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What Kind of Art Is Chuck Close Known for

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American painter

Chuck Close
Chuck Close.jpg

Shut in 2009
Born

Charles Thomas Close


(1940-07-05)July 5, 1940

Monroe, Washington, U.S.
Died August nineteen, 2021(2021-08-19) (aged 81)

Oceanside, New York, U.S.
Education University of Washington (BA, 1962)
Yale University (MFA)
Known for Photorealistic painter, photographer

Charles Thomas Close (July 5, 1940 – August 19, 2021) was an American painter, visual creative person, and photographer. He made massive-scale photorealist and abstract portraits of himself and others, which hang in collections internationally. Close besides created photo portraits using a very large format camera. He adapted his painting style and working methods in 1988, after being paralyzed by an occlusion of the anterior spinal artery. He died on August xix, 2021.[1]

Early on life and education [edit]

Chuck Close was built-in in Monroe, Washington.[2] His begetter, Leslie Durward Shut, died when Chuck was eleven years old. His mother'due south name was Mildred Wagner Close.[three] As a child, Close had a neuromuscular condition that fabricated information technology hard to lift his anxiety and a bout with nephritis that kept him out of schoolhouse for almost of sixth form. Even when in school, he did poorly due to his dyslexia, which was non diagnosed at the time.[4]

Most of his early works were very large portraits based on photographs, using Photorealism or Hyperrealism, of family and friends, often other artists. Close said he had prosopagnosia (face incomprehension), and has suggested that this condition is what first inspired him to practice portraits.[5]

In an interview with Phong Bui in The Brooklyn Rail, Close described an early see with a Jackson Pollock painting at the Seattle Art Museum: "I went to the Seattle Fine art Museum with my mother for the first fourth dimension when I was fourteen.[6] I saw this Jackson Pollock drip painting with aluminum pigment, tar, gravel and all that stuff. I was absolutely outraged, disturbed. It was so far removed from what I thought fine art was. However, within 2 or 3 days, I was dripping paint all over my erstwhile paintings. In a fashion I've been chasing that feel ever since."[seven]

Close attended Everett Community College in 1958–60.[8] Local notable eccentric, writer, activist and journalist John Patric was an early anti-institution intellectual influence on him, and a function model for the iconoclastic and theatric artist's persona Close learned to project in subsequent years.[9]

In 1962, Close received his B.A. from the University of Washington in Seattle. In 1961, he won a coveted scholarship to the Yale Summer School of Music and Art,[8] and the post-obit year entered the graduate degree program at Yale University, where he received his MFA in 1964. Amongst Close's classmates at Yale were Brice Marden, Vija Celmins, Janet Fish, Richard Serra, Nancy Graves, Jennifer Bartlett, Robert Mangold, and Sylvia Plimack Mangold.[10]

Subsequently Yale, he studied at the Academy of Fine Arts Vienna on a Fulbright grant.[xi] When he returned to the United States, he worked equally an art teacher at the Academy of Massachusetts. Close moved to New York City in 1967 and established himself in SoHo.[ten]

Piece of work [edit]

Way [edit]

Marker (1978–1979), acrylic on canvas. Metropolitan Museum of Art, New York, New York. Detail at right of heart. This is a photorealistic painting representative of Close's earlier style, in dissimilarity to his later "pictorial syntax" using "many pocket-sized marks of pigment".[12] Laboriously constructed from a series of cyan, magenta, and yellow airbrushed layers that imitated CMYK colour printing,[13] It took close to fourteen months to consummate.

Lucas (1986 - 1987), oil and graphite on canvas. Metropolitan Museum of Art, New York, New York. Detail at right of eye. Representative of his "later, more than colorful and painterly style", "the elements of the picture are seen as separate abstract markings" when viewed close-upwards, while simultaneously maintaining the illusion of a realistic portrait at a distance.[14] The pencil grid and thin undercoat of blue is visible beneath the splotchy "pixels." The painting's subject is fellow artist Lucas Samaras.

