John Chamberlain Choices

John

Edited by Susan Davidson

Chamberlain Choices Essays by Susan Davidson Donna De Salvo Dave Hickey Adrian Kohn Charles Ray

Chronology by Helen Hsu

Lexicon by Don Quaintance John

Edited by Susan Davidson

Chamberlain Choices Essays by Susan Davidson Donna De Salvo Dave Hickey Adrian Kohn Charles Ray

Chronology by Helen Hsu

Lexicon by Don Quaintance CONTENTS Essays A Sea of Foam, An Ocean of Metal SUSAN DAVIDSON 16

John Chamberlain: Steel Couture DAVE HICKEY This exhibition is supported by the Henry Luce Foundation Published on the occasion of the exhibition 30 and the Terra Foundation for American Art. John Chamberlain: Choices

Organized by Susan Davidson Soft Future

Solomon R. Guggenheim Museum, New York CHARLES RAY February 24–May 13, 2012 40 The Leadership Committee forJohn Chamberlain: Choices is gratefully acknowledged. Guggenheim Museum Bilbao, Spain March–September 2013 Understanding Unlikeness ADRIAN KOHN 44

In memory of Walter Hopps (1932–2005) John Chamberlain: Choices © 2012 The Solomon R. Guggenheim Foundation, New York. All rights reserved. Nerves of Steel: Artworks by John Chamberlain © 2012 John Chamberlain/Artists Rights Society (ARS), John Chamberlain’s Extra-sensory Expressionism New York DONNA DE SALVO ISBN: 978-0-89207-417-4 (hardcover) ISBN: 978-0-89207-426-6 (softcover) 56

Guggenheim Museum Publications 1071 Fifth Avenue New York, New York 10128 guggenheim.org Plates 65 Available through Distributed outside the United States Artbook | D.A.P. and Canada by 155 Sixth Avenue, Second Floor Thames and Hudson, Ltd. New York, NY 10013 181A High Holborn Road Tel: 212 627 1999 London WC1V 7QX Fax: 212 627 9484 United Kingdom Documentation Fitting In Time: A Chronology artbook.com thamesandhudson.com HELEN HSU

Design: Don Quaintance, Public Address Design, 192 and design/production assistant: Elizabeth Frizzell Production: Jonathan Bowen Editorial: Katherine Atkins, Kara Mason, Jennifer Knox White, Helena Winston Rhyme and Reason: A Limited Lexicon Typography: Caecilia (display) and Chaparral Pro (text) DON QUAINTANCE

Cover: Lord Suckfist, 1989 (detail, plate 87) 230

Back cover (clockwise from top left): Malaprop, 1969 (detail, plate 48), Penthouse #50, 1969 (detail, plate 54), Luna, Luna, Luna (In Memory of Elaine Chamberlain), 1970 (detail, Selected Bibliography plate 56), and Stuffed Dog ,6 1970 (detail, plate 43) Compiled by HELEN HSU Frontispiece: Chamberlain in front of NUDEPEARLS ONE (1986/2009), More Gallery, 236 Giswil, Switzerland, 2009

Printed in Germany by E & B engelhardt und bauer Index: Illustrated Works by John Chamberlain 246 44 ADRIAN KOHN —– 45

Swift perception of relations, hall-mark of genius. —Ezra Pound

A Glut of Likenesses Understanding Unlikeness Here is just some of what we are given to understand John Chamberlain’s art as being like: car wrecks and dancers, artichokes and mummies and giant phalluses, drapery, a football player, ornaments for an immense Christmas tree and monstrous jungle gyms, a sucked egg, and Titans beside themselves with rage.1 Next, a long list of the art-historical movements that his pieces have brought to mind: the baroque and rococo, neoclassicism, Cubism, Dada and Surrealism, both Abstract Expressionism and Pop, and Minimalism and Process art.2 And, lastly, a very long list of the artists whose works Chamberlain’s are said to resemble in one way or another: Gian Lorenzo Bernini and Peter Paul Rubens, Auguste Rodin, Vincent van Gogh, Pablo Picasso and Georges Braque, Arshile Gorky, Jackson Pollock and Franz Kline and Willem de Kooning, David Smith, Jasper Johns and Robert Rauschenberg, Mark di Suvero, and Donald Judd.3 Chamberlain himself has taken part in this frenzy as well. He mentioned in various instances how his objects are like jigsaw puzzles, like a girl he used to know in Philadelphia, like lasagna, and like sex.4 And why not? Certainly some will judge this breathtaking list of likenesses as ample proof of artistic achievement, a body of work so wide open that evidently this or that piece corre- sponds with about anything you could want it to. But one might also pause to marvel at the forced associations across fifty years of writing on Chamberlain’s art and wonder why we cannot get over trying to figure out what his creations remind us of, what they evoke, what they are similar to. We risk missing all that is new in the work when we cast about for likenesses to everything we already know. fig 27 Digital collage of Chamberlain titles “As to unprecedented information or knowledge, when some- mentioned in accompanying essay thing’s new, you take, look, listen,” Chamberlain submitted.5 Usually 44 ADRIAN KOHN —– 45

Swift perception of relations, hall-mark of genius. —Ezra Pound

- - - .” rich Zaar, And so arrive we at Zaar. that has some promise of has some that promise opulence” “formation and “ Either way, the everyday the meaning Either way, 15

Gotham News Gotham Judd apparently could not just say that that not just say could apparently Judd Redwing to , (all 1959) Zaar Zaar Swannanoa , and , and , Gotham News, News, Gotham struction, this “is suggestive of” it is more, that. What’s Wildroot and and Johnny Bird Johnny One does run some trying into In compar intricacies, however. Zaar (background), (background), he was thinking of only one or a few of Chamberlain’s objects in the of Chamberlain’s thinking was he a few or of one only reviewing,exhibition was he such as, say, fig 30 Martha view, installation Chamberlain,” “John Works 1960. York, New Gallery, Jackson shown are: a statement likening likening a statement a possibility of uncharacteristic permitting its validity, evaluate us to work.most writing Chamberlain’s on ing one “suggests”— verb “is but weak active the even and like” other, the and resorted still the weaker that—was good. to no He “suggests” this con passive Chamberlaina notthat itselfis suggestive sculpture Kooningof de a its and qualities its two of opulence sculpture, the Instead, painting. suggestive are formation, of those same qualities painting. in the exactly wonder visual which material and may this point we And at painting of and Kooning’s de sculpture, properties of Chamberlain’s used when he in mind had Judd as well, “Opulence” describe could of sheet the metal colors the in thought, second on it maybe or, rich and in diversity in saturation, fit now with do components abundance the to of discrete has more “voluminous,” together alsoted Judd described that as “redundant,” “verbos[e].” and “grandiloquent,” these narrow limits. exceeds The of “opulence” scraps rusty beat-up sense the luxury of and wealth other and con contradict word, in the vulgarity and richness, remain extravagance, ofnotations excessive

- - - - - 8 11 Velvet Velvet (1959, (1959, Zaar (1976) and and (1976) Stringer This claim proves to This claimproves 13 Kooning. Judd, one ofKooning. most one the Judd,

And in still other instances a correlation will a correlation And in still other instances 9 “Chamberlain’s sculpture has an opulence and and has an opulence sculpture “Chamberlain’s Judd observed Judd 31). (fig. 12 ,” Before considering any general commonality between commonality general considering any Before (1976) for example:qualityphallic “The worksof these for (1976) 14 [1955] Rather through with an artless than following discussion 10 (1962, plate 32) be but plate determined “like is said to (1962, a battered Just to be clear, though, none of this is due to poor though, writing. to ofdue is this none be clear, Justto posedly revelatory connection ends up unraveling before the eyes. the before posedly revelatory ends up unraveling connection about Chamberlain’s read you cliché most widespread the Perhaps is its similaritywork of de that to art, writers an early astute Chamberlain’s and on provided frequent January exhibition at 1960 example of in a review Chamberlain’s Martha included that a show Gallery Jackson York, in New figs. 30, 5). 32;plate a formation suggestive of de Kooning’sassuch 1955–56, of paintings News Gotham starters, as written.be somewhat Chamberlain For complicated had crushed from least of nineteen sculptures sheet at scraps made metal Kooning paintings in de and least eleven at through early made 1960 1956. and 1955 be both that these can years, it really bodies two the from of work assertion implies, is to as which Judd’s as uniform in themselves are nineteen liken to Chamberlains to suffices singlea that sentence say, de Koonings?eleven It seems doubtful. That beinghelp said, Judd fully specified one de Kooning’s of paintings, we might and assume plant life [that] springs from toxic debris,” and on top of that,top on arrested and debris,” toxic springs [that] from plantlife mastodon-sized and chewing gum. shanty, explosions, a rich man’s cast then doubt and asso one on introduce also coyly may A reviewer lends of skepticism that a display articulateciation to only another, wariness of encounter We spuriousa proposal latter plausibility. the phalluses but analysis not in one of of big game Zane& Corney [is] not specifias more forceful as recognition the of beast,” car and hunters’ trophies” mounted to unmistakable resemblance “an cally, thrusts left to right”planar and sections lower top, on “tusklike with between trunk cross the “a the of babyelephantand a approximating sweeps of metal, smallish like “outer and ofsnout an oversized boar,” Indian elephant ears.” its on owncoast poetry poignancy and as when in lieu of clarity, White bride.” the from attention can distract words pieces, one’s of Chamberlain’s crying by work analysis additional themselves. out for straight in things many to objects appear relate to Chamberlain’s language.in expression suitedOne to ofstrangest the ways forward of expected in spite the aspects ease of of putting his art those is how, a sup that such prose one’s will a piece strain words, into parallels

