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American painter

Chuck Close
Chuck Close.jpg

Close in 2009
Born

Charles Thomas Close


(1940-07-05)July 5, 1940

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

Oceanside, New York, U.S.
Pedagogy 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 artist, and lensman. He fabricated massive-scale photorealist and abstract portraits of himself and others, which hang in collections internationally. Close likewise created photograph portraits using a very big format camera. He adjusted his painting fashion and working methods in 1988, after being paralyzed by an apoplexy of the anterior spinal artery. He died on August 19, 2021.[1]

Early life and education [edit]

Chuck Close was born in Monroe, Washington.[ii] His begetter, Leslie Durward Close, died when Chuck was xi years erstwhile. His female parent's proper name was Mildred Wagner Close.[three] Every bit a kid, Close had a neuromuscular condition that made it difficult to lift his anxiety and a bout with nephritis that kept him out of school for most of sixth grade. Even when in school, he did poorly due to his dyslexia, which was not diagnosed at the fourth dimension.[4]

Well-nigh of his early works were very large portraits based on photographs, using Photorealism or Hyperrealism, of family and friends, often other artists. Shut said he had prosopagnosia (face blindness), and has suggested that this condition is what offset inspired him to do portraits.[5]

In an interview with Phong Bui in The Brooklyn Runway, Close described an early run across with a Jackson Pollock painting at the Seattle Art Museum: "I went to the Seattle Art Museum with my mother for the outset time when I was xiv.[6] I saw this Jackson Pollock baste painting with aluminum paint, tar, gravel and all that stuff. I was absolutely outraged, disturbed. Information technology was so far removed from what I thought art was. However, within two or three days, I was dripping paint all over my quondam paintings. In a way I've been chasing that feel ever since."[seven]

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

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,[viii] and the post-obit year entered the graduate degree program at Yale Academy, where he received his MFA in 1964. Amid 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]

Later on Yale, he studied at the Academy of Fine Arts Vienna on a Fulbright grant.[eleven] When he returned to the Usa, he worked every bit an art instructor at the Academy of Massachusetts. Close moved to New York Metropolis in 1967 and established himself in SoHo.[10]

Work [edit]

Manner [edit]

Mark (1978–1979), acrylic on canvass. Metropolitan Museum of Fine art, New York, New York. Item at right of centre. This is a photorealistic painting representative of Close's earlier style, in contrast to his later "pictorial syntax" using "many small marks of pigment".[12] Laboriously synthetic from a series of cyan, magenta, and xanthous airbrushed layers that imitated CMYK color printing,[13] It took close to fourteen months to complete.

Lucas (1986 - 1987), oil and graphite on canvas. Metropolitan Museum of Art, New York, New York. Detail at right of eye. Representative of his "afterward, more colorful and painterly style", "the elements of the picture are seen every bit split up abstract markings" when viewed close-up, while simultaneously maintaining the illusion of a realistic portrait at a distance.[14] The pencil grid and thin undercoat of blue is visible below the splotchy "pixels." The painting's subject is fellow creative person 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 equally Mezzotint, etching, woodcuts, linocuts, and silkscreens; as well as handmade paper collage, Polaroid photographs, daguerreotypes, and Jacquard tapestries.[15] His early airbrush techniques inspired the evolution of the ink jet printer.[16]

Shut had been known for his proficient brushwork as a graduate student at Yale University. In that location, he emulated Willem de Kooning and seemed "destined to get a third-generation abstract expressionist, although with a nuance of Pop iconoclasm".[x] Afterwards a menstruation in which he experimented with figurative constructions, Close began a series of paintings derived from black-and-white photographs of a female person nude, which he copied onto canvas and painted in color.[17] As he explained in a 2009 interview with Cleveland, Ohio'due south The Evidently Dealer newspaper, he made a choice in 1967 to make art hard for himself and force a personal creative breakthrough by abandoning the paintbrush. "I threw abroad my tools", Shut said. "I chose to practice things I had no facility with. The choice not to do something is in a funny fashion more than positive than the choice to do something. If you impose a limit to non practise something you've done before, it volition push button you to where you've never gone earlier."[18] One photo of Philip Glass was included in his resulting black-and-white series in 1969, redone with watercolors in 1977, again redone with postage pad and fingerprints in 1978, and also done as gray 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 manus corner of the canvas.[19] His works are mostly larger than life and highly focused.[20] "One demonstration of the mode photography became assimilated into the art globe is the success of photorealist painting in the late 1960s and early 1970s. It is as well chosen super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Close frequently worked from photographic stills to create paintings that appeared to be photographs. The everyday nature of the subject matter of the paintings likewise worked to secure the painting as a realist object."[21]