Throughout his career, Close expanded his contribution to portraiture through the mastery of such varied drawing and painting techniques as ink, graphite, pastel, watercolor, conté crayon, finger painting, and stamp-pad ink on paper; printmaking techniques, such as Mezzotint, etching, woodcuts, linocuts, and silkscreens; every bit well equally handmade paper collage, Polaroid photographs, daguerreotypes, and Jacquard tapestries.[15] His early airbrush techniques inspired the evolution of the ink jet printer.[sixteen]

Shut had been known for his practiced brushwork as a graduate pupil at Yale Academy. There, he emulated Willem de Kooning and seemed "destined to become a tertiary-generation abstract expressionist, although with a dash of Popular iconoclasm".[10] Afterwards a flow in which he experimented with figurative constructions, Close began a serial of paintings derived from black-and-white photographs of a female nude, which he copied onto canvas and painted in color.[17] As he explained in a 2009 interview with Cleveland, Ohio'south The Apparently Dealer newspaper, he fabricated a choice in 1967 to make art hard for himself and force a personal creative breakthrough by abandoning the paintbrush. "I threw away my tools", Close said. "I chose to do things I had no facility with. The option not to exercise something is in a funny way more positive than the option to do something. If you impose a limit to not do something yous've done before, it will push you to where yous've never gone before."[18] One photo of Philip Glass was included in his resulting black-and-white serial in 1969, redone with watercolors in 1977, once more redone with stamp pad and fingerprints in 1978, and also done as grey handmade paper in 1982.

Working from a gridded photograph, he built his images by applying one careful stroke after another in multi-colors or grayscale. He worked methodically, starting his loose but regular grid from the left hand corner of the sail.[19] His works are mostly larger than life and highly focused.[20] "One demonstration of the way photography became assimilated into the art earth is the success of photorealist painting in the belatedly 1960s and early 1970s. It is also called super-realism or hyper-realism and painters similar Richard Estes, Denis Peterson, Audrey Flack, and Close ofttimes worked from photographic stills to create paintings that appeared to be photographs. The everyday nature of the bailiwick matter of the paintings likewise worked to secure the painting every bit a realist object."[21]

Close said he had prosopagnosia, also known as face blindness, in which he had difficulty recognizing new faces. By painting portraits, he was ameliorate able to recognize and remember faces.[22] On the field of study, Close said, "I was not witting of making a conclusion to paint portraits considering I accept difficulty recognizing faces. That occurred to me twenty years subsequently the fact when I looked at why I was nonetheless painting portraits, why that still had urgency for me. I began to realize that it has sustained me for so long because I accept difficulty in recognizing faces."[23]

Although his later paintings differed in method from his earlier canvases, the preliminary process remained the same. To create his grid work copies of photos, Close put a grid on the photo and on the canvas and copied cell by cell. Typically, each foursquare inside the grid is filled with roughly executed regions of color (usually consisting of painted rings on a contrasting groundwork) which give the cell a perceived 'boilerplate' hue which makes sense from a distance. His starting time tools for this included an airbrush, rags, razor blade, and an eraser mounted on a power drill. His first picture with this method was Big Self Portrait, a black and white enlargement of his face to a 107.5 past 83.five inches (273 cm × 212 cm) canvas, fabricated in over four months in 1968, and acquired by the Walker Art Center in 1969. He fabricated seven more black and white portraits during this period. He has been quoted every bit saying that he used such diluted paint in the airbrush that all eight of the paintings were fabricated with a unmarried tube of Mars Black acrylic.[ citation needed ]

His afterward work branched into non-rectangular grids, topographic map mode regions of similar colors, CMYK color filigree work, and using larger grids to make the cell by cell nature of his work obvious fifty-fifty in small reproductions. The Big Self Portrait is and so finely done that even a full folio reproduction in an fine art book is nonetheless indistinguishable from a regular photograph.[ citation needed ]

"The Event" [edit]