7 Ramfeezled Shiggers except “minus the bathos.” “minusthe except

except “a fatted version,” and that that and version,” fatted “a except Balzac” (1888, fig. 28) fig. (1888, odin’s odin’s . R

(1988, fig. 29) “may even remind remind some viewers of even 29) “may fig. (1988, s . Burghersof Calais” We are asked to regard the kinship of Chamberlain’s objects and kinship the of Chamberlain’s regard asked to are We ofa pair imaginary other the and with Rodins, fat with one more purportedless happen do exist. that to than sculptures the bathos plainly or fictitiousA hopelessly uncommon entity shows up in other overly an venture to reluctant by writers offered correspondences of ordinary the Instead anything to real. plants exact one resemblance “mutant like are pieces Chamberlain’s that read we sees all around, that we already know most of what we could ever learn from the piece piece the learn ever could know from most of we what already we that Of innumerable in question. case. is seldom the Despite that course art largely unknown otherwise and remains likenesses, Chamberlain’s know. we all that unlike Miswriting start learning about look a Chamberlain elsewhere to To tend we work recognizable A comparison with images, more things, straightaway. some make sense phenomena, allows us of to piece the concepts and gallery the in it over mulling while page. the Nevertheless,on or in of constructing course the might we such a connection ourselves find our own reportsenfeebling of Sometimes similarity ways. in several so do qualifying by we put other the of or correlation side the one as in observationsforward, Chamberlain’s that “conjure (1991) AsterisksF*****g Rodin’s - - - - - 6

× 177.2 177.2 × , 1988 47 inches (260.4 47 inches × 69¾

× 119.4 cm) 119.4 Z. Margulies Collection Martin of fig 29 ChamberlainJohn F*****g Asterisks steel chromium-plated and Painted 102½ , 1884–95 (cast 1953)

That then is the problem metawith looking to simile, analogy, problem is the then That their likeness is a great deal more informative than their unlikeness. than their unlikeness. informative deal more is a great their likeness And exaggerating by of an as inexplicable yet artwork resemblance the imply we thoroughly understood, more be something much to to taken leading or false corollaries, such as that the two are also in other alike are two the corollaries, false such as or that leading that and than unlike, alike more respects, they whole the on are that in discussions of art the notfind less, out to difficult it make more, When a Chamberlain point out that we not do know. you what object mis infer in some respects, alike something routinely and we else are phor, personification, and all manner of comparison all manner of and personification, thinkingwhen phor, Chamberlain: by through a piece formulas so these verbal widespread they already recognize,” as Chamberlain “the key put it, recognize,” however, they already activity of artknow.” occupation youdon’t in the out find what is to prehend the objects before us. Yet by interpreting that which we do do interpreting by we which that objectsus. the Yet before prehend get we thwart chance not we know in terms do, we which any of that see its on own terms.to a work “Everyone with is so things enamored tomed things called art,tomed spot to example, can affinities always we for things called other art things not called to past and art the from from in turn outside; these suggest parallels world the begin to how com to edge to explain new phenomena seems to work pretty well most of the well explainedge pretty to seems work new phenomena to it perverse consider even may we tryIn fact ourtime. noton to draw to experience possible. upon Coming a gallery whenever full of unaccus we take in a piece of art piece a in take we feeling, by looking, bitofa for listening and And this extension of prior knowl oddity. familiarity overall the amid Bronze (180 × 230 × 22086⅝ inches 70⅞ × 90½ × cm) Art, Museum of Western National Tokyo, Matsukata Collection fig 28 Auguste Rodin The Burghers of Calais

47 46 ADRIAN KOHN Understanding Unlikeness —–

- - - .” rich Zaar, And so arrive we at Zaar. that has some promise of has some that promise opulence” “formation and “ Either way, the everyday the meaning Either way, 15

- - - - - 8 11 Velvet Velvet (1959, (1959, Zaar (1976) and and (1976) Stringer This claim proves to This claimproves 13 Kooning. Judd, one ofKooning. most one the Judd,

7 Ramfeezled Shiggers except “minus the bathos.” “minusthe except

except “a fatted version,” and that that and version,” fatted “a except Balzac” (1888, fig. 28) fig. (1888, odin’s odin’s . R

× 177.2 177.2 × , 1988 47 inches (260.4 47 inches × 69¾

× 119.4 cm) 119.4 Z. Margulies Collection Martin of fig 29 ChamberlainJohn F*****g Asterisks steel chromium-plated and Painted 102½ , 1884–95 (cast 1953)

47 46 ADRIAN KOHN Understanding Unlikeness —–

. , : - - -

24 . In 見 , the , the 23 In five In five 日 Gotham Gotham 人見馬 19 Mr. Press Mr. “The ideo , a modified is above the the is above , which is the is the , which 22 (1963, fig. 33), fig. (1963, 目日東 . “The . “The sun on his four legs.” his four on 馬 . And in the middle sign, middle Andthe . in 日昇東 The resemblance that at that resemblance The

Buckshutam 木 21 “Chinese is something notation 25 .” 木 (1962, plate 29), plate (1962, 114.5 cm) × Man sees horse or A man sees a horse, The sun the east,rises in 114.5 He no longer needed to. Living needed longer with no to. He × 20 , we have further have homology;, we sun the 昇 on his two legs. Second, his eye moves through space legs. his two on through space Second, his eye moves Hollywood John John Hollywood , but beyond that the single the , but beyond that upright grow the is like line 人 , 1963 一 45 inches (120.5 (120.5 45 inches × entangled in the branches of a tree ofa tree entangled branches the in and other and de Kooning. paintings by

45 日 × and other pieces in his personal collection (fig. 6), 6), sometimes in his personal other (fig. and catch pieces collection ing sight other of in passing and times them inspecting with them unlike is quite each that realize to come have may Judd care, News amount some of clarityprovides ends first up outweighed always by stark disparity the crumpledbetween sheet Chamberlain’s metal and can go two the likening de Kooning’s canvas; stretched atop paint oil of both. Of the comprehension course your hinder you before only so far discovering in not lies this. ever An especially problem compelling real all kinds of accompanying disregarding us into lures correspondence between such as that between metal canvas, and a volume incongruity, a surface,and between crushing brushing. and Obvious differences start may we And then appear disappear worse, to trivial altogether. or, word— a be lookingjust anythinglike aswell becomes at else.work A symbolic, unseen. and allusive, Misreading Asked his classes aboutat important first the from impression 1956, BlackCollegeand during North in Mountain Carolina 1955 Chamberlain Ernest by “it an essay was Fenollosa that replied [Chinese] the ideogram as a unit sense of in the poetry, that discussing it said [semantically] exactly it said what [pictorially].” of something,drawing a was gram anythingit wasn’t else.” and and edited Poetry,” for “The WrittenMedium as a Chinese Character this offered Fenollosa in 1919, Pound posthumously published Ezra by example: sentence the (fig. stands rendering 34). “First printed page the on as a hand-drawn manthe by represented legsrunning an a bold figure under eye ofof an eye, a modifiedpicture picture legs,running but unforgettable seen horse the stands it. have Third you once Or another example: shining, other the side, on sign the one on of east the sun ‘rise’ verb the horizon sign of tree the ing trunk-line de Kooning again. (1961/69), fig 33 ChamberlainJohn Buckshutam steel chromium-plated and Painted 47½ collection Private than interests. a detailabout artist’s the more no dwindled to subsequent art writings not did mention about Judd Chamberlain’s

