New York

Robert Chambers


Kinetic sculpture, having successfully weathered its dismissal as “Novelty art” by Clement Greenberg, is generally discussed in terms of two opposing Modernist traditions, grounded in conflicting attitudes toward technology. On the one hand, artists working in the Constructivist tradition of Naum Gabo and Lászlo Moholy-Nagy have celebrated the logic of the machine. On the other, those who partake of the Dadaist lineage associated with Marcel Duchamp, Francis Picabia, and more recently Jean Tinguely, have cynically opposed mechanization, satirizing technology by means of the irrational and the absurd.

Robert Chambers is a young sculptor who is working with one foot firmly planted in each tradition. His heavy-metal, kinetic, and often interactive works combine Constructivist precision in design, execution, and finish, with Dadaist eruptions of humor and absurdity. The four elements in this

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