On Dec 7, 1988, Close felt a strange pain in his breast. That day he was at a ceremony honoring local artists in New York City and was waiting to be chosen to the podium to present an award. Close delivered his spoken communication and and then made his fashion across the street to Beth Israel Medical Center where he had a seizure which left him paralyzed from the neck down. The crusade was diagnosed as a spinal artery collapse.[24] He had also experienced neuromuscular problems as a child.[25] Close called that mean solar day "The Result". For months, Shut was in rehab strengthening his muscles with physical therapy; he soon had slight movement in his arms and could walk, however only for a few steps. He relied on a wheelchair thereafter. Shut spoke candidly well-nigh the effect disability had on his life and piece of work in the book Chronicles of Courage: Very Special Artists written by Jean Kennedy Smith and George Plimpton and published by Random Firm.[26]

However, Close continued to paint with a castor strapped onto his wrist, creating large portraits in low-resolution filigree squares created by an assistant. Viewed from afar, these squares appear as a single, unified paradigm which attempt photo-reality, albeit in pixelated form. Although the paralysis restricted his ability to paint every bit meticulously every bit earlier, Close had, in a sense, placed artificial restrictions upon his hyperrealist approach well before the injury. That is, he adopted materials and techniques that did non lend themselves well to achieving a photorealistic effect. Pocket-sized $.25 of irregular paper or inked fingerprints were used as media to accomplish astoundingly realistic and interesting results. Shut proved able to create his desired effects even with the about difficult of materials to control. Close fabricated a practise, during his concluding years, of portraying artists who are similarly invested in portraiture, like Cecily Dark-brown, Kiki Smith, Cindy Sherman, and Zhang Huan.[27]

Prints [edit]

Close was a printmaker throughout his career, with most of his prints published past Pace Editions, New York.[8] He made his first serious foray into print making in 1972, when he moved himself and family to San Francisco to piece of work on a mezzotint at Crown Point Press for a three-month residency. To suit him, Crown Point found the largest copper plate it could (36 inches broad) and purchased a new press, allowing Close to make a work that was iii feet by 4 feet. In 1986 he went to Kyoto to work with Tadashi Toda, a highly respected woodblock printer.[28]

In 1995, curator Colin Westerbeck used a grant from the Lannan Foundation to bring Close together with Grant Romer, director of conservation at the George Eastman House.[16] From that fourth dimension on, Shut also continued to explore hard photographic processes such equally daguerreotype in collaboration with Jerry Spagnoli and sophisticated modular/cell-based forms such as tapestry. Close's photogravure portrait of artist Robert Rauschenberg, "Robert" (1998), appeared in a 2009 exhibition at the Heckscher Museum of Art in Huntington, New York, featuring prints from Universal Express Fine art Editions.[29] In the daguerreotype photographs, the background defines the limit of the image plane as well as the outline of the subject, with the inky pitch-blackness setting off the light, cogitating quality of the subject field'due south face.[30]

In a 2014 interview with Terrie Sultan, Close said: "I've had 2 great collaborators in the God knows how many years I've been making prints. One was the late Joe Wilfer, who was chosen the 'prince of pulp' … and now I'm working with Don Farnsworth in Oakland at…Magnolia Editions: I do the watercolor prints with him, I practise the tapestries with him. These are the almost important collaborations of my life as an artist."[31]

Since 2012, Magnolia Editions has published an ongoing series of archival watercolor prints past Shut which use the creative person's grid format and the precision afforded by contemporary digital printers to layer water-based pigment on Hahnemuhle rag newspaper[32] such that the native behavior of watercolor is manifested in each impress: "The edges of each pixel drain with cyan, magenta, and yellow, creating a kind of three-dimensional fog outcome behind the intended color swatches."[33] The watercolor prints are created using more ten,000 of Close's mitt-painted marks which were scanned into a reckoner and so digitally rearranged and layered past the creative person using his signature filigree.[34] These works were called Close's first major foray into digital imagery:[35] with the artist himself having said, "It'south amazing how precise a computer can be working with light and color and h2o."[36] A New York Times review noted that the "exaggerated breakdown of the image, particularly when viewed at close range," that characterizes Close'south work "is as well credible in... [watercolor print] portraits of the artists Cecily Brown, Kiki Smith, Cindy Sherman, Kara Walker and Zhang Huan."[37]