------Zaar The original The assertion itself juxtaposes so and 18 ” look about as diverse and look about and as diverse and so, I suppose, and about as Zaar, suggestive the and of opulence the

this is likethis that Gotham News. Gotham Gotham News Gotham does not thereby make them, or other or them, art make doesnot thereby Gotham News Gotham opulence and a formation and opulence

the colors and marks and in colors the , Four years after his initial review Judd dithered. Clearly his initial dithered. after Judd review years his confi Four Yet after hundreds of words that conclusion feels rather under rather feels conclusion that of words hundreds after Yet has an formation of other wider or sense. It in any alike seem them, can often works like as such, though.very The relating artworksact of by Chamberlainto Kooning thosede by tacitlyconfirms then assumes essenand their squeezing by tial comparison both the them commensurability into In short, hand. at comparison is tautological. Along with its weaker formula derivatives,verbal the entities two the whose similarity through proximity likens it seems to impartially report. of fallacy And in spite this formal yet ensures that pieces what,some degree affinitymatter no of apparent Chamberlain’s with. them writers all that compare to their unlikeness somehow retain diminished, but, had of cutting correlation instead direct the in dence hedged he reworded and essay, a 1964 altogether from sentence the in de it: “Chamberlain interested was paint voluminous Kooning’s as such 1956, and ofings 1955 of verifiable yet limited similarity painting between and sculpture back down to the floor. Perhaps the formation is indeed work one of Perhaps the floor. the down to back As opu suggestive wrote. as Judd for of other, the of formation the lence parts and colors asthe in numerous a like somewhat is opulent. Chamberlain a Maybe actually sculpture de Kooning painting. that verifying accepting provisionally or Tentatively whelming.

------16 Zaar Gotham Gotham Gotham Gotham

, a bent and benta , and Because the Zaar. 17 Zaar changes all of changes a sud contrasts with the robust with robust the contrasts formation Gotham News Gotham The meaning The of A red metal element extends in three dimensions metal dimensions extends element A red in three share a sort share paint In the trunk or of skeleton core. or Zaar. Zaar by contrast seems literal and physical, the arrangement the physical, and seems literal contrast by Gotham News. Gotham and and is by and large frontal. Everything large and is by frontal. sits surface the on of the Granting all of this, one could nonetheless argue nonetheless ofall this, that could one Granting Now ing, jagged and swooping brushstrokes that begin that brushstrokes just right of cen swooping ing,jagged and in place hold help to of sides canvas the four the to continue and ter other marks edges the along corners, in the forms and and prevent In middle. the their pictorialing into collapseback tubular braces of piece the assembly center the near red hammered larger the both on in turn sheets in place that scraps sides hold help to left far of the metal right, and to collapse their physical preventing painting rather than withdrawing to various to depths within pictorial than withdrawing painting rather than before Marks appear forms and space. another more beside one newspaper behind; brushstrokes,or and print scrapes, transferred and posi as surface several the at keepplane white so it all the reads that volumes. not negative and as hollowed-out forms tive wings and (espe fans shapes might is not space, that white pass for figures so easily image) into not do resolve ciallyin a small reproduced painting does epibolic And the notlookthat all ground. a recessed on centrifugal centripetal or since matter, that for or, self-enclosing or edge edge from and to center from surface the packed uniformly is of This frontality center. to News difficult to assess at all (are the hues or the or quantityhues the parts of at all (are to assess difficult in say). to It is hard Vulgar? rich? Is either extravagant? excessively Formation “self- a structure called Judd “fan-shaped,” that ofinto metal scraps rapidly a more by is enveloped center “epibolic” the (where enclosing,” as withexpanding growth exterior, the of an embryo), “winged.” and examine of arrangement the to marks are we presumably, since, den a strictlyinto pictorial structure as opposed the studying how to supportsstructure physically canvas applied the stretched paint. Even pictorial, the to so-called the physical the shift this from allowing for of that looks of work the veryformation from different News spatiality of the among pokingby viewer the from right down and out toward and creamy-whitish sheets; a brilliant spans other band the of side the red object the work,while viewing around walk encouraging to one it; the bowed fully upon or bent such that themselves back are largest scraps viewerthe sees a both and surfaces inside their outside and once; at rusty of amount open space pipe juts forth girdles a considerable and airy interior. within work’s the

49.8 cm) × 173.7 × 19⅝ inches (130.2 (130.2 inches 19⅝ × 68⅜ , 1959 (detail) , 1959 × Raymond and Patsy Nasher Collection, Nasher Patsy and Raymond Dallas Center, Sculpture Nasher fig 32 ChamberlainJohn Zaar steel Painted 51¼

, 1955 (top) Gift of Seymour H. Knox, Jr. Oil, enamel, charcoal, and newspaper and Oil, enamel, charcoal, canvas on transfer cm) × 200.7 (175.3 69 × 79 inches Albright-Knox Art Buffalo. Gallery, fig 31 WillemKooning de News Gotham

49 48 ADRIAN KOHN Understanding Unlikeness —–

. , : - - -

------Zaar The original The assertion itself juxtaposes so and 18 ” look about as diverse and look about and as diverse and so, I suppose, and about as Zaar, suggestive the and of opulence the

this is likethis that Gotham News. Gotham Gotham News Gotham does not thereby make them, or other or them, art make doesnot thereby Gotham News Gotham opulence and a formation and opulence

------16 Zaar Gotham Gotham Gotham Gotham

49 48 ADRIAN KOHN Understanding Unlikeness —–

- 43 Nanoweap and perhaps molec and the even must look so commonplace, pressure Nanoweap and and compress and and accident within minerals, another image of will across stumble you text, following the above “When minerals hydrous the compressed we between obtained we diamond the anvils, startling frequent results: temperatures.” and of pressures widea range burstsof sound over editors and some authors To its the that imageso straightforward, can use be put in illustrating to words as well—whitish mineral crystal ular structure of a hydrous mostly out from find Chamberlain’s To with interstitial bits of water. blue cannot let you their ostensible know, not do already you what pieces familiarity satisfy curiosity. your Another Kind of Language Giant phalluses, plants, mutant Titans, enraged hunting trophies, brides 36)—while (see fig. battered and Chamberlain on the dwells of withwriters abstraction ofthe much abstractions, do physicality his objects. spend a while learning could we about Ideally works, the of new distinctions, newgettingthe newon words, and ways handle a Short necessary. thinking they that both ofpossible render make and falling comparison. Comparison easier, that, and have is quicker we vocabulary stock on back logical and summarizeto structures in order for assimilation which with that it ready specificsthe and piece of a Surveying here. on going is more But there maybe know. think we we art has beenwhat written his about shows how date Chamberlain’s to everything. to compared comparison so and evade are And creations metaphors and similes and of correlations these failings countless the

- - - - ) x N (1969) – 36 – 2 x = 0.4 = , 1998, , 1998, Nanoweap Nanoweap Introductory N These seemingly 41

5 fig 3 Robert from Blitzer, Page College StudentsAlgebra for Chamberlain’s illustrating (1969, plate 52) plate turns (1969, up in a college algebra And so what? Well, by acknowledging by physi the Well, And so what? years old” (fig. 35); and if you happen to read a read old”you happento if years 35); and (fig. x 39 Nanoweap we would make bets on how much your moneyweighed. bets make your would much how we on .