Close said he had prosopagnosia, likewise known as face blindness, in which he had difficulty recognizing new faces. By painting portraits, he was ameliorate able to recognize and retrieve faces.[22] On the bailiwick, Close said, "I was not conscious of making a decision to paint portraits because I have difficulty recognizing faces. That occurred to me twenty years after the fact when I looked at why I was still painting portraits, why that withal had urgency for me. I began to realize that information technology has sustained me for so long considering I have difficulty in recognizing faces."[23]

Although his later paintings differed in method from his earlier canvases, the preliminary process remained the aforementioned. To create his grid work copies of photos, Close put a filigree on the photo and on the canvass and copied cell past jail cell. Typically, each foursquare within the filigree is filled with roughly executed regions of color (usually consisting of painted rings on a contrasting background) which give the cell a perceived 'boilerplate' hue which makes sense from a distance. His first tools for this included an airbrush, rags, razor blade, and an eraser mounted on a power drill. His outset picture with this method was Big Self Portrait, a black and white enlargement of his face to a 107.five by 83.5 inches (273 cm × 212 cm) canvas, made in over four months in 1968, and caused by the Walker Art Heart in 1969. He fabricated vii more blackness and white portraits during this menses. He has been quoted every bit saying that he used such diluted pigment in the airbrush that all eight of the paintings were made with a unmarried tube of Mars Black acrylic.[ citation needed ]

His later work branched into non-rectangular grids, topographic map style regions of similar colors, CMYK color filigree work, and using larger grids to brand the prison cell past cell nature of his work obvious even in small reproductions. The Big Self Portrait is and so finely done that even a full page reproduction in an fine art book is however duplicate from a regular photo.[ citation needed ]

"The Effect" [edit]

On December vii, 1988, Close felt a strange pain in his chest. 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 oral communication and then made his mode across the street to Beth Israel Medical Center where he had a seizure which left him paralyzed from the cervix downward. The crusade was diagnosed every bit a spinal avenue collapse.[24] He had also experienced neuromuscular problems as a kid.[25] Close called that twenty-four hour period "The Upshot". For months, Shut was in rehab strengthening his muscles with physical therapy; he soon had slight movement in his arms and could walk, yet only for a few steps. He relied on a wheelchair thereafter. Shut spoke candidly about the result disability had on his life and piece of work in the book Chronicles of Backbone: Very Special Artists written by Jean Kennedy Smith and George Plimpton and published by Random House.[26]

Nevertheless, Shut continued to paint with a brush strapped onto his wrist, creating large portraits in low-resolution grid squares created by an assistant. Viewed from afar, these squares appear equally a single, unified prototype which effort photo-reality, admitting in pixelated form. Although the paralysis restricted his power to paint as meticulously equally before, 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 not lend themselves well to achieving a photorealistic effect. Small $.25 of irregular paper or inked fingerprints were used equally media to achieve astoundingly realistic and interesting results. Close proved able to create his desired effects even with the well-nigh difficult of materials to command. Close made a practice, during his concluding years, of portraying artists who are similarly invested in portraiture, similar Cecily Chocolate-brown, Kiki Smith, Cindy Sherman, and Zhang Huan.[27]

Prints [edit]

Shut was a printmaker throughout his career, with nigh of his prints published past Pace Editions, New York.[8] He fabricated his first serious foray into impress making in 1972, when he moved himself and family unit to San Francisco to work on a mezzotint at Crown Signal Press for a iii-month residency. To accommodate him, Crown Bespeak found the largest copper plate it could (36 inches wide) and purchased a new press, allowing Shut to make a work that was 3 feet by 4 anxiety. 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 Shut together with Grant Romer, director of conservation at the George Eastman House.[xvi] From that time on, Shut also connected to explore difficult photographic processes such as 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 Fine art in Huntington, New York, featuring prints from Universal Limited Art Editions.[29] In the daguerreotype photographs, the background defines the limit of the paradigm aeroplane likewise as the outline of the subject, with the inky pitch-black setting off the light, reflective quality of the subject's face.[thirty]

In a 2014 interview with Terrie Sultan, Close said: "I've had two great collaborators in the God knows how many years I've been making prints. Ane was the tardily Joe Wilfer, who was called 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 do the tapestries with him. These are the near important collaborations of my life as an artist."[31]