Tapestries [edit]

Shut's wall-size tapestry portraits, in which each image is composed of thousands of combinations of woven colored thread, describe subjects including Kate Moss, Cindy Sherman, Lorna Simpson, Lucas Samaras, Philip Glass, Lou Reed, Roy Lichtenstein, and Close himself.[37] They are produced in collaboration with Donald Farnsworth.[38] Although many are translated from blackness-and-white daguerreotypes, all of the tapestries utilize multiple colors of thread. No printing is involved in their creation; colors and values appear to the viewer based on combinations of more 17,800 colored warp (vertical) and weft (horizontal) threads, in an echo of Close'southward typical grid format.[39] [twoscore] Close's tapestry series began with a 2003 blackness-and-white portrait of Philip Drinking glass. In August 2013 he debuted 2 colour cocky-portraits at Guild Hall in East Hampton, New York.[32] In reviewing this exhibition, Marion Weiss wrote .."Close'southward Jacquard tapestries are not plain fragmented, merely are created by repeating multicolor warp and weft threads that are optically blended. Thus, portraits of Lou Reed and Roy Lichtenstein, for case, seem 'whole.' Information technology's only when we get closer that nosotros run across the individual threads, which are woven together."[41]

Commissions [edit]

In 2010, Close was deputed by MTA Arts & Design to create twelve large mosaics, totaling more than than two,000 square feet (190 mtwo), for the 86th Street subway station on the New York City Subway's Second Avenue Line in Manhattan.[42] [43] [44] [45]

Vanity Fair's 20th Almanac Hollywood edition in March 2014 featured a portfolio of xx Polaroid portraits of movie stars shot by Close, including Robert De Niro, Scarlett Johansson, Helen Mirren, Julia Roberts, and Oprah Winfrey. Shut requested that his subjects be set up to be photographed without makeup or hair-styling and used a big-format 20x24" Polaroid camera for the close-ups.[46]

A fragment of Close's portrait of singer-songwriter Paul Simon was used as the comprehend art for his 2016 anthology Stranger to Stranger. The correct eye appears on the cover; the entire portrait is in the liner notes.

Close donated an original print of his "Cocky Portrait" in 2002 to the public library in Monroe, Washington, his hometown.[47]

Exhibitions [edit]

Close's first solo exhibition, held in 1967 at the University of Massachusetts Fine art Gallery, Amherst, featured paintings, painted reliefs, and drawings based on photographs of record covers and magazine illustrations. The exhibition captured the attention of the academy administration which promptly closed information technology, citing the male nudity as obscene. The American Civil Liberties Union (ACLU) and the American Clan of Academy Professors (AAUP) came to the defense of Shut and a landmark court example ensued. A Massachusetts Supreme Courtroom Justice decided in favor of the artist against the university. When the academy appealed Shut chose not to return to Boston, and ultimately the decision was overturned by an appeals court.[48] (Close was after awarded an Honorary Doctorate of the Arts by the University of Massachusetts in 1995.)[48]