Our familiarity instantaneously and interpret with reading 40 Next time have a look at that handful of compressed tissue handful of that compressed a look at Next time have 38 42 In several instances Chamberlain instances attention In several has paying proposed On occasion Chamberlain strayed from the routine usage of routine the On from Chamberlain occasion strayed cal reality of conventional abstractions and any other information other information any and abstractions of conventional cal reality did something we that discover may we as useless,” usually “discarded not know. crumple you crush how a towel to packs, a newspaper, throw cigarette a pencil, hands. shake and rack, the break over banal activities assorted alter worth types in ways a second of matter of “how note wad you Taking of contemplation. glancemoment a and paper” toilet your example cited in various inter is another favorite views. decidedly paper are toilet and money, use. puttingWords, it to before althoughphysical their customary their look, us functions to blind Chamberlain’s same the for weight, can say times one And at feel. and art. An image of model mathematical “The textbooksentence, the above ( per miles million 50 number the of accidents approximates + 1000 a driver who is for particular journal science article molecules bound chemically water on look when sitting next to one another. But seeing the words differ But seeing words the look when sitting next another. one to a notion so unusual most writersently that remains cannot it take literally. ing text, odd odder text, even experience far the of studying the foils chooseregardless To titles fit the and letters. of their shapes of words ofmeaning, their not or as them meaning not much understand to anything, language to visual a remarkably approach that constitutes sensory as immediate themselves words nottreats and phenomena only as signs pointing elsewhere. Just as examined he visual the another everyday money. abstraction: with along their symbolic meanings, of alsoform words he focused on with along weight their symbolic of coins and bills values. physical the “‘A pound of fifties,’” duringChamberlainconversation. ventured a definitenobodya amount but knows It’s is? that much know how “You money weighs. much how Back Seventies, in the when they triple had beam scales, make you’d So new. brand weighs five nickel a grams that remember I the account taking into 4.87 [grams],” 4.85 or a betabout whether it’s for a been in itscirculation metalhaving worn from coin off of the continued. “They he weigh new,” same the brand always “Billswhile. are is a poundto oftwenty-two, much fifties? comes It How a gram. seven [$22,700].” hundred

- - - - blonde ’s posi ’s Lipstick o and and

’s and and ’s p Or so Chamberlain (1976), 34 . I’d never thought never of a I’d . Truth be told, Chamberlain’s Truth Chamberlain’s betold, The good The look of 36 blonde day the sequence of downs in sequence ups and the 33 Rooster Starfoot eye; in order to transform their meanings, transform to in order (1969, plate 48)—by paying attention attention paying 48)—by plate (1969, “My attitude about attitude “My poetry not was tell as printed text of page the on instead 35 If you look at a lot of my titles you’ll If lot a of lookmy at you see in . day

. e

(1960), and and and and Malaprop e blonde day blonde look good as printed miss textthough to even tend we

Given Chamberlain’s stated interest in how words look words in how interest stated Chamberlain’s Given 37 Hillbilly Galoot (2000) and their good-looking sequence of letters instead of their good-looking the and instead of letters sequence day Consider the following passage cited in several recent essays on on essays recent passage cited in several following the Consider The same holds true for many of Chamberlain’s other titles that of The holds true same for many Chamberlain’s I liked because of the way the letters formed around it,” for instance, if instance, for it,” formed around letters the I liked because of way the look good.” “the in sequence letters tioned opposite one another within printed words; vowels resembling resembling vowels tioned opposite another within one printed words; eyes, indeed, the like referred to may be visual a between may connection to shapes the ofreferred and than rather expectedAllsay, interpretativeconnection. of is to which putting together pair the eye of thing that the solicit visualization to or mind’s the in ing might describe, unleash imagination it lead, should to or wherever see these words to how two wanted Chamberlainhave simply may this in trying of hold some quirky intelligible yet catch that meaning to not begin may or may so explain named 11, to sculptures (see the plates of meaning,” togethercertain like regardless 94). “I and 61, words mean absolutely that words Chamberlain three or “two insisted, words nothing, but they look good.” looked or like, ing somebody something word the as what as much especially together, if they looked like looked good words two what anything.mean didn’t and much.” mean don’t theythat really so. do to them because force we readily all too meaning titles create put art: them I would and these words look at Chamberlain’s “I would up withtogether anything an image come unlike and was that you I wrote line one I remember it do way. this didn’t if you achieve could put I togetherwhich in words: two connection the that but way I liked the I still being haven’t, day blonde. functioned.” conceiv theyleastat to what mean, it is indifference his stated and spoke ofhe “image”when an that able meant above,he lines the in visualthe image of he likewise, “connection” the create; image mental words the whatever the letters of title the letters the something understand appear to page the can on come we to words how than their usual symbolic physical meanings. visual more and more pairings not word Not onlydo the 27). (fig. side by side set words anything about (“thereveal piece the titling with do has nothing the to object”), they not do all. mean anything at much claimed. Canteen

- - 日昇東 Rather, Instead Instead 26 29 [and [and 人見馬 “[Or] I’d find a word word a find “[Or] I’d 32 “The group “I didn’t particularly didn’t “I understand 27 30 ’s.” o “Words with a lot of vowels in it some in or withlot a ofvowels “Words ’s or or ’s p 31 , showing Ernest Little Review Little Pictures, declared Fenollosa, not Pictures, declared Fenollosa, arbitrary symbols as with 28

Chamberlain challenged this distinction between Chinese and the words other than whether look I liked the of as them, they were words the emphasized.he printed,” look like eyes.” They always thing, know. you eye. “I began keeping lists of words that caught my eye, words that that caught eye, words “I began that eye. my keeping lists of words lookedgood, with lot a of content in Chinese characters (as many sinologists (as many in Chinese in disputing did content characters writtenChinese). reads of one how account Fenollosa’s as semipictorialChamberlain too English appeals the words to treated English words. English but not identifying by fully the symbolic nonpictorial and as well] holds something holds as well] of quality the moving of pic a continuous ture.” we have “a verbal medium consisting largely medium ofconsisting semi-pictorial verbal “a appeals have we a written language is “based that eye,” the uponto a vivid shorthand of nature.” of operations the picture much more than arbitrary symbols,” Fenollosa contended. Fenollosa than arbitrary more much symbols,” Written Character as a Medium for Poetry,” Poetry,” as a Medium for Character Written September 1919 fig 34 the from Page “The Pound, Ezra and Fenellosa Chinese

51 50 ADRIAN KOHN Understanding Unlikeness —–

- - - - ) x N (1969) – 36 – 2 x = 0.4 = , 1998, , 1998, Nanoweap Nanoweap Introductory N These seemingly 41

- - - - blonde ’s posi ’s Lipstick o and and

. e

(1960), and and and and Malaprop e blonde day blonde look good as printed miss textthough to even tend we

51 50 ADRIAN KOHN Understanding Unlikeness —–

- - - - 14, The New York New York from Donald from New Yorker, New

Artforum Apr. 1, 1991, 1, 1991, Apr. (Marfa, Tex.) (Marfa, Tex.) New Yorker, Yorker, New (Cologne: Walther König,(Cologne: Walther (New York: Cooper-Hewitt, York: (New 92, no. 1 (Jan. 1993), p. 128; 128; p. 1993), 1 (Jan. 92, no. read (New York: Hudson Hill Press Hudson Hill Press York: (New Art: Functional Objects ≠ Art News Wide Point: The Photography of John John Photography The of Wide Point: , exh. brochure (Southampton, N.Y.: N.Y.: (Southampton, , exh. brochure John Chamberlain An Sculpture: John Extended Design Design , p. 34. Note that Chamberlain that 34., p. Note a make did , Dia Art Foundation, New York, Mar. Mar. , Dia Art York, New Foundation, Chinati Foundation Newsletter Newsletter Chinati Foundation 29, no. 10 (Summer 1991), p. 108; Michael Michael 108; p. 1991), (Summer 10 29, no. John Chamberlain John in 1988. , Mar. 3, 1989, p. C36; Gerrit Henry, “John “John C36; Gerrit p. 3, 1989, Henry, , Mar. , June 12, 1960, “Week-End Magazine,” p. 12. p. Magazine,” “Week-End 12,, June 1960, tess,” tess,” Barbara Baracks, “John Chamberlain,” Chamberlain,” Baracks,Barbara “John Klaus Kertess, Then Round in the and Some: “Color adjectives, endless desire and invite “His sculptures no. 10 (Summer 1976), p. 70. p. 1976), (Summer 10 no. in Sylvester, 1954–1985,” Work, Chamberlain’s John Chamberlain: A CatalogueJohn Raisonné of the Sculpture titled piece steel chromium-plated and painted Bride of canbut them stick. none are His configurations re-form but their constant state, in a referential outing slips of adjectival the grip; they ultimately language the transcend of analysisdescription.” and p. 38. Kertess, Then Round in the and Some,” “Color “John Chamberlain in Conversation with ChamberlainKlaus Conversation in “John Chamberlain, Continuum cited in “The Between, and On About“Goings Town,” Chamberlain,” Kirby Gookin, “John See, respectively, and Helen Winkler, Mar. 27, 2000, Conservation 2000, 27, Mar. Winkler, Helen and TMCD-2008.007Department item #15, archives, 39:11; 40:57 and at Houston, Collection,Menil The bro in a 1982, Statement,” Chamberlain,and “A from chure Exhibition 23, Sept. and 1982–July 1983 30, 22,19, 1983–Feb. Chamberlain” vertical file, Hirshhorn in “John 1985, D.C. Washington, Museum Garden, Sculpture and Ker 11 (Oct. 15. 2006), p. in Barbara Art of, Design,” and Transformations Bloemink, RachelJudd to White Design Museum, SmithsonianNational Institution, “Auto/Bio: Julie Sylvester, 81; and p. 2004), in Sylvester, Chamberlain,” with John Conversations Chamberlain: A CatalogueJohn Raisonné of the 1954–1985 Sculpture, in association with Museum the of Contemporary Art Los 11. See p. Angeles, also Donna 1986), Interview Chamberlain,” with John “An Salvo, De Salvo, in De Chamberlain ArtParrish Ulrich 12; p. Hans Museum, and 1993), Obrist, 39. 2006), p. On About 12;p. “Goings Town,” and 12. p. 1989, 13, Mar. Artforum Chamberlain,” Kimmelman, “John Times Chamberlain,” Bennettand “In the Schiff, ArtGalleries,” Post The Menil Collection, Houston, at 2:42; Houston, Collection,Menil record The a video ing of an Artists inter Program Documentation view with Chamberlain Mancusi-Ungaro Carol by

5. 6. 7. 8. 9. 10. 11.

