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Penthouse #69

© Estate of John Chamberlain / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

© Estate of John Chamberlain / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

© Estate of John Chamberlain / Artists Rights Society (ARS), New York

Image downloads are for educational use only. For all other purposes, please see our Obtaining and Using Images page.

John Chamberlain

American, 1927-2011

Penthouse #69, 1969

paper bag, resin, and watercolor

overall: 8 x 8 x 7 inches (20.32 x 20.32 x 17.78 cm)

Collection Albright-Knox Art Gallery, Buffalo, New York

Gift of the Daughters of Natalie and Irving Forman, 2010

2010:56.1

More Details

Provenance

Lo Giudice Gallery, Chicago;
1984, purchased by Natalie and Irving Forman, Santa Fe, New Mexico;
donated by Natalie and Irving Forman to the Albright-Knox Art Gallery, Buffalo, 2010

Class

Sculpture

Work Type

Sculpture (visual work)

This information may change due to ongoing research. Glossary of Terms

Although John Chamberlain is best known for his large-scale metal sculptures constructed from discarded automobile parts and other industrial detritus, he also employed less cumbersome materials. Penthouse #69 is part of a series of works in which Chamberlain coaxes complex geometric shapes out of crushed paper bags coated with resin and watercolor paint. They are at once recognizable, but at the same time abstract. Similar to the way that his larger sculptures evoke car crashes and junkyards, compositions such as this one call on the viewer to source his or her own memories of this humble vessel. Like an enigmatic origami construction, Penthouse #69’s creases and folds, nooks and crannies convey an unexpected levity. It was Chamberlain’s desire that these more intimate works be dancer-like, light on their feet, and “touch the ground with as little resistance as possible.”

Label from For the Love of Things: Still Life, February 27–May 29, 2016

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