Since 2012, Magnolia Editions has published an ongoing series of archival watercolor prints past Close which use the creative person's grid format and the precision afforded past contemporary digital printers to layer water-based pigment on Hahnemuhle rag paper[32] such that the native behavior of watercolor is manifested in each impress: "The edges of each pixel bleed with cyan, magenta, and yellow, creating a kind of three-dimensional fog effect behind the intended color swatches."[33] The watercolor prints are created using more than 10,000 of Close's manus-painted marks which were scanned into a figurer and and so digitally rearranged and layered by the artist using his signature grid.[34] These works were chosen Close'southward outset major foray into digital imagery:[35] with the creative person himself having said, "It's amazing how precise a figurer tin can be working with light and colour and water."[36] A New York Times review noted that the "exaggerated breakdown of the image, peculiarly when viewed at close range," that characterizes Close'south work "is too apparent in... [watercolor print] portraits of the artists Cecily Brown, Kiki Smith, Cindy Sherman, Kara Walker and Zhang Huan."[37]

Tapestries [edit]

Close'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 Shut himself.[37] They are produced in collaboration with Donald Farnsworth.[38] Although many are translated from black-and-white daguerreotypes, all of the tapestries use multiple colors of thread. No printing is involved in their cosmos; colors and values announced to the viewer based on combinations of more than 17,800 colored warp (vertical) and weft (horizontal) threads, in an echo of Close's typical grid format.[39] [40] Close's tapestry series began with a 2003 black-and-white portrait of Philip Glass. In August 2013 he debuted 2 color self-portraits at Society Hall in Due east Hampton, New York.[32] In reviewing this exhibition, Marion Weiss wrote .."Close's Jacquard tapestries are non obviously fragmented, but are created past repeating multicolor warp and weft threads that are optically composite. Thus, portraits of Lou Reed and Roy Lichtenstein, for example, seem 'whole.' It'southward only when we get closer that we see the private threads, which are woven together."[41]

Commissions [edit]

In 2010, Close was commissioned by MTA Arts & Pattern to create twelve large mosaics, totaling more 2,000 square feet (190 chiliad2), for the 86th Street subway station on the New York City Subway's Second Avenue Line in Manhattan.[42] [43] [44] [45]

Vanity Fair'south 20th Annual Hollywood edition in March 2014 featured a portfolio of 20 Polaroid portraits of picture stars shot by Shut, including Robert De Niro, Scarlett Johansson, Helen Mirren, Julia Roberts, and Oprah Winfrey. Shut requested that his subjects exist ready to exist photographed without makeup or hair-styling and used a large-format 20x24" Polaroid camera for the close-ups.[46]

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

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

Exhibitions [edit]

Close'due south first solo exhibition, held in 1967 at the University of Massachusetts Art Gallery, Amherst, featured paintings, painted reliefs, and drawings based on photographs of record covers and mag illustrations. The exhibition captured the attention of the university administration which promptly closed it, citing the male person nudity as obscene. The American Civil Liberties Union (ACLU) and the American Association of University Professors (AAUP) came to the defense of Close and a landmark court case ensued. A Massachusetts Supreme Courtroom Justice decided in favor of the artist against the university. When the university appealed Close chose not to return to Boston, and ultimately the determination was overturned by an appeals court.[48] (Close was later awarded an Honorary Doctorate of the Arts by the University of Massachusetts in 1995.)[48]

Shut credited the Walker Art Center and its and then-director Martin Friedman for launching his career with the purchase of Big Cocky-Portrait (1967–1968)[49] in 1969, the first painting he sold.[50] His showtime i-man bear witness in New York City was in 1970 at Bykert Gallery. His get-go print was the focus of a "Projects" exhibition at the Museum of Modernistic Art in 1972. In 1979 his work was included in the Whitney Biennial and the following twelvemonth his portraits were the subject of an exhibition at the Walker Art Middle. His work has since been the subject of more 150 solo exhibitions including a number of major museum retrospectives.[xi] Subsequently Shut abruptly canceled a major bear witness of his piece of work scheduled for 1997 at the Metropolitan Museum of Art,[51] the Museum of Modern Art announced that it would present a major midcareer retrospective of the creative person'southward work in 1998 (curated by Kirk Varnedoe and afterward traveling to the Hayward Gallery, London, and other galleries in 1999).[52] [53] In 2003 the Blaffer Gallery at the Academy of Houston presented a survey of his prints, which travelled to the Metropolitan Museum of Art, New York, the following yr.[11] 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, Germany, and the Country Hermitage Museum in St. Petersburg, Russia. He also participated in well-nigh 800 group exhibitions,[54] including documentas 5 (1972) and VI (1977), the Venice Biennale (1993, 1995, 2003), and the Carnegie International (1995).[thirty]

