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2026.06.13 13:55

디아 비컨(Dia Beacon): 존 체임벌린(John Chamberlain) 조각전(6/13- )

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Iconic Sculptures by John Chamberlain

June 13, 2026 – Ongoing

Dia Beacon (3 Beekman St., Beacon, NY)

John Chamberlain, installation view, Dia Beacon, New York. © John Chamberlain/Artists Rights Society (ARS), New York. Photo: Bill Jacobson Studio, New York

업스테이트 뉴욕 디아 비컨(Dia Beacon)에서 6월 13일부터 조각가 존 체임벌린(John Chamberlain, 1927-2011)의 전시 'Iconic Sculptures by John Chamberlain'가 열리고 있다. 체임벌린은 1960년대 아상블라쥬 및 네오 다다 운동의 핵심 인물로 활동하며 재료, 형태, 컬러와 균형의 관계를 탐구했다. 그는 주로 버려진 자동차의 문짝같은 금속 파편을 수집해, 유압 프레스기로 찌그러트리고 용접해 추상적인 입체형태를 만들었다. 체임벌린은 잭슨 폴락이나 윌렘 드 쿠닝, 프란츠 클라인 등의 추상표현주의 회화에서 영감을 받아 차갑고, 버려진 산업 폐기물에 생동감 넘치는 컬러와 에너지를 3차원적으로 불어넣었다. 이번 전시에는 체임벌린이 1966년에서 1970년 사이에 제작한 우레탄 폼 조각 12점이 포함된다.

전민선(Min Sun Jeon) 큐레이터는 "체임벌린은 독보적인 재료 감각으로 일상의 재료가 지닌 고유한 속성을 유지하면서도, 그 안에서 무한한 조각적 가능성을 발견했다. 그의 작품은 신체적 실재감뿐만 아니라 엄격함, 직관성, 유머가 깃들여 있다. 이번 전시는 부드러움에서 단단함으로, 파편적인 형태에서 볼륨 있는 형태로, 그리고 회화적 요소에서 건축적 요소로 이어지는 재료, 형태, 공간적 방식 전반에 걸친 체임벌린 조각언어의 다채로움을 조명한다"고 설명했다.

1927년 인디애나주 로체스터에서 태어난 체임벌린은 제2차 세계대전 때 미 해군에서 복무한 후, 1950년대 초 시카고아트인스티튜트에서 수학했다. 1955년부터 노스캐롤라이나의 블랙마운틴 칼리지에서 조각을 공부하고 가르쳤다. 1956년 뉴욕으로 이주, 이듬해 자동차를 압착해 만든 금속을 활용한 첫 조각 'Shortstop'을 제작했다. 1960년 뉴욕의 마사잭슨 갤러리에서 솔로 데뷔전을 열었으며, 1961년 MoMA의 ‘아상블라주 미술(The Art of Assemblage)’ 전시에 참가했다. 1962년부터는 파워 화랑 레오카스텔리 갤러리에서 작품을 선보이기 시작했다. 챔벌레인은 1971년 뉴욕 구겐하임뮤지엄에서 첫 회고전을 가졌고, 1986년엔 로스앤젤레스 현대미술관(MOCA)에서 두 번째 회고전을 열었다. 2012년 구겐하임뮤지엄에서 두번째 회고전 'John Chamberlain: Choices'를 열었다.

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John Chamberlain, Stuffed Dog 3, 1970. © John Chamberlain/Artists Rights Society (ARS), New York. Photo: Don Stahl

Iconic Sculptures by John Chamberlain

June 13, 2026 – Ongoing

Dia Beacon (3 Beekman St., Beacon, NY)

Beacon, New York, June 4, 2026—Dia Art Foundation today announced further details of John Chamberlain at Dia Beacon. Chamberlain is an artist synonymous with the museum itself, his works having been on display in the expansive west gallery since the opening of Dia Beacon in 2003 until 2024. Chamberlain’s iconic sculptures now return in a newly conceived installation. John Chamberlain opens on June 13, 2026, and will be on long-term view.

“John Chamberlain has been foundational to our program since its earliest years, and his legacy at Dia is not only historical but ongoing, reflecting our deep institutional commitment to bringing this work to our audiences. His sculptures, at once materially rigorous and improvisational, have shaped the identity of Dia Beacon and offered decades of visitors a sustained encounter with his unique approach to scale, form, and process,” said Jessica Morgan, Dia’s Nathalie de Gunzburg Director.

