Aalto + Chamberlain

12.7 cm) 12.7 cm) 12.7 cm) 12.7 cm) 12.7 cm) 12.7 cm)

× × × × × ×

12.1 cm)

×

173.4 173.4 173.4 173.4 173.4 173.4

× × × × × × , 1935

170.2

, 1931–32 , 1936 ×

, 1932 , 1935 , 1935 ,1935 5 i 5 i 5 i 5 i 5 i 5 i , 1933 nches (173.4 nches (173.4 nches (173.4 nches (173.4 nches (173.4 nches (173.4 × × × × × ×

, 1964 4 3/4 i nches (170.2 , 1964 × , 1964

68 1/4 68 1/4 68 1/4 68 1/4 68 1/4 68 1/4

× × × × × ×

67

, 1964 ×

on Formica (from left to right) Photo: Timothy Doyon © Judd Foundation. Judd © Timothy Doyon Photo: / ArtistsLTD Rights Society (ARS), New York. Particular model produced in the 1930s Dia Art Foundation Birch armrests with Zebra upholstery Drop-leaf table with birch L-legs Seat in black linoleum with birch L-legs and backrest Seat in black linoleum with birch L-legs Square black linoleum table top with birch L-legs Seat in birch with black lacquer with birch armrests Seat in birch with black lacquer with birch armrests John Chamberlain Metal and lacquer with reflective flake on fiberboard Metal and lacquer with reflective flake on fiberboard Metal and lacquer with reflective flake on fiberboard Metal and lacquer with reflective flake on fiberboard Metal and lacquer with reflective flake on fiberboard Metal and lacquer with reflective flake on fiberboard John Chamberlain Fairweather © 2019 & Fairweather [untitled], 1964 [untitled], 1964 [untitled], 1964 Chromed steel and auto lacquer and metalflake Circular black linoleum table top with birch L-legs 68 1/4 68 1/4 68 1/4 68 1/4 68 1/4 68 1/4 67 Rock-Ola Conrad Zia Toureiro Artek Armchair 400 “Tank” Artek Armchair “Paimio” 41 Artek Chair 66 Artek 81C Table Artek 91 Table Artek Stool 60 Artek Armchair 42 Artek 2nd Cycle Folding Table Exhibition Checklist

ssible po ade aturdays & S idays treet support is provided support is provided onal Chamberlain is m Chamberlain i support from George Economou. + t pring S

+ i Artek.

1 S dd moderated by Caitlin Murray, Director of by A on Alvar Aalto with Sir David Adjaye, November 2019–January 21, 2020 18, Public ours: h Institute are pleased to present a conversation Judd Foundation and theFinnish Cultural January 16 Marianne Goebl, Eeva-Liisa Pelkonen, with Fr Thursdays, 6:00pm Archives and Programs at Judd Foundation. 1:00–5:30pm 10 Aalto Aalto November 21 – January 18

- - -

-

Both Donald Judd and Aalto designed As an avid collector of Aalto furniture, contemporaryThe examples of seldom, if the ever, result of professional spaces Marfa, in New York, and Europe. design work. Almost without exception, and cottages, workers’ as an accompani examples of the standard Stool 60, which designing furniture in this way.” notable attention paid to function. As furniture particular for buildings, with from the standard to the specific, across his tion are comparable to Judd’s collection at the Architecture Office. tonic wholeness, in the mixed society of from this same time-period, including a public buildings, aristocratic residences ment to architecture. has It been great fun lected rarer examples of Aalto furniture Sanitorium, one of Alvar and his wife For example, Spring in 101 Street and his

I have done them as part of an architec Judd placed dozens of pieces, ranging was designed Judd also in 1932-33. col wardrobe that was designed the for Paimio Aalto’s furnitureAalto’s included in this exhibi Aalto wrote in furniture 1954, “My is Architecture Studio in Marfa are many Aino’s mostAino’s important early buildings. -

- -

One key of innovations Aalto’s was able internationally, as remains it today. evolved as an integral part of his architec a totala concept from townscape down to dard furniture spanned from 1929 to for a comprehensivefor design conceived as tural practice, “deriving from his desire the His door knob.” production of stan bent to a desired angle. The cold-bend became a standard structural unit from interlocking L-Leg, first used in Stool 60, his use of laminated wood that could be

which many permutations developed. Alvar Aalto’s furniture production 1959 and,1959 with the formation of Artek in his furniture1935, became widely avail ,

