry, ‘Reporting from L.A.’, in: Art Voices, Los Angeles, April/May 1964
Ashbery, John, ‘Art and Artists in Paris’, in: The New York Herald Tribune, New York, 14 April 1964
Coplans, John, ‘Reviews’, in: Artforum, New York, April 1964, pp. 38-40
Hess, Thomas, ‘Moses the Art Slayer Wins One Round’, in: ARTnews, April 1964, p. 25
Brown, Gordon, ‘Gallery Previews’, in: Art Voices, Los Angeles, March 1964
Lausdale, Nelson, ‘Huge Sculpture Secretly Commissioned for New York World’s Fair’, in: Art Voices, Los Angeles, March 1964
Krauss, Rosalind, ‘Boston Letter’, in: Art International, Lugano, 15 February 1964, pp. 32-33
Judd, Donald, ‘Chamberlain—Another View’, in: Art International, Lugano, 16 January 1964, pp. 38-39
Rose, Barbara, ‘How to Look at John Chamberlain’s Sculpture’, in: Art International, Lugano, 16 January 1964, pp. 36-38
__, ‘Premier Salon International de Galeries-Pilotes’, in: Art International, Lugano, 25 June 1963, pp. 23-26
Coplans, John, ‘Reviews. John Chamberlain, Dilexi Gallery’, in: Artforum, New York, March 1963, pp. 10-11
Restany, Pierre, ‘The New Realism’, in: Art in America, New York, February 1963, pp. 102-104
Rudikoff, Sonya, ‘New Realists in New York’, in: Art International, Lugano, 25 January 1963, pp. 39-41
Raynor, Vivien, ‘In the Galleries’, in: Arts, New York, December 1962, p. 46
Ashton, Dore, ‘New York Report’, in: Kunstwerk, November 1962, p. 69
Robbins, Daniel, ‘Modern Sculpture from the Joseph H. Hirschhorn Collection’, in: Apollo, London, November 1962, pp. 720-721
Roberts, Colette, ‘Lettre de New York’, in: Aujourd’hui, Paris, November 1962, p. 69
Fried, Michael, ‘New York Letter’, in: Art International, Lugano, 25 October 1962, pp. 72-76
S.G.R., ‘Reviews and Previews’, in: ARTnews, New York, May 1962, p. 55
Ashton, Dore, ‘Art’, in: Arts and Architecture, Los Angeles, March 1962, pp. 6-7
Judd, Donald, ‘In the Galleries’, in: Arts, New York, March 1962, p. 48
Kozloff, Max, ‘New York Letter’, in: Art International, Lugano, March 1962, pp. 52, 63
Edgar, Natalie, ‘John Chamberlain’, in: ARTnews, New York, February 1962, p. 15
Sandler, Irving H., ‘In the Art Galleries’, in: The New York Post, New York, 21 January, 1962
O’Doherty, Brian, ‘Art. Transformed Scrap’, in: The New York Times, 19 January 1962
__, ‘Il Premio Carnegie 1961’, in: Domus, Milan, January 1962, p. 26
Rubin, William, ‘The International Style. Notes on the Pittsburgh Triennial’, in: Art International, Lugano, 20 November 1961, pp. 26-34
Sandler, Irving H., ‘New York Letter’, in: Art International, Lugano, 20 November 1961, p. 54
Hess, Thomas B., ‘Collage as an Historical Method’, in: ARTnews, New York, November 1961, p. 70
Raynor, Vivien, ‘The Art of Assemblage’, in: Arts, New York, November 1961, pp. 18-19
Whiteside, Forbes, ‘Three Young Americans’, in: Allen Memorial Art Museum Bulletin, Oberin, Fall 1961, pp. 52-57
Friedlander, Albert A., ‘Sculpture Show Satisfying’, in: Chicago Daily News, Chicago, 25 March 1961
Canaday, John, ‘Gargoyles for the Machine Age’, in: Horizon, New York, March 1961, p. 112
Sandler, Irving H., ‘New York Letter’, in: Art International, Lugano, 1 March 1961, p. 43
Choay, Francoise, ‘Lettre de Paris’, in: Art International, Lugano, 1 December 1960, pp. 35-36
Morse, John D., ‘He Returns to Dada’, in: Art in America, New York, Fall 1960, p. 76
Sandler, Irving H., ‘Ash Can Revisited. A New York Letter’, in: Art International, Lugano, 25 October 1960, pp. 28-30
__, ‘American Sculpture in Paris’, in: Art in America, New York, Fall 1960, p. 97
Butler, Barbara, ‘Movie Stars and Other Members of the Cast’, in: Art International, Lugano, February/March 1960, p. 52
Judd, Donald, ‘In the Galleries’, in: Arts, New York, February 1960, p. 57
Ashton, Dore, ‘Art. Two Abstractionists’, in: The New York Times, New York, 6 January 1960
Sandler, Irving H., ‘Reviews and Previews’, in: ARTnews, New York, January 1960, p. 18
__, ‘From Exhibitions Here and There’, in: Art International, Lugano, January 1960, p. 67
Porter, Fairfield, ‘Reviews and Previews’, in: ARTnews, New York, January 1959, p. 17
Ventura, Anita, ‘In the Galleries. Joseph Fiore and John Chamberlain’, in: Arts, New York, April 1958, p. 61
Gallery Exhibitions
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