Close credited the Walker Art Center and its and then-director Martin Friedman for launching his career with the purchase of Large Cocky-Portrait (1967–1968)[49] in 1969, the first painting he sold.[50] His kickoff one-homo prove in New York City was in 1970 at Bykert Gallery. His first print was the focus of a "Projects" exhibition at the Museum of Modernistic Fine art in 1972. In 1979 his work was included in the Whitney Biennial and the following year his portraits were the field of study of an exhibition at the Walker Art Eye. His work has since been the bailiwick of more than than 150 solo exhibitions including a number of major museum retrospectives.[11] After Close abruptly canceled a major bear witness of his piece of work scheduled for 1997 at the Metropolitan Museum of Art,[51] the Museum of Modernistic Fine art appear that it would nowadays a major midcareer retrospective of the artist'south work in 1998 (curated by Kirk Varnedoe and later traveling to the Hayward Gallery, London, and other galleries in 1999).[52] [53] In 2003 the Blaffer Gallery at the University of Houston presented a survey of his prints, which travelled to the Metropolitan Museum of Art, New York, the following twelvemonth.[eleven] His near recent retrospective – "Chuck Close Paintings: 1968 / 2006", at the Museo Nacional Centro de Arte Reina Sofia in Madrid in 2007 – travelled to the Ludwig Forum für Internationale Kunst in Aachen, Deutschland, and the Land Hermitage Museum in Saint petersburg, Russia. He also participated in almost 800 grouping exhibitions,[54] including documentas V (1972) and Vi (1977), the Venice Biennale (1993, 1995, 2003), and the Carnegie International (1995).[30]

In 2013, Close'due south work was featured in an exhibit at White Cube in Bermondsey, London. "Process and Collaboration" displayed non just a number of finished prints and paintings but included plates, woodblocks, and mylar stencils which were used to produce a number of prints.[55]

In December 2014 his work was exhibited in Commonwealth of australia at the Museum of Contemporary Fine art in Sydney, which he visited.[56]

In 2016, Shut'south work was the discipline of a retrospective at the Schack Art Center in Everett, Washington, where he attended loftier school and customs college.[57] [58]

Close'south piece of work is in the collections of most of the great international museums of gimmicky art, including the Centre Georges Pompidou in Paris, the Tate Modern in London, and the Walker Art Center in Minneapolis who published Chuck Shut: Cocky-Portraits 1967–2005 coauthored with curators Siri Engberg and Madeleine Grynsztejn.[8] [59]

Public contour [edit]

Recognition [edit]

The recipient of the National Medal of Arts from President Beak Clinton in 2000,[threescore] the New York State Governor'south Art Award, and the Skowhegan Arts Medal, amongst many others, Close received over 20 honorary degrees including one from Yale University, his alma mater.[54] In 1990, he was elected into the National Academy of Design as an Associate Academician, and became a full Academician in 1992. New York Metropolis Mayor Michael R. Bloomberg appointed the creative person to the municipality'south Cultural Diplomacy Advisory Commission, a trunk mandated by the City Charter to advise the mayor and the cultural affairs commissioner.[61] Close painted President Clinton in 2006 and photographed President Barack Obama in 2012.[48] In 2010 he was appointed by Obama to the President's Committee on the Arts and Humanities.[11] He resigned from the President'south Committee in August 2017, co-signing a alphabetic character of resignation that said in reference to President Donald Trump, "Ignoring your mean rhetoric would have made the states complicit in your words and actions."[62]

In 2005, composer Philip Drinking glass wrote a musical portrait of Close. The composition, a 15-minute piece for solo pianoforte, was the idea of Bruce Levingston, a concert pianist, who commissioned it through the Premiere Commission and who performed the piece at a recital at Alice Tully Hall that twelvemonth.[63]

Art market [edit]

Close was represented by the Footstep Gallery (in New York City) from 1977, and later on by White Cube (in London) from 1999.[64] Already in 1999, Close's Cindy Ii (1988), a portrait of the photographer Cindy Sherman sold for $1.ii one thousand thousand, against a high approximate of $800,000.[65] In 2005, John (1971–72) was sold at Sotheby's to the Broad Art Foundation for $4.8 meg.[66]

Fundraising and community service [edit]

In 2007 Close was honored by the New York Stem Cell Foundation and donated artwork for an exclusive online auction.[67]

In September 2012 Magnolia Editions published two tapestry editions and three print editions by Shut depicting President Barack Obama. The kickoff tapestry was unveiled at the Mint Museum in Due north Carolina in award of the Democratic National Convention. These tapestries and prints were sold as a fundraiser to support the Obama Victory Fund. A number of the works were signed past both Close and Obama. Shut previously sold work at auction to heighten funds for the campaigns of Hillary Clinton and Al Gore.[68] [69]