- Art John Art in American ; Auping, 71, no. 10 71, no. , Mar. 13, , Mar. (New York: York: (New De Kooning/ 10, no. 6 (Feb. 6 (Feb. no. 10, Art International , 4 vols. (London:, 4 vols. , WUSF-TV, 1983, 1983, WUSF-TV, , (London: Waddington (London: Waddington Artforum Art in America (Pasadena: Pasadena Art Pasadena (Pasadena: Passages in Modern Sculpture , (Los Los Angeles: Angeles New York Observer York New 17, no. 31 (Sept. 27, 1986), 1986), 31 (Sept. no. 27, 17, , Nov. 24, 1963, section 24, 6; 3, p. 1963, , Nov. , Aug. 26, 1986, p. 83. For Cubism, For 83. p. 26, 1986, Aug. , , June 13, 1993, sec. [“Long 1993, 13 13, , June 6, no. 3 (Nov. 1987), p. 51 p. 1987), (Nov. 3 6, no. Artweek Spectrum: Visual Art John Chamberlain John (Cologne: Galerie 2008), Karsten Greve, Agee, “The Year of John Chamberlain,” John Year of Chamberlain,” Agee, “The Boston Herald 77, no. 6 (June 1989), p. 165. For Picasso For 165. p. 1989), 6 (June no. 77, Village Voice 68, no. 2 (Apr. 1969), p. 51. p. 1969), 2 (Apr. 68, no. For likenesses to the baroque, rococo, and neoclas and rococo, baroque, the to likenesses For Bernini,For Rubens, Gogh, Rodin, van and see See, respectively, a video recording of a Jan. 1983 1983 of a Jan. a video recording See, respectively, Dada, Look Surrealism, to and see Rose, Barbara “How Sculpture,” Chamberlain’s John at Leaning “‘No Poetter, 36; p. 1964), 16, (Jan. 10 12, no. Gary 29; and p. Indiana,“John Oars,’” the on Irregular Set,” Chamberlain’s Expressionism, Abstract Andfor 209. p. 1983), (Nov. art, Minimalism, Process and see Rose, Barbara Pop, Interview,” Chamberlain’s “On sicism, see Robert Taylor, “Events in Art: “Events Baroque sicism, see Robert Taylor, Autos,” Gambit: ‘Cautious “Chamberlain’s Anfam, David in Maniac,’” Galleries, 7; Robert 2002), p. and C. “The Morgan, Look,” Rare Who Sculptor “A 44; p. Kramer, 1972), Hilton with Color,” Succeeds in Chamberlain,” 12; p. Auping, Michael 1989, “John Art of Our Time: Collection The Saatchi 12; 2, p. Auping,Lund Humphries, and vol. 1984), Chamberlain” 19. p. (1987), “John in Recent Non-Gesture and Irving “Gesture Sandler, ed., in Maurice Tuchman, Sculpture,” Sculpture Sixties of the p. 1. For Gorky, Pollock, Kline, de Kooning, Pollock, and Gorky, 1. For p. see Chamberlain” 21; Carol p. (1987), Auping, “John Strickland,Sculptor,” “Unshackled, Unconventional Times York New to foreword Hopps, Island Weekly”], 21; Walter p. AmericanNew Sculpture County Museum “‘No of Art, 42; p. 1967), Poetter, 32; p. Bonnie Clearwater, Leaning Oars,’” the on history oral interview Chamberlain, with John Sarasota, of American Archives Fla., 29, 1991, Jan. Art, Smithsonian 83; Nancy and p. Institute, Chamberlain at Pace,” Princenthal, “John America Poetics see McManus, “The Michael Braque, and of Process,” Museum, 1964), unpaginatedMuseum, page); (second and 1964), Bernice Rose, “Willem de Kooning John and in Chamberlain: Displaced Realities,” Chamberlain:Transformation and Influence Smith, And for 2001), pp. 5–13. PaceWildenstein, Rauschenberg,Johns, see Judd, and di Suvero, William C. New Criterion Hickey, 14; Chamberlain” 2, p. vol. Dave (1984), “John in Chamberlain: Gardener,” Constant “John Chamberlain 267;p. Rosalind Krauss, Viking Elizabeth 1977), 181; and p. Press, York: (New John of Chamberlain,” “The Secret Life C. Baker, News interview with Chamberlain Auping Michael by on featured Conservation Department VI83-02, item archives,

2. 3. 4.

- - 7, , 2nd , 2nd Columbia Columbia : “The : “The great It’s AllIt’s Fit: in the (Baden-Baden: 88, no. 5 (May 5 (May 88, no. Poetics Art International 4, no. 2–3 ([Feb./ 4, no. 8, no. 5–6 (Summer 5–6 (Summer no. 8, (Marfa, Tex.: Chinati (Marfa, Tex.: ,” but the 1936 version version but 1936 the ,” 64, no. 8 (Apr. 1990), p. 51. p. 1990), (Apr. 8 no. 64, The Poetics of AristotleThe (Buffalo, N. Y.: Fine Y.: Fine Arts N. (Buffalo, Art News Poetics , ed. Pound (New York: Arrow York: (New , ed. Pound The ChineseWritten as Character Structure to Resemblance: Work by Structure Resemblance: to Work John Chamberlain John John Chamberlain: ReliefsJohn 1960–1982 , May 29, 1996, p. 3; Donald Judd, Judd, 3; Donald p. 29, 1996, , May Art International Art International Arts Magazine 1459a, of in one his editorial for footnotes I thank colleagues and readers for their comments their comments for I thank colleagues readers and quotingPound, Aristotle, Ezra is from The epigraph dancers, car and wrecks see to references For Chamberlain,” in Chamberlain,” Eight American Sculptors artichokes mummies, and 23. For p. 1987), Academy, Chamberlain: Reliefs see Auping, Michael “John in 1960–1982,” (Sarasota, Fla.: Ringling Mable and John Museum foot phalluses, drapery, 12. And p. for 1982), Art, of Christmasball players, ornaments, jungle gyms, sucked eggs, Titans, and see Elizabeth Hayt-Atkins, Chamberlain,” “John Leaning “‘No on Poetter, Jochen 158; p. 1989), High-Energy Chamberlain’s Oars’:the On John in Ideograms,” Staatliche Kunsthalle 30; Baden-Baden, p. 1991), Adrian and Kohn, Getsy, William C. J. Agee, David in Discussion,” in “Panel comments John Chamberlain of Work The 2009), pp. 244–47;Foundation, Fried, Michael “New Letter,” York In Brief,” “Artscene: 82; p. Julie Yufe, 1964), Daily Spectator “Chamberlain: Another View,” Kuspit, Donald 39; and p. 1964), 16, (Jan. 10 no. Existential“Troubled Titan: Chamberlain’s John Vernacular,” on drafts of this essay. Also, for help with research, help with Also, research, for of this essay. drafts on Geri Aramanda, Lisa thanks Roger to my Anthony, Jeff Bergman,Fernandez, Ken Barkley, Judith Hsu, MaryHastings, Helen Kadish, Mason, Jon RickiMoskowitz, Olsen, StanleySandra Murashige, Shou-Chih and Charlie Schichtel, Stuckey, Amy the Fellowship from Faculty The Charlotte Yen. Massachusetts College of Art Design the and and Vivian the L. from Fellowship Smith Foundation Collection contributedMenil financial support. Poetics, Ernest Fenollosa, Poetry a Medium for version in the note 26. (Pound’s p. Editions, 1936), to only is published 1919 in essay ofFenollosa’s Aristotle’s “Compare definition of Fenollosa’s this specificincludes line.) metaphor as “the use of material images suggest to Pound reminded immaterial relations” seems have to the passage from of following the of metaphor. a command have is to far est thing by cannot This alone be impartedby another; it is the good make implies metaphors to mark of genius, for See discussion additional of resemblances.” an eye for of Aristotle translation The below. work Fenollosa’s ed., S. H. Butcher, is from ed. (1895; London: MacMillan, 1898), pp. 86–87. rev. Stars Other “Movie and Members Butler, Barbara of Cast,” the 52; p. Auping, 1960), Michael and “John Mar.]