-

Mr. Press In addition to the paintings on view, In a note from September 6, 1979, scale permanent installations. the In 1983, arguing that since “ever he began work artists in the world. He has not been a long time high for He continued, work.” coated pieces, and many of the sprayed- rubber, the movies, some of the vacuum- twenty-two sculptures by the artist, from 1961, whichfrom 1961, he installed on the foil pieces… there are few artists alive permanent installation of the artist’s the Chinati Foundation, which would be centered on the creation of large- treated “From as the such.” early sculpture open to the public. remains It the largest public contemporary art foundation, now paintings of 1964, the pieces made of foam of the late is to 1950s now twenty years, ing Chamberlain has been one of the best known metal sculptures, also but the fifth101 Springfloor of Street. In the late Chamberlain Building, which includes Donald Judd lauded Chamberlain’s work,

Judd purchased Chamberlain’s was the first installation of the project to work in the world. whose is work equal to Chamberlain’s.” 1970s, Judd developed his concept a for “This not work only includes the well- - - -

: John Chamberlain: A Catalogue Catalogue A Chamberlain: John erything going all the way across, different changes, thirty different and the reflection, and so on. notations—how the light struck, how that stood But if up. counted you ev the light changed the field or changed the painted bar, then the bar itself painted bars and then two chrome bars There was the field, therewere two you couldyou count to up thirty: thirty sive layers of transparent lacquer with thissuspended.” surface, To he then at reflective flake. As Chamberlain noted, he four-foot paintings is composed of succes tached two right-angled metal bars. Of multitude of optical effects produced by these works. As he recounted to Julie particular interest to Chamberlain was the Sylvester in Chamberlain used to make the four-by- wanted to “bury the flake and makeit look The distinctive paint which John Raisonne of the Sculpture 1954–1985

- - -

Notable buildingsNotable Aalto by include: It was characteristicIt Aalto of treat to growing and sales production Aalto of series following main production, the estimated that during his career Aalto designed 500 individual over buildings, built, 300 which were approximately of of hisof friends, Alexander Milne Calder and Fernand Léger. combined practicality and aesthetics with and his wife Aino Aalto, Maire Gullichsen, and Nils-Gustav Hahl the promote to organic forms, natural materials, and in Institutechusetts Technology, of creasing freedom in handling the space. of each building art. of work as a complete exceptionally rich and varied career as an architect Artek,of and a founder both at home in home at and After abroad. qualifying as an architect Helsinki from ful has life everyday It in been home. the the vastthe majority which are of in Finland. furniture. design The his of furniture bringing modern art of knowledge the to Finnishthe in people, particular work the the Municipalthe Viipuri, Library, Finland, the architectural expression of Aalto’s architecturalthe Aalto’s of expression buildings became enriched use of the by the Mount Angel Abbey, Salem, Angel Oregon, Mount the Abbey, up hisup first architecturalpractice in Sanatorium, Paimio, Finland, 1928– Finland, Paimio, Sanatorium, New York City, 1964–1965, Library at 1964–1965, City, York New Cambridge, Massachusetts, 1947–1948; Germany, 1959–1988. Helsinki University of Technology, Espoo, Helsinki Technology, of University Finland, 1949–1966; University of of Finland, University 1949–1966; Culture, of Helsinki,House Finland, In 1935, Artek was Alvar by formed In 1935, Institute of Technology in 1921, Aalto set in 1921, Institute Technology of Jyväskylä. From the late 1930s onwards, onwards, Jyväskylä. late 1930s the From Jyväskylä, Jyväskylä, Finland, 1951–1971; Additionally, AaltoAdditionally, was influential in Artek encouraging idea of beauti a more Alvar Aalto an enjoyed Alvar Aalto (1898–1976) Aalborg, Aalborg, Denmark, 1958–1971; Aalto-Hochhaus, Germany, Bremen, 1927–1935 (now Vyborg, Russia); Paimio Russia); Vyborg, (now 1927–1935 , Noormarkku1933; Finland, Finnish Pavilion, York New 1937–1939; 1952–1958; Museum Modern of Art 1952–1958; Essen Opera Essen House, 1967–1970; 1962; Institute International of 1962; Education, World’s Fair, 1939; Baker Massa House, Fair, 1939; World’s - - - ­ -