In October 2013, Shut donated a watercolor impress of Genevieve Bahrenburg and a watercolor print self-portrait to ARTWALK NY, a cause that benefits the Coalition for the Homeless.[seventy] In the same year work by Close was likewise sold to benefit the Lunchbox Fund.[71]

Close was one of eight artists who volunteered in 2013 to participate in President Barack Obama's Turnaround Arts initiative, which aims to better low-performing schools by increasing student "engagement" through the arts. Shut mentored 34 students in the sixth through eighth grades at Roosevelt School in Bridgeport, Connecticut, one of 8 schools in the nation to participate in this public-private partnership developed in cooperation with the U.S. Department of Education and the White House Domestic Policy Council. Close was honored by mayor Bill Finch with a primal to the city at the Nov vii reception at the Housatonic Community College Museum of Art, where v of Shut's watercolor prints were exhibited aslope artwork by students participating in the programme.[72]

In the media [edit]

In 1998, PBS broadcast documentary filmmaker Marion Cajori's Emmy-nominated brusque, "Chuck Close: A Portrait in Progress."[73] In 2007, Cajori made "Chuck Close", a full-length expansion of the first picture.[74] British art critic Christopher Finch wrote a biography, Chuck Close: Life, which was published in 2010, a sequel of sorts to Finch'due south 2007 volume, Chuck Close: Work, a career-spanning monograph.[75]

Another documentary picture show was fabricated on Close in 1998, titled Chuck Close: Eye To Centre: Art/new york No. 48, by his classmate at Yale University Paul Tschinkel.[76]

Close appeared on The Colbert Report on Baronial 12, 2010, where he said that he watches the bear witness every night.[ citation needed ]

Close was the subject of a Heinemann book, Rocks in His Shoes: The Story of Chuck Shut, by Myka-Lynne Sokoloff, written for the Fountas & Pinnell Leveled Literacy Intervention series.[ citation needed ]

Sexual harassment allegations [edit]

On December 20, 2017, The New York Times and The Huffington Post published stories detailing two women accusing Shut of sexual misconduct, proverb Close invited the women to his studio to pose for what they thought would be portraits, and so Close asked them to pose nude and fabricated vulgar comments to them.[77] Their accounts were of declared sexual harassment in 2007 and 2013. In response to the accusations, Close issued a statement to The New York Times, maxim "If I embarrassed anyone or made them feel uncomfortable, I am truly sorry, I didn't mean to. I admit having a dirty rima oris, but nosotros're all adults."[78] On January xvi, 2018, Hyperallergic published the accounts of four more women who declared Shut harassed them.[79] Their accounts were of declared sexual harassment from 2001, 2009, and 2013. Most of the allegations were from women in their 20s, during the time that Close was in his 60s and 70s. Many of the allegations were from college students, including from Yale University. Post-obit the allegations, the Dean of the Yale School of Art, Marta Kuzma, "decided that in the best interest of the students, faculty, and greater community of the Yale Schoolhouse of Fine art that Mr. Close will no longer serve as a member of the Dean'south Council."[80]

The National Gallery of Fine art cancelled a Chuck Close exhibition, planned to open May 2018, due to the allegations.[81]

Later Close died, his neurologist, Thomas M. Wisniewski, said that Close'due south inappropriate sexual behavior, alleged to accept occurred from at least 2001 to 2013, could be attributed to his 2015 diagnosis of frontotemporal dementia. Wisniewski said that Close "was very disinhibited and did inappropriate things, which were part of his underlying medical status," and that this type of dementia "destroys that part of the encephalon that governs behavior and inhibits base instincts," adding that "sexual inappropriateness and disastrous financial decisions are mutual presenting symptoms."[1]

Personal life [edit]

Close lived and worked in Bridgehampton and Long Beach, New York (both on the south shore of Long Island)[ten] and New York City's East Hamlet.[82] He had two daughters with Leslie Rose.[83] They divorced in 2011. Close married artist Sienna Shields in 2013.[84] They later divorced.[85]

Close was diagnosed with frontotemporal dementia in 2015.[86] He died on Baronial 19, 2021, in Oceanside, New York, at the age of 81,[1] from congestive heart failure.[87]

See also [edit]

  • List of Chuck Close subjects
  • The Portrait Now

Further reading [edit]

  • Dodie Kazanjian (August 24, 2021). "Reckoning With the Awe-inspiring—and Damaged—Legacy of Chuck Close". Vogue.
  • Jerry Saltz (August 20, 2021). "Chuck Close, Artist Mutineer". Vulture.