In 2013, Close's piece of work was featured in an exhibit at White Cube in Bermondsey, London. "Procedure and Collaboration" displayed non only 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 Australia at the Museum of Contemporary Art in Sydney, which he visited.[56]

In 2016, Close'southward work was the subject of a retrospective at the Schack Fine art Eye in Everett, Washington, where he attended high schoolhouse and community college.[57] [58]

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

Public profile [edit]

Recognition [edit]

The recipient of the National Medal of Arts from President Bill Clinton in 2000,[60] the New York State Governor's Art Honour, and the Skowhegan Arts Medal, amid many others, Close received over xx honorary degrees including 1 from Yale University, his alma mater.[54] In 1990, he was elected into the National Academy of Pattern as an Associate Academician, and became a full Academician in 1992. New York City Mayor Michael R. Bloomberg appointed the artist to the municipality's Cultural Affairs Advisory Committee, 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 Commission on the Arts and Humanities.[11] He resigned from the President's Committee in Baronial 2017, co-signing a letter of resignation that said in reference to President Donald Trump, "Ignoring your hateful rhetoric would take made us 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 piano, was the thought of Bruce Levingston, a concert pianist, who deputed it through the Premiere Commission and who performed the piece at a recital at Alice Tully Hall that year.[63]

Art market [edit]

Close was represented by the Stride Gallery (in New York City) from 1977, and subsequently by White Cube (in London) from 1999.[64] Already in 1999, Close's Cindy Two (1988), a portrait of the photographer Cindy Sherman sold for $i.2 million, against a high approximate of $800,000.[65] In 2005, John (1971–72) was sold at Sotheby's to the Broad Art Foundation for $four.8 million.[66]

Fundraising and community service [edit]

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

In September 2012 Magnolia Editions published ii tapestry editions and three print editions by Close depicting President Barack Obama. The beginning tapestry was unveiled at the Mint Museum in North Carolina in honor 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. Close previously sold piece of work at auction to enhance funds for the campaigns of Hillary Clinton and Al Gore.[68] [69]

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

Close was one of eight artists who volunteered in 2013 to participate in President Barack Obama'south Turnaround Arts initiative, which aims to better depression-performing schools past increasing educatee "appointment" through the arts. Shut mentored 34 students in the sixth through 8th grades at Roosevelt School in Bridgeport, Connecticut, ane of eight schools in the nation to participate in this public-private partnership adult in cooperation with the U.S. Department of Education and the White House Domestic Policy Council. Close was honored by mayor Nib Finch with a key to the city at the November 7 reception at the Housatonic Customs Higher Museum of Art, where five of Close's watercolor prints were exhibited aslope artwork by students participating in the plan.[72]

In the media [edit]

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

Another documentary film was made on Close in 1998, titled Chuck Close: Middle To Middle: Fine art/new york No. 48, past his classmate at Yale University Paul Tschinkel.[76]

Close appeared on The Colbert Report on August 12, 2010, where he said that he watches the evidence every dark.[ citation needed ]

Shut was the bailiwick of a Heinemann book, Rocks in His Shoes: The Story of Chuck Close, 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 Close 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 made vulgar comments to them.[77] Their accounts were of alleged sexual harassment in 2007 and 2013. In response to the accusations, Close issued a argument to The New York Times, saying "If I embarrassed anyone or made them experience uncomfortable, I am truly sorry, I didn't mean to. I acknowledge having a dirty mouth, but we're all adults."[78] On January sixteen, 2018, Hyperallergic published the accounts of four more women who declared Close harassed them.[79] Their accounts were of alleged sexual harassment from 2001, 2009, and 2013. Most of the allegations were from women in their 20s, during the fourth dimension 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 involvement of the students, faculty, and greater customs of the Yale School of Art that Mr. Close will no longer serve as a member of the Dean's Council."[80]

