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拍品专文
"The structure and the details never assume forms which will vitiate the neutral appearance or the voluminousness; the two aspects never become so general as to destroy the great particularity of the structure. The source of the divergent aspects are held more closely together than those in any other expressionistic work... Chamberlain's sculpture is simultaneously turbulent, passionate, cool and hard."
Donald Judd
(Quoted in John Chamberlain, exh. cat., Staatliche Kunsthalle Baden-Baden, 1991, p. 42.)
In harnessing the sculptural power of automotive steel fragments, Chamberlain explored this expressly modern medium with immense formal ingenuity, while simultaneously evoking the automobile's central role in transforming American society. The present work can be interpreted in terms of broad themes of ascendant capitalism, consumerism, industry, and the waste that is left in their wake. Untitled is a colorful, bold abstraction of metal that is as complex as it is beautiful, and bears witness to the artist's important contribution to both aesthetic and theoretical aspects of twentieth century Modernism. Chamberlain's sculpture is a dynamic extension of cubism, experimenting with a radical welding technique and reviving the use of color. Untitled exhibits the elegant dynamism and compelling aesthetic appeal of the artist's unique process of creation.
The pyramidal form grounds the sculpture while the scraps of metal at the top are curved so that the heavy sharpness is transformed into delicate shapes. In Untitled the masculine hardness and weightiness of the metal material is transmuted into feminine lightness and soft undulating curves of fine fabric. The work does not have the monumental scale of his later works, it is miniature in scale. Untitled's size reflects the experimental nature of this work. Donald Judd emphatically admired Chamberlain's sculpture "its stature, complexity and type" (D. Judd, "In the Gallery," Arts Magazine, March 1962). Indeed, the powerful dynamism and complex spatial interplay in Chamberlain's sculptures such as Untitled have all the emotive power of canonical sculpture, expressed in a distinctly modern and abstract form.
Donald Judd
(Quoted in John Chamberlain, exh. cat., Staatliche Kunsthalle Baden-Baden, 1991, p. 42.)
In harnessing the sculptural power of automotive steel fragments, Chamberlain explored this expressly modern medium with immense formal ingenuity, while simultaneously evoking the automobile's central role in transforming American society. The present work can be interpreted in terms of broad themes of ascendant capitalism, consumerism, industry, and the waste that is left in their wake. Untitled is a colorful, bold abstraction of metal that is as complex as it is beautiful, and bears witness to the artist's important contribution to both aesthetic and theoretical aspects of twentieth century Modernism. Chamberlain's sculpture is a dynamic extension of cubism, experimenting with a radical welding technique and reviving the use of color. Untitled exhibits the elegant dynamism and compelling aesthetic appeal of the artist's unique process of creation.
The pyramidal form grounds the sculpture while the scraps of metal at the top are curved so that the heavy sharpness is transformed into delicate shapes. In Untitled the masculine hardness and weightiness of the metal material is transmuted into feminine lightness and soft undulating curves of fine fabric. The work does not have the monumental scale of his later works, it is miniature in scale. Untitled's size reflects the experimental nature of this work. Donald Judd emphatically admired Chamberlain's sculpture "its stature, complexity and type" (D. Judd, "In the Gallery," Arts Magazine, March 1962). Indeed, the powerful dynamism and complex spatial interplay in Chamberlain's sculptures such as Untitled have all the emotive power of canonical sculpture, expressed in a distinctly modern and abstract form.