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John Chamberlain
Untitled Self-Portrait

2006

$120,000
£92,720.82
€107,194
CA$169,568.68
A$190,182.55
CHF 99,595.66
MX$2,310,903.43
NOK 1,264,698
SEK 1,199,022.81
DKK 800,147.16

About the Item

JOHN CHAMBERLAIN Untitled Self-Portrait, 2006 Digital monoprint on canvas, mounted on wood. Unsigned. W 36” x H 90 1⁄2” Chamberlain began to explore photography in the late 1960s, but it wasn’t until 1977 when fellow American sculptor Larry Bell gifted him a Widelux camera, that Chamberlain hit upon a device that would offer the cinematic properties of film with the portability of a camera. In the last decade of his life, Chamberlain further challenged artistic conventions with early experimentations in digital manipulation of photography. In the mid-2000’s, through a combination of stretching, cutting, filtering, and colorizing, Chamberlain created collaged large-scale prints on canvas. The results were stretched canvas panels, showcasing a succession of highly processed images of Chamberlain himself, along with family, friends, art dealers, and his favorite locations including Paris and inside his studio. This untitled self-portrait by Chamberlain pulls from a series of Widelux photography captured by the artist in Paris over three decades, and transformed into large inks on canvas, recognizable by his innovative technique to stretch the image to reinterpret form, light, color, and time. In this work, Chamberlain’s technique enlongates his form into two recognizable faces, one in which he appears to be frowning at the camera and the other in which he appears to be smirking. This Widelux image transferred to ink on canvas displays Chamberlain’s ability to manipulate time and space through his nontraditional technique to reveal multiple moments and versions of himself within one self portrait. Chamberlain’s photography and subsequent inks on canvas mirror themes present in his sculptures, hinging on compression and expansion. At once, both mediums offer a distinct expression of Chamberlain as an artist as well as a lens through which to read his entire body of work.

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