Sources [edit]

  • Bartman, William; Kesten, Joanne, eds. (1997). The Portraits Speak: Chuck Close in Conversation with 27 of his subjects . A.R.T. Printing, New York. ISBN0-923183-eighteen-3.
  • Greenberg, January; Sandra Jordan (1998). Chuck Close Up Close. DK Publishing. ISBN0-7894-2658-7.
  • Greenough, Sarah; Nelson, Andrea; Kennel, Sarah; Waggoner, Diane; Ureña, Leslie (2015). The Memory of Time: Contemporary Photographs at the National Gallery of Art. National Gallery of Art. ISBN978-0500544495.
  • Wei, Lilly (essay) (2009). Chuck Close: Selected Paintings and Tapestries 2005–2009. PaceWildenstein. ISBN 978-1-930743-99-eight.

External links [edit]

  • Official website
  • Chuck Close at the Museum of Modern Fine art
  • Chuck Close at Library of Congress Authorities, with 32 catalog records
  • Chuck Close: Procedure & Collaboration

References [edit]

  1. ^ a b c Johnson, Ken; Pogrebin, Robin (August xix, 2021). "Chuck Close, Artist of Outsized Reality, Dies at 81". The New York Times. ISSN 0362-4331. Retrieved August xix, 2021.
  2. ^ "Chuck Close profile". Fine art in the Allen Center. Archived from the original on September 7, 2007. Retrieved August 15, 2007.
  3. ^ "Oral history interview with Chuck Close". Archived from the original on January 14, 2015. Retrieved December 9, 2014.
  4. ^ Hylton, Wil S. (July 13, 2016). "The Mysterious Metamorphosis of Chuck Close". The New York Times. Archived from the original on July 13, 2016. Retrieved July 14, 2016.
  5. ^ "Mosaic Fine art At present: Prosopagnosia: Portraitist Chuck Close". mosaicartnow.com. Archived from the original on August 21, 2017. Retrieved August 20, 2017.
  6. ^ "Chuck Close". Biography. Archived from the original on March 23, 2018. Retrieved May 1, 2018.
  7. ^ Bui, Phong (June 2008). "In Conversation: Chuck Close with Phong Bui". The Brooklyn Track. Archived from the original on April half-dozen, 2012.
  8. ^ a b c d Chuck Shut Archived October 23, 2012, at the Wayback Auto Crown Point Printing, San Francisco.
  9. ^ Finch, Christopher (June 27, 2012). Chuck Close: Life. ISBN9783641083410.
  10. ^ a b c d Helen A. Harrison (February 22, 2004), Following the Lite, and Making Faces Archived December 22, 2017, at the Wayback Motorcar The New York Times.
  11. ^ a b c d Chuck Shut Solomon R. Guggenheim Museum, New York.
  12. ^ Newhall, Edith (April xv, 1991). "Close to the Edge". New York. pp. forty–41. .
  13. ^ Edkins, Jenny (2015), Face Politics, Routledge, p. unnumbered, due north. 130, ISBN9781317511809 .
  14. ^ Chuck Shut: Lucas I, The Metropolitan Museum of Fine art, archived from the original on July 24, 2017, retrieved May 7, 2017 .
  15. ^ Chuck Shut, October 29 – December 22, 2011 Archived Jan 13, 2012, at the Wayback Machine Blum & Poe, Los Angeles.
  16. ^ a b Lyle Rexer (March 12, 2000), Chuck Close Rediscovers the Fine art in an Old Method Archived March seven, 2016, at the Wayback Machine The New York Times.
  17. ^ Chuck Close Archived Baronial five, 2012, at the Wayback Machine Tate Mod, London.
  18. ^ Norman, M. Contemporary Art Fable Chuck Close Talks Most Painting Archived June four, 2010, at the Wayback Machine, The Obviously Dealer, September 1, 2009
