Larry Bell & John Chamberlain

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Open: Tue-Sun 11am-6pm

901 East 3rd Street, CA 90013, Los Angeles, United States
Open: Tue-Sun 11am-6pm


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Larry Bell & John Chamberlain

to Sun 2 Oct 2022

901 East 3rd Street, CA 90013 Larry Bell & John Chamberlain

Tue-Sun 11am-6pm


Hauser & Wirth Los Angeles presents the first ever exhibition to focus upon Larry Bell and John Chamberlain’s defining dialogue as revealed through a series of iridescent plexiglass sculptures, coated glass cubes, and rare works on paper.

Artworks

Light Knot M 3.3.17, 2017

7mm polyester coated with aluminum silicon monoxide
132.1 x 55.9 x 25.4 cm / 52 x 22 x 10 in
© Larry Bell. Courtesy the artist and Hauser & Wirth. Photo: JR Doty

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MS 23, 1978

Aluminum and silicon monoxide on vellum
120.7 x 99.7 cm / 47 1/2 x 39 1/4 in / 129.5 x 107.6 x 5.1 cm / 51 x 42 3/8 x 2 in (framed)
© Larry Bell. Courtesy the artist and Hauser & Wirth. Photo: Jeff McLane

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VF 9, 1978

Aluminum and silicon monoxide on paper
73.7 x 58.4 cm / 29 x 23 in / 83 x 67.9 x 3.8 cm / 32 5/8 x 26 3/4 x 1 1/2 in (framed)
© Larry Bell. Courtesy the artist and Hauser & Wirth. Photo: Jeff McLane

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Orange Blue, 1969/2022

Coated glass with chrome plated brass edging
21 x 21 x 21 cm / 8 1/4 x 8 1/4 x 8 1/4 in
© Larry Bell. Courtesy the artist and Hauser & Wirth. Photo: Jeff McLane

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Old Timer, 1969

Coated glass with chrome edging
31 x 31 x 31 cm / 12 1/4 x 12 1/4 x 12 1/4 in
© Larry Bell. Courtesy the artist and Hauser & Wirth. Photo: Jeff McLane

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Golden, 1969/2022

Coated glass with chrome edging
31 x 31 x 31 cm / 12 1/4 x 12 1/4 x 12 1/4 in
© Larry Bell. Courtesy the artist and Hauser & Wirth. Photo: Jeff McLane

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Gallup, 1970

Mineral-coated synthetic polymer resin
63.5 x 139.7 x 111.8 cm / 25 x 55 x 44 in
© 2022 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York. Dia Art Foundation, New York

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Luna, Luna, Luna (In Memory of Elaine Chamberlain), 1970

Mineral-coated synthetic polymer resin
77.5 x 94 x 76.2 cm / 30 1/2 x 37 x 30 in
© 2022 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York. Dia Art Foundation, New York

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Hano, 1970

Mineral-coated synthetic polymer resin
66 x 106.7 x 91.4 cm / 26 x 42 x 36 in
© 2022 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York. Dia Art Foundation, New York

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Larry Bell, 1993

Ektacolor Professional print taken with Wide Lux camera
50.8 x 61 cm / 20 x 24 in
© 2022 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York

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Untitled, 2002

Ektacolor Professional print taken with Widelux camera
50.8 x 61 cm / 20 x 24 in
© 2022 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York

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Dot-Klish, 1970

Mineral-coated synthetic polymer resin
47 x 59.7 x 49.5 cm / 18 1/2 x 23 1/2 x 19 1/2 in
© 2022 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York. Photo: Jeff McLane

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Great friends as well as pioneering artists of the American postwar period, Larry Bell (b. 1939) and John Chamberlain (1927-2011) each forged history-making careers by harnessing the new technologies of their time to transform everyday industrial materials into works of art that expanded the definition of what sculpture can be. Yet the formative dialogue between these two titans—an intensive artistic and intellectual exchange that helped shape their respective practices and the wider language of 20th-century art—has yet to be fully explored.

In September 1962, Larry Bell and John Chamberlain met by chance at the famed Ferus Gallery in Los Angeles. Over the following years while both shuttled between the artistic circles of New York and LA, Bell and Chamberlain formed a close friendship predicated upon a mutual penchant for technical innovation, and an intensive cross-pollination of ideas and discoveries. In the late 1960s, Chamberlain moved back to Los Angeles and lived with Bell. Working side by side, the men pushed one another to expand the material and formal possibilities of their respective practices.

In the ‘60s, Los Angeles was the center of the aeronautics industry that had burgeoned during the war, and Bell was one of the first artists to apply its commercial manufacturing processes to his work. One of the signatures of his artistic approach is its use of a vacuum deposition chamber, which Bell first acquired in the late ‘60s. Called ‘The Tank,’ this tool permitted him to coat sheet glass in specific ways that alter how absorbent, transmissive, or reflective it appears to the eye. With the aid of ‘The Tank,’ both Bell and Chamberlain explored the possibilities of form, materiality, and color—experiments that resulted in the exceptional artworks on view in the exhibition.

About Larry Bell
Larry Bell is one of the most renowned and influential artists to emerge from the Los Angeles art scene of the 1960s, alongside contemporaries Ed Ruscha and Robert Irwin, and had garnered international repute by the age of 30. Known foremost for his refined surface treatment of glass and explorations of light, reflection and shadow through the material, Bell’s significant oeuvre extends from painting and works on paper to glass sculptures and furniture design.

About John Chamberlain
John Chamberlain first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture.

Installation view, ‘Larry Bell & John Chamberlain,’ Hauser & Wirth Los Angeles, 2022. 
Courtesy the artists and Hauser & Wirth. 
Photo: Jeff McLane


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