1. NOTES - - - - tell us next tell to Contrary the to 46 At first Atvague first those glance 47 put together well, and Anthropomorphic terms concepts and 45 114 cm) ×

120 × having a good time together 44⅞ inches (216 44⅞ inches × , 1988

Unlike most of those who have written about most of thoseUnlike his work, who have Cham 47¼ × like our impossible comparisons to prehistoric mutants and motor mutants and our impossiblelike comparisons prehistoric to language that own explanations in Oz, reveal can bikes Chamberlain’s and with words objects.his finds notkeep worksone pace his Around of failure continuing The words. more even now, those words, around this languageall suggests art might Chamberlain’s what be that unlike look and around. these words from see turnyou when you away the constructionthe of his objects (“the fit in the sexual decisioncomes “the assembly fit,a is issexual”), the fit itand ting servesofparts,” the as a useful analogy another get quality at as well: of to pieces the “Talking about art the itself is very sex.really like Nobody difficult. It’s talks about it, it, they talk around edge the on of it.” seemingly of that, easygoing this and evocations difficulty the work’s of selecting satisfactory comparisons and not should be lost in words explanations.our verbal It looks now Chamberlain like less art makes seen more and done, and have of all manner things we resembles that still only very are we unusual makes that he pieces that slowly getting know their own on terms.to berlain a point makes of often noting of inadequacies the language as form, uses talk abouthe a it to his art. a fit,you have and have “You broke he And so parts all of these three are—,” a color. have you and up come with the to unable off interview, right duringrecent verb, a to finishedretreating thought the by He running“I’m out of words.” language,abstract “They’re does: good a as frequently he time having together putthem well.” you if together, phrases, other by artists comparisons pieces But our facile to nothing. like and fig 36 ChamberlainJohn The Bride steel chromium-plated and Painted 85 Moderne, d’Art National Musée Paris Pompidou, Georges Centre putting these kinds of parts“If a commu you’re together have that dealing with format, another kind we’re nication and of language have has to work] [the matter, that another kindand of meaning for someone what else understands to some relevance have things that ground.” also, some common common the of name in the communication, a compromise to amount before stand aswe inventing or huntingfor forever are we that ground can also we learn of about starting art. by work a piece a strange Yet everything body the to with and to its its unlikeness uncommonness, format, communication ownlanguage, their works else. and The have reflect be time to used it may to; are meanings independent of we what comparisons art.the at more than throwing And so thoseon rather Chamberlainwhile sex asmetaphordiscussingon a when relies often - - As our 44 (1959/74) remains remains (1959/74) Swannanoa/Swannanoa II (1999) as bizarre as the “gaudy motorbike that that motorbike asbizarre “gaudy asthe (1999) Starletta Another connection that attests to our only rudimentary to attests Another that connection compre unknown object Asked so nothing else much. quite seems resemble to Chamberlain replied, art the likening about body, the his own words to hension of a piece is the tiresome but perhaps to inevitable tiresome is the of correlation hension a piece humanthe body—nothing an else seems so accordingly familiar and comparisons fail one after another they oddity it the comparisons after make clear one that fail endures. work of Chamberlain’s as obscure to us as the “prehistoric mutant creature” that it “can be it “can that creature” mutant us as “prehistoric the to as obscure and as,” read might bespeedingOz” in highway it a “looks along that like.” more thananything sense else inability make our ongoing ofmore the to art examination: under ating the dissimilarities the ating can be and unmentioned go as effective that the outset. from pieces the differentiating our When asdeliberately outlandish entities, convey propositions the invoke correspondences unexpectedly about us much work. the tell When our earnest efforts to objects those between and of Rodin, Chamberlain’s establish parallels Smith, Kline, de Kooning or associations the up accentu end falter,

53 52 ADRIAN KOHN Understanding Unlikeness —–

- - - - 14, The New York New York from Donald from New Yorker, New

5. 6. 7. 8. 9. 10. 11.

2. 3. 4.

1. NOTES - - - - tell us next tell to Contrary the to 46 At first Atvague first those glance 47 put together well, and Anthropomorphic terms concepts and 45 114 cm) ×

120 × having a good time together 44⅞ inches (216 44⅞ inches × , 1988

53 52 ADRIAN KOHN Understanding Unlikeness —– 30 88, 33, ica ica Sciences Introductory ArtAmer in John Chamberlain: John John Chamberlain: John (Fort Worth, Tex.: Tex.: (Fort Worth, ContemporaryArtists (Youngstown, Ohio: (Youngstown, , 2nd ed., 2nd (Upper Saddle interview, at 19:25. Auping’s Auping’s 19:25. at interview, (Harcourt Brace Jovanovich Jovanovich Brace (Harcourt (Inner-Tube Video, 1999), at 46:05. at Video, 1999), (Inner-Tube ture and Work on Paper on and Work ture sation withsation Auping, cited in Auping, Oct. 1, 1981, Sylvester, “Auto/Bio,” p. 12. p. “Auto/Bio,” Sylvester, in Chamberlain,” See 12; p. ibid., Auping, “John See also Chamberlain” 97. (2007), p. Auping, “John Robert edition instructor’s of Blitzer, “John Ebony, Kuspit, 51; David p. “Troubled Titan,” Chamberlain Statement”; in con Chamberlain, “A with Chamberlain Klaus in Conversation “John Esmay and Kohn, and interviewEsmay with Chamberlain, Years: Interviews and Outtakes Years: Modern Art 2007), Museump. of Fort Worth, 97; and for notes teacher’s Tooker, Dan Sculptors at Work: 28. See p. alsoFilms, 1978), Modern Sculpture Leffingwell,Edward “The Irregular InterviewSet: An in Chamberlain,” with John Sculp Butler of Institute American Art, 18; and p. 1983), 12. p. “Auto/Bio,” Sylvester, College StudentsAlgebra for 695; p. and 1998), Hall, Prentice N.J.: River, Raymond Hidden “The Jeanloz, Shore,” 29. p. 1993), 1 (Jan.–Feb. no. Chamberlain PaceWildenstein,” at 9 (Sept.no. 148. 2000), p. Spectrum: Visual Art Chamberlain to question noticedwhen “I’ve was: about sculpture, your conversations had have we human the body like to use often termsyou relating to relate does that How ‘nervous or ‘stance’ system.’ what or mean ‘stance,’ you do How sculpture? the nervous effecton the to have?” want you do system 19:08). (at ver Chamberlain” 12; p. Esmay and and (1982), “John Kohn, interview with Chamberlain, A. side 17. p. Kertess,” side B. 40. 41. 42. 43. 44. 45. 46. 47. 39.

------It’s It’s of —the Toasted [ of 1979]. of 1979]. Haute CinqHaute translated lit translated . Not necessar . Not Coup d’SoupCoup ), . The act . The of fitting , p. 111, ellipsis in, p. . . Electra Underlace high five of 1979 (possibly a of 1979 of 1990 (“cognac”), of 1990 and Electra Underlace Electra Underlace contains the letters of the letters the contains Electra Under Lace meet chicks Toasted Hitlers Toasted [or] Cone Yak Cone swift Chickmeat of 1996 (“mystique,” “mistake”). (“mystique,” of 1996 of 1977, of 1977, It’s a form of bread that’s toasted. that’s of a form bread It’s . The title could mean could dozen. The half a title . Don’t you remember that there was there that remember you . Don’t John Chamberlain John . . . . , p. 203. , p. . As for puns in Chamberlain’s titles, some. As puns in Chamberlain’s for wit Toasted Hitlers Hitlers Toasted Chamberlain devised called he what triple or Sylvester, “Auto/Bio,” p. 11. p. “Auto/Bio,” Sylvester, ‘blonde to day’ somethingmean different may “A See also Gardner, “Do Titles Really Matter?,” p. 95. p. Titles “Do Really Matter?,” See also Gardner, some demonstrate which three-way puns as well, his from result meanings that the for consideration titles that have to “I wanted of words: combinations like ambiguous—iswere right the It’s that word? things, different bea three-way pun; it three could like original. same titles the on two Commenting else Chamberlainwhere, explained, recognize “You the meaning. the out figure quite can’t but you words And I way. that and way go this could meaning The liked that. Like really New York, side A. side York, SeeNew also Artists Documentation 34:05, Reason: at and “Rhyme interview, and Program pp. 230–35 in this volume. A Limited Lexicon,” of us,each pos but it nevertheless has different sibilities than a ‘brunette night’—not mention to pepper and a ‘salt afternoon.’ differ seeing new words the possibilities for creates something seeing in their combination ently for and J. David be visualized.” not previously could that Transformations Couplings: “Immoderate Getsy, in Work,” Chamberlain’s in John Genders and All Fit in the Feminine Mystaque Feminine E. (from J.) Hitlers reallymean anything, Thesedon’t things your but in imagination Hitlers? Toasted But beHitler it a des[s]ert, toasted. could was it or not only that, “And breakfast.” be somebody’s could alsoit just could look good. It mean noth could Obrist, ing.” burn. And did he ily a Danish. rightthe theyand alsonumber have nice are words of syllables. Kohn,and interview Esmay Francesca with things.” 14,Chamberlain, 2006, recording, Mar. audio size that the word size word the that word examples include ofslang the reversal of soup”), “cup Ville,” de (“Coupe 1980 American (the of 1990 slang French), into erally 37. 38.