  19. ^ Chuck Close: Photographs, 23 July – 4 September 1999White Cube, London.
  20. ^ Chuck Close Archived March xviii, 2012, at the Wayback Auto Step Prints, New York.
  21. ^ Thompson, Graham: American Culture in the 1980s (Twentieth Century American Culture) Edinburgh University Press, 2007
  22. ^ For Chuck Close, an Evolving Journey Through the Faces of Others Archived January 21, 2014, at the Wayback Machine PBS Newshour July six, 2010
  23. ^ Yuskavage, Lisa. "Chuck Close" Archived Baronial 18, 2011, at Wikiwix, "BOMB Magazine", Summertime, 1995. Retrieved July 25, 2011.
  24. ^ O'Hagan, Sean Head Primary Archived December 4, 2016, at the Wayback Auto, The Observer, October 9, 2005
  25. ^ Christian Viveros-Faune (July xviii, 2012), A Visit With Art-World Hero Chuck Shut Archived September 1, 2012, at the Wayback Machine Village Voice.
  26. ^ Chronicles of Courage: Very Special Artists Archived Apr 9, 2011, at the Wayback Machine.
  27. ^ Martha Schwendener (September 27, 2013), Works in Conversation With Photography Archived October xix, 2017, at the Wayback Motorcar The New York Times.
  28. ^ Scarlet Cheng (January 21, 2007), Proof is in the printing Archived August xx, 2012, at Wikiwix Los Angeles Times.
  29. ^ Genocchio, B: Prints That Say Assuming and Eclectic Archived Oct ten, 2017, at the Wayback Machine, The New York Times, March 4, 2009
  30. ^ a b Chuck Shut
  31. ^ Close, Chuck; Terrie Sultan. ""Chuck Shut & Terrie Sultan" Interview at Strand Bookstore, May 1, 2014". YouTube. Archived from the original on February 2, 2015.
  32. ^ a b "Chuck Close: Up Close at Guild Hall." Archived August xi, 2013, at the Wayback Motorcar Weinreich, Regina: the Huffington Mail service. Baronial 10, 2013. Retrieved October 8, 2013.
  33. ^ "Art Review: Sumptuous Portraits past Chuck Shut at Guild Hall Museum". Archived October 5, 2013, at the Wayback Automobile Hamptons Art Hub. Retrieved on October 8, 2013.
  34. ^ "Printing Release: Chuck Close." Archived Dec 14, 2013, at the Wayback Machine Stride Gallery. Retrieved Oct 8, 2013.
  35. ^ "Subsequently Decades of Pixel Painting, Chuck Close Goes Truly Digital." Archived September 24, 2013, at the Wayback Machine Co.Design. Retrieved on October 8, 2013.
  36. ^ "Interface: American Master Chuck Close." Archived March 27, 2014, at the Wayback Machine Kelly, Brian: Long Isle Pulse Magazine. September xx, 2013. Retrieved on October 8, 2013.
  37. ^ a b "A Review of 'Chuck Close – Recent Works,' at Guild Hall Museum." Archived May one, 2018, at the Wayback Machine Schwendener, Martha: The New York Times, September 27, 2013. Retrieved on October 8, 2013.
  38. ^ Finch, Christopher (2007). Chuck Shut: Work. Prestel. p. 286. ISBN978-3-7913-3676-iii.
  39. ^ "Artist's Portrait of Kate Moss Dazzles." Archived January 24, 2015, at the Wayback Machine Britt, Douglas: Houston Relate, October 29, 2008. Retrieved Oct 8, 2013.
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Source: https://en.wikipedia.org/wiki/Chuck_Close

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