- -

- -

John , Museum , Dan Photographs , Solomon R. , Solomon John Chamberlain, , Stedelijk Museum,, Stedelijk , at the Museum the of , at , Staatliche Kunsthalle John Chamberlain: , Royal Botanic, Royal Garden, (1966–79); , Pinakothek der Moderne, John Chamberlain: American Chamberlain: John John Chamberlain: CURVATURE , The Menil, The Collection, Houston John Chamberlain was born in 1927 ohn Chamberlain shown alongside modernshown masters such spontaneous correlations between materi spective at the Solomon R. Guggenheimspective Solomon the at as Marcel Duchamp Picasso. and Pablo als interpretation the has of prompted structed from discarded automobile- of Chicago from 1951 to 1952, and Black 1952, to Chicagoof 1951 from of Contemporaryof Art, Los Angeles (1986); cluded in numerous international included numerous survey exhibitions, including Bienal de São ting his to led together these elements by more than exhibi hundred solo more by one ponents, which he humorously termed humorously which he ponents, including tions, materials—from galvanized and steel pa for hisfor distinctive metal sculptures con his work ashis a kind work three-dimensional of per bags Plexiglas to and urethane foam— body partsbody industrial and other detritus, he consistently returned consistently he metal to car com in Rochester, Indiana,in Rochester, in and died in 2011 inclusion in paradigmaticinclusion the exhibition (1989–2004), Chinati(1989–2004), Foundation, Marfa (2005–06); (2009); (1964); Whitney Biennial (1973, 1987); and 1987); Whitney Biennial (1973, (1964); (1927–2011) was perhaps best known (1927–2011) New York. He attended the Art attended the He Institute York. New New York (2014); and (2014); York New Chamberlain’s focus on discovered or or discovered focus on Chamberlain’s Guggenheim Museum, New York (2012); (2012); Guggenheim Museum, York New Baden-Baden, Germany (1991); John Baden-Baden,Germany (1991); Foundation, New York (1982–85); (1982–85); Foundation, York New Flavin Art Institute, Dia Art Foundation, Modern Art in 1961, where his work was his Modern where work Art in 1961, Mountain College, North Carolina, from Museum, New York (1971) was followed was followed (1971) Museum, York New Paulo (1961, 1994); Biennale di Venezia 1994); (1961, Paulo Munich (2011); Choices Munich (2011); Edinburgh (2015). His work has His been work in Edinburgh (2015). Documenta 7 (1982). During his lifetime, John Chamberlain J Chamberlain: Sculpture, 1954–1985 Sculpture, Chamberlain: Sculpture Chamberlain: which he beganwhich he making in late 1950s. the , Dia An Extended Art Exhibition Sculpture, John Chamberlain John Chamberlain: It Ain’t Cheap Ain’t It Chamberlain: John Inverleith House Inverleith Foam sculptures Foam ROMANCE Abstract Expressionism. Expressionism. Abstract Amsterdam (1996); John Chamberlain:Amsterdam (1996); 1955 to 1956. Chamberlain’s firstretro Chamberlain’s 1956. to 1955 The Art of Assemblage Tableau While experimenting freely with other “art supplies.” His singular“art supplies.” put of method - - s - a n s have Texas, a two- onservation from and from celebrates and Aalto in combination. ompleted c results

one could, “sit there and one could, “sit there 2018, Judd Foundation began Judd a 2018, basis on the second floor. Thi basis second floor. the on

t For Judd, the making and viewing of For Judd, the making In the officethe thefloorandsecond guest as

story building late the nineteenth from century designated which he as his Archi as

cock Building in Marfa, exhibition

extensive restoration of the Architecture the of restoration extensive nen

by John Chamberlain,by furnitureAlvar by tecture Office. Juddfloor groundusedthe

these efforts by showing the work of theseshowing efforts by work the treatment of the Chamberlain the of treatment paintings,

housing in installed which he painting Chamberlain

Office.Asthe partrestoration,theof Foundation c

In1990, Donald acquired Judd Glas the which are be to reinstalled a perma on

Aalto, and furniture his of own design. which him, a natural situation for viewing art in him, a natural situation ings together, Judd created what was for ings together, Judd Aalto furniture and Chamberlain paint- Aalto furniture and the ability to be comfortable. By placing the ability to be comfortable. live with art was partially dependent on live with art was partially ities of living. Moreover, the ability to ities of living. Moreover, ensive with the other activ- art were coextensive with the other normal thing.” look at it”, he continued, “It becomes a look at it”, else, then look at it again, or you talk and else, then look at it again, or you talk and look at it, think about it, do something then “look at the work.” “I think you then “look at the work.” drink, or eat, or lie down, or read” and drink, or eat, or lie down,