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John Chamberlain
Untitled Self-Portrait

2006

$90,000
£67,287.11
€77,454.32
CA$126,261.26
A$137,501.07
CHF 72,248.80
MX$1,679,678.37
NOK 897,370.80
SEK 848,584.88
DKK 578,172.65

About the Item

JOHN CHAMBERLAIN Untitled Self-Portrait, 2006 Digital monoprint on canvas, mounted on wood. Unsigned. W 18” 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 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 composition, the ceiling takes up the majority of the frame, while the artist himself appears at the bottom, dressed in a black hat and formal attire. The narrow, vertical crop reveals only half of his face, partially obscured by shadow, yet his visible gaze remains serious and directed at the camera. Unlike other works in the series, this photograph is not distorted during capture, but has been edited with the addition of a purple hue across the canvas, adding warmth and playfulness into the composition. 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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