------Coo Art News , ed. Josué V. V. , ed. Josué , ed. Saussy, , ed. Saussy, (New York: York: (New

(1979) empha (1979) Stressed DessertsStressed is But there Fine! . Textual Strategies: Textual

at Martha at Jackson .

. WI T , p. 111. The passage 111. The full , p. , p. 69. See, p. also Auping, 7, no. 1 (Jan.–Feb. 1983), 1983), 1 (Jan.–Feb. no. 7, The ChineseWritten Character SWIFT , p. 111. See also Sylvester, “Auto/ 111. See, p. also Sylvester, , p. 111. , p. Art Papers (1962) may play on the last the on name of artist play may (1962) John Chamberlain John John Chamberlain John New Media–New Forms I Forms Media–New New For wider discussion of Fenollosa’s essay, see essay, wider discussion of Fenollosa’s For Gardner, “Do Titles Really Matter?,” p. 95; Obrist, p. and Titles “Do Really Matter?,” Gardner, Paul Gardner, “Do Titles “Do Really Matter?” Gardner, Paul Interview Auping,Michael with John “An historyClearwater, oral 24. p. interview, 95; p. Obrist, and Titles “Do Really Matter?,” Gardner, person other than everybody’s used it” gotten to (pp. 111–12). Chamberlain John 11. p. Bio,” title strange-looking 2. The p. Interview,” “An Wha Zee Christo Coetzee, with Chamberlain whom exhib in ited 6–24, June 1960. York, New Gallery, format The is a curious(1990–91) palindrome. ting spacing of and Image: Riddel, the “Decentering Joseph ‘Project’ The in Poetics?” of ‘American’ Criticism in Post-Structuralist Perspectives Cornell 1979), Press, University (Ithaca,Harari N.Y.: Compounded: “Fenollosa Saussy, pp. 332–40; Haun in A Discrimination,” A Critical Poetry: as a Medium for Edition Stalling,Jonathan LucasKlein and Nam- and 2008), pp. 1–40; Press, University Fordham See Kim, Schrift der “Grammatologie Fremden. des Eine kulturwissenschaftliche westli Untersuchung Rezeptioncher Schrift” chinesischer dis (doctoral sertation, zu Berlin, 2009), Humboldt-Universität pp. 215–29. 95. p. 1992), 2 (Feb. 91, no. Chamberlain,” 2. p. Chamberlain John titling the with do has the nothing to “And reads: is your example: Hans object, than, for more any used quite to you’re life, it all your had name, you’ve it, everybody know you would grandfa my named ‘I’m after unless connection, no also who was named great-grandfather, my and ther But there’s family. in the name a long It’s Hans.’ nothing ‘Hans’ specific with the word about the

35. 36. Obrist, 30. 31. 32. 33. 34. Obrist,

- - - ter” ter” (New (New (Winterthur, The Portraits Speak:The Chuck . Examination a shows that . . , p. 58. , p. John Chamberlain, Papier Paradisio: Chamberlain, Papier John . Ideographs are like blood-stained like . Ideographs are battle . . Fenollosa and Pound, “The “The Written Chinese Charac Pound, and Fenollosa Ibid., added. 72. Chinese p. characters Ibid., 57. p. “The Written Chinese Charac Pound, and Fenollosa “The Written Chinese Charac Pound, and Fenollosa describe to failed scholars agree Fenollosa Most that “John Chamberlain,” in Chamberlain,” “John “Thus a word, instead of growing gradually poorer poorer of “Thusgradually instead growing word, a as with poorer us,and becomes richer still and more age, agerich to almost consciously luminous. from in Its history, and uses philosophy in national about it a nimbus throw in poetry, and biography aboutsymof the meanings.center These graphic bol. Pound, Fenollosa and flags old campaigner.” to an 59. p. 1919), “The ChineseWritten Character” (Nov. word), but rather the more fundamental point that more the but rather word), that and pictorial content have Chinese characters more actions toward tends this pictorial content than stationaryforms things. of these “The earlier pictorial, upon their hold the and were characters imagination conven in later is little even shaken, tional modifications. largenumber ofprimitive the Chinese characters, so-called the even shorthand are pictures radicals, “The Pound, and Fenollosa of processes.” or actions Chinese Character” Written 58. p. (Oct. 1919), added. 58. Chinese p. characters (Oct. 1919), “The Pound, and Fenollosa and 64; p. (Sept. 1919), See Chinese Character” Written 57. p. (Oct. 1919), “The Written Chinese Pound, and alsoFenollosa 57. p. 1919), Character” (Nov. added. ter” 58. Chinese p. characters (Oct. 1919), reads as one casual everyday of Chinese, reading say, That being said, arguesome a newspaper. in favor pictorially when conduct of considering characters hermeneuticing analysis of poetry other texts.and the of meaning to so undoubtedly layers Doing adds writing, celebrated. something was which Fenollosa pp. 57–64; 6, no. 7 (Nov. 1919), pp. 55–60; and 6, pp. and 55–60; no. 8 1919), 7 (Nov. 6, no. pp. 57–64; commentary additional pp. 68–72. For on (Dec. 1919), Chamberlain, to essay importancethe of Fenollosa’s 2, Chamberlain” vol. (1984), see Auping, “John in Flow,” the Schwarz, Dieter 16; p. Create “To Schwarz, ed., Drawings, Collages, Reliefs, Paintings Switzerland:Kunstmuseum 2005), Winterthur, pp. 11–12; Schwarz, Dieter and “Staples, Cuts, Sprays, Imprints,Calligraphy: and Chamberlain Paper,” on AllIt’s Fit in the Close of 27 His Subjects with in Conversation 526. p. reading, A.R.T. By 1997), Press, my York: arguments Chamberlainmisconstrues Fenollosa’s a certainto extent. The claim not is that much so pictorial exists betweenan exact match a character’s (as an image) (as a its and symboliccontent content

24. 25. 26. 27. 28. 29. 23.

- - - . The The . . The . The . . . . Little ReviewLittle . Backyard on Tenth Street, Backyard Tenth on 83, 117, 151). Craig Rember, Rember, Craig 151). 83, 117, See “Willem Kooning de Works,