John Chamberlain’s dynamic objects, often made of crushed car parts in exuberant palettes, merge the gestural spontaneity of Abstract Expressionism with the consumerist vernacular of Pop art. During the late 1960s, Chamberlain moved away from his signature medium to experiment with more pliable materials, such as urethane foam, finding new expressions and forms in the process. Spanning three decades of art from Dia’s collection, this exhibition features work from Chamberlain’s exploratory period, his emblematic steel sculptures, and his later innovations in color and scale.

This selection includes 12 of Chamberlain’s urethane foam sculptures, which he produced between 1966 and ’70. In these pieces, Chamberlain worked at a smaller scale, displaying his characteristically intuitive process with a material that could be easily cut, squeezed, and tied to create tactile forms. Soon after, Chamberlain introduced color into these works, as seen in the Stuffed Dogseries (1967–70) where he dripped or sprayed paint sparingly onto the foam. His simultaneous experiments with galvanized steel hold formal and procedural similarities to the foam pieces, extending his engagement with alternative materials in this period.

Large-scale sculptures from 1979 onward demonstrate Chamberlain’s emphatic return to painted steel. Later works, such as The Line Up (Dedicated to the Sarasota Police Department) (1982), showcase his newfound interest in coloration, applied through airbrushing, spraying, and sandblasting. This exhibition also reveals a heightened sense of bodily engagement through compositions, orientations, and scales, ranging from the grounding-hugging form of the Gondola series (1981–82) to the towering structures of Luftschloss (1979) and Daddy in the Dark (1988). Shown for the first time in a decade, the monumental installation The Privet (1997) is composed of intertwined metal tendrils that create an almost pictorial plane, existing somewhere between painting and sculpture.

“With his inimitable material sensibility, Chamberlain found in everyday materials endless sculptural possibilities while upholding their inherent properties. His works are imbued with rigor, intuition, and humor as well as a corporeal presence. This exhibition foregrounds the versatility of Chamberlain’s sculptural language across materials, forms, and spatial modes—from soft to hard, fragmented to voluminous, and pictorial to architectonic,” said Min Sun Jeon, assistant curator.

John Chamberlain is curated by Min Sun Jeon, assistant curator.

All exhibitions at Dia are made possible by the Economou Exhibition Fund.

About John Chamberlain

John Chamberlain was born in Rochester, Indiana, in 1927. After serving in the United States Navy during World War II, Chamberlain attended the Art Institute of Chicago in the early 1950s. In 1955 and ’56, Chamberlain studied and taught sculpture at Black Mountain College, North Carolina. He moved to New York in 1956, and in the following year made Shortstop, his first sculpture incorporating crushed metal from cars. Chamberlain’s first major solo show was then presented at Martha Jackson Gallery, New York, in 1960. His work was included in The Art of Assemblage at the Museum of Modern Art, New York, in 1961, and he began showing at Leo Castelli’s New York gallery in 1962. Chamberlain had his first retrospective at the Solomon R. Guggenheim Museum, New York, in 1971, and the Museum of Contemporary Art, Los Angeles, held a second retrospective in 1986. In 2012, the Guggenheim Museum presented another retrospective that included 17 works from Dia’s collection. Chamberlain has received numerous honors, including the Skowhegan Medal for Sculpture (1993); the Lifetime Achievement Award in Contemporary Sculpture from the International Sculpture Center, Washington, D.C. (1993); the Gold Medal from the National Arts Club, New York (1997); and the Distinction in Sculpture Award from the Sculpture Center, New York (1999). Chamberlain died in New York in 2011.

About Dia Art Foundation

Taking its name from the Greek word meaning “through,” Dia was established in 1974 with the mission to serve as a conduit for artists to realize ambitious new projects, unmediated by overt interpretation and uncurbed by the limitations of more traditional museums and galleries. Dia’s programming fosters contemplative and sustained consideration of a single artist’s body of work, and its collection is distinguished by the deep and longstanding relationships that the nonprofit has cultivated with artists whose work came to prominence particularly in the 1960s and ’70s.

https://www.diaart.org