jccr Gotham News Gotham (all 1956). (1955–56); and and (1955–56); July See Sylvester, “Catalogue Raisonné of the Sculpture,” “Catalogue RaisonnéSee Sylvester, of Sculpture,” the 11. See p. also Clearwater, “Auto/Bio,” Sylvester, De with progress in paintings Kooningcovered 38. p. “Chamberlain:Judd, Another View,” formation and opulence Also from change the notice 117; p. Chamberlain” 1964), (Aug. “John See [Judd], “[Chamberlain’s sculpture] is redundant. sculpture] “[Chamberlain’s pp. 63, 68, 74 ( pp. 63, 68, 74 said that Foundation, Judd Collections Manager, works by his knowledge owned any to never Judd 2011. 27, Apr. de Kooning. Letter author, the to historyoral pp. 22–23; interview, Ernest and “The Written Chinese Pound, Ezra and Fenollosa Poetry,” Mediumfor asa Character newspaper in an effortPeeling their drying. slow to paperthe offreversed imagesleft of the assorted especiallypages, are which visible whitish in the areas. locate next sentences Judd’s voluminousness. to of de Kooning’s pace in the interest Chamberlain’s mark-making, of discussion: a new “Having topic the by impressed a little was he himself, painted speed be with started. a painting could which He methodicalneither liked the labor nor of sculpture Ibid. its effect.” Chamberlain” 71; Judd, p. (Sept. 1964), “John J[udd], pp. 31–32; “Specific Judd, Objects,” “Local History,” Chamberlain” pp. 8–9. [1966], 82; “John Judd, p. and art on 1989 essay Chamberlain’s final Judd’s published on previously had he that all reprinted pro which review, his initial 1960 except work the paintings. Other Kooning’s de to posed parallels Kooning de to but sections text refer of this 1989 his paintings with those contrast to only in order Barnett and Judd, See Newman. Pollock of Jackson Chamberlain” J[udd], pp. i–xi; and (1989), “John Chamberlain” 57. p. (1960), “John Monday Night,First of January, Saturday The the Fire, Time of and “Willem and 1954–1955” 1956– Kooningde Works, of Willem the Kooning de binders, Archives 1957” York. New Foundation, bodies is volu automobile sheet metal from folded minous, somewhatunmanageable, apparently and an essential than its is less that constitutes form It is grandiloquent,bulk proliferating requires. exhaustpipes, of billows metal. and rods, verbosity inexhaustible the supply implies of mate Judd 57. p. (1960), Chamberlain,” “John J[udd], rial.” is color Chamberlain’s that in this review wrote aspect” “unique the of his work, so, one and thought in assumes, color the it unlike must he have de Kooning’s 6, no. 5 (Sept. 1919), pp. 62–64; 6, no. 6 (Oct. 1919), 6 (Oct. 1919), 6, no. pp. 62–64; 5 (Sept. 6, no. 1919),

21. 22. 18. 19. 20. Ibid.16. 17. 15.

- 36, 38, Easter Woman Summer Redwing,

(1954) and and (1954) , pp. , 48–53, (all 1955); John Chamberlain:John Complete WritingsComplete 1–14, 22, 16–20, John Chamberlain: John Arts Magazine Arts Magazine Calliope 15, 21, 24, 25, 27, 30, 21, 24, 25, 27, 15, 52, no. 4 (Aug. 1964), 1964), 52, 4 (Aug. no. (1960), two untitled two (1960), jccr the Nova Scotia College Nova the (1959), and and (1959),

(both 1959) are the only the are (both 1959) jccr (all 1959). Sylvester dates dates Sylvester (all 1959). S 7 [“New York: The Art World”] The Art York: 7 [“New Manitou and and Nutcracker Gotham News News Gotham 8 [“Contemporary Sculpture”] Art in America Swannanoa 34, no. 5 (Feb. 1960), p. 57; D[onald] p. 1960), 34,(Feb. 5 no. (New York: Pace Gallery, 1989), pp.i–xi. 1989), Gallery, Pace York: (New and and Design, 1975], pp. 130–31); D[onald] pp. D[onald] 130–31); Design, 1975],

and and (Philadelphia: of Institute Contemporary [Halifax: Press of Press [Halifax: (1958), (1958), Arts Yearbook ArtsYearbook (1959), (1959), (1959). Sylvester, “Catalogue Raisonné Sylvester, of (1959). 26, 28, 29, 31, 33–37, 56). 26, 28, 29, 31, 33–37, to 1960, but an inventory card from the the from but an inventory card 1960, to Wellsroot, Waller, Zaar, Johnny Bird, Arcadia, Bird, Johnny Zaar, Waller, Wellsroot, (1957). See Sylvester, “Catalogue Raisonné See Sylvester, (1957). of jccr Judd wrote about Chamberlain’s work at least at work about Chamberlain’s wrote Judd J[udd], “John Chamberlain” 57. p. (1960), “John J[udd], nineteen The Chamberlainworks the include Cord pp. 44–47 ( Sculpture,” the de 23). eleven The Kooningpaintings are as Landscape, Composition, Street Corner Incident, Interchange, H.A.W.K. Sequence pp. 46–53 ( Sculpture,” the draw to not did intend 32, probably 38, 39). Judd similarities between and paintings Kooning’s de early objects, least twenty-oneat of Chamberlain’s automobile sheet metal from without colored the bodies such as elsewhere, and New Sculpture New January in the exhibited pieces Marthaten 1960 GalleryJackson others: as nine as well show Shortstop 1958–59, untitled two works from 1958, works from no. 10 (Sept. 1964), p. 71; Donald Judd, “Local Judd, 71; Donald p. (Sept. 10 no. 1964), History,” pp. 31–32; “Specific Judd, (1964), Donald Objects,” Arts Yearbook in Chamberlain,” (1965), “John Judd, 82;p. Donald 7 Sculptors pp.Art, 8–9; and [1966]), of University Pennsylvania Chamberlain,” “John Judd, Donald no. 6 (Mar. 1962), p. 48; Judd, “Chamberlain: 48; Judd, p. 1962), 6 (Mar. no. “John Judd], [Donald pp.38–39; Another View,” Artists at and in “Young Fair the at Chamberlain,” Center,” Lincoln Judd, in Donald (reprinted 117 p. 1959–1975 of Art and Chamberlain,” “John J[udd], of the Sculpture,” in Sylvester, in Sylvester, of Sculpture,” the A Catalogue Raisonné Sculpture of the 58 ( Chamberlain,” “John J[udd], D[onald] times: nine Arts Magazine Chamberlain,” “John J[udd], Redwing, Wildroot, Redwing See “Exhibition: gallery “1959.” states archives January January 5 to 30” [list of works], exhibited for inventory the and card 8 “1960-A,” box University Martha 4535, no. Archives, work Jackson at Buffalo Anderson UniversityThe State Gallery, “Catalogue Raisonné Sylvester, and York; of New Hawthorne Hawthorne catalogue in her raisonné indicates Sylvester pieces exhibi been included in Chamberlain’s as having Jan. York, New Martha the at Gallery, tion Jackson a list of works exhibited from However, 5–30, 1960. of gallery the archives the eight includes additional pieces: 12. 14. 13.

55 54 ADRIAN KOHN Understanding Unlikeness —– 30 88, 33, ica ica Sciences Introductory ArtAmer in John Chamberlain: John John Chamberlain: John (Fort Worth, Tex.: Tex.: (Fort Worth, ContemporaryArtists (Youngstown, Ohio: (Youngstown, , 2nd ed., 2nd (Upper Saddle interview, at 19:25. Auping’s Auping’s 19:25. at interview, (Harcourt Brace Jovanovich Jovanovich Brace (Harcourt (Inner-Tube Video, 1999), at 46:05. at Video, 1999), (Inner-Tube ture and Work on Paper on and Work ture sation withsation Auping, cited in Auping, Oct. 1, 1981, Sylvester, “Auto/Bio,” p. 12. p. “Auto/Bio,” Sylvester, in Chamberlain,” See 12; p. ibid., Auping, “John See also Chamberlain” 97. (2007), p. Auping, “John Robert edition instructor’s of Blitzer, “John Ebony, Kuspit, 51; David p. “Troubled Titan,” Chamberlain Statement”; in con Chamberlain, “A with Chamberlain Klaus in Conversation “John Esmay and Kohn, and interviewEsmay with Chamberlain, Years: Interviews and Outtakes Years: Modern Art 2007), Museump. of Fort Worth, 97; and for notes teacher’s Tooker, Dan Sculptors at Work: 28. See p. alsoFilms, 1978), Modern Sculpture Leffingwell,Edward “The Irregular InterviewSet: An in Chamberlain,” with John Sculp Butler of Institute American Art, 18; and p. 1983), 12. p. “Auto/Bio,” Sylvester, College StudentsAlgebra for 695; p. and 1998), Hall, Prentice N.J.: River, Raymond Hidden “The Jeanloz, Shore,” 29. p. 1993), 1 (Jan.–Feb. no. Chamberlain PaceWildenstein,” at 9 (Sept.no. 148. 2000), p. Spectrum: Visual Art Chamberlain to question noticedwhen “I’ve was: about sculpture, your conversations had have we human the body like to use often termsyou relating to relate does that How ‘nervous or ‘stance’ system.’ what or mean ‘stance,’ you do How sculpture? the nervous effecton the to have?” want you do system 19:08). (at ver Chamberlain” 12; p. Esmay and and (1982), “John Kohn, interview with Chamberlain, A. side 17. p. Kertess,” side B. 40. 41. 42. 43. 44. 45. 46. 47. 39.