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

After Close died, his neurologist, Thomas M. Wisniewski, said that Shut's inappropriate sexual beliefs, alleged to have occurred from at least 2001 to 2013, could be attributed to his 2015 diagnosis of frontotemporal dementia. Wisniewski said that Shut "was very disinhibited and did inappropriate things, which were function of his underlying medical condition," and that this type of dementia "destroys that part of the brain that governs behavior and inhibits base of operations 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 southward shore of Long Island)[10] and New York City'southward Due east Village.[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 nineteen, 2021, in Oceanside, New York, at the age of 81,[i] from congestive heart failure.[87]

See also [edit]

  • List of Chuck Close subjects
  • The Portrait At present

Further reading [edit]

  • Dodie Kazanjian (August 24, 2021). "Reckoning With the Monumental—and Damaged—Legacy of Chuck Close". Vogue.
  • Jerry Saltz (August twenty, 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. Press, New York. ISBN0-923183-eighteen-iii.
  • Greenberg, Jan; Sandra Jordan (1998). Chuck Close Up Shut. DK Publishing. ISBN0-7894-2658-7.
  • Greenough, Sarah; Nelson, Andrea; Kennel, Sarah; Waggoner, Diane; Ureña, Leslie (2015). The Retention of Time: Gimmicky 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-ane-930743-99-8.

External links [edit]

  • Official website
  • Chuck Shut at the Museum of Mod Art
  • Chuck Close at Library of Congress Authorities, with 32 catalog records
  • Chuck Close: Process & Collaboration

References [edit]

  1. ^ a b c Johnson, Ken; Pogrebin, Robin (August 19, 2021). "Chuck Close, Artist of Outsized Reality, Dies at 81". The New York Times. ISSN 0362-4331. Retrieved August 19, 2021.
  2. ^ "Chuck Close profile". Art in the Allen Heart. Archived from the original on September 7, 2007. Retrieved Baronial xv, 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 xiii, 2016). "The Mysterious Metamorphosis of Chuck Close". The New York Times. Archived from the original on July thirteen, 2016. Retrieved July fourteen, 2016.
  5. ^ "Mosaic 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 6, 2012.
  8. ^ a b c d Chuck Close Archived October 23, 2012, at the Wayback Car Crown Point Press, San Francisco.
  9. ^ Finch, Christopher (June 27, 2012). Chuck Close: Life. ISBN9783641083410.
  10. ^ a b c d Helen A. Harrison (Feb 22, 2004), Following the Light, and Making Faces Archived December 22, 2017, at the Wayback Machine The New York Times.
  11. ^ a b c d Chuck Close Solomon R. Guggenheim Museum, New York.
  12. ^ Newhall, Edith (Apr 15, 1991). "Close to the Edge". New York. pp. 40–41. .
  13. ^ Edkins, Jenny (2015), Confront Politics, Routledge, p. unnumbered, n. 130, ISBN9781317511809 .
  14. ^ Chuck Close: Lucas I, The Metropolitan Museum of Art, archived from the original on July 24, 2017, retrieved May vii, 2017 .
  15. ^ Chuck Close, October 29 – Dec 22, 2011 Archived January thirteen, 2012, at the Wayback Machine Blum & Poe, Los Angeles.
  16. ^ a b Lyle Rexer (March 12, 2000), Chuck Close Rediscovers the Art in an Quondam Method Archived March vii, 2016, at the Wayback Machine The New York Times.
  17. ^ Chuck Close Archived August 5, 2012, at the Wayback Machine Tate Modernistic, London.
  18. ^ Norman, M. Contemporary Art Fable Chuck Shut Talks About Painting Archived June 4, 2010, at the Wayback Machine, The Plainly Dealer, September i, 2009
  19. ^ Chuck Shut: Photographs, 23 July – four September 1999White Cube, London.
  20. ^ Chuck Shut Archived March 18, 2012, at the Wayback Automobile Pace Prints, New York.
  21. ^ Thompson, Graham: American Culture in the 1980s (Twentieth Century American Civilisation) Edinburgh Academy Press, 2007
  22. ^ For Chuck Shut, an Evolving Journey Through the Faces of Others Archived January 21, 2014, at the Wayback Machine PBS Newshour July 6, 2010
  23. ^ Yuskavage, Lisa. "Chuck Close" Archived Baronial xviii, 2011, at Wikiwix, "Bomb Magazine", Summer, 1995. Retrieved July 25, 2011.
  24. ^ O'Hagan, Sean Head Primary Archived December 4, 2016, at the Wayback Car, The Observer, October ix, 2005
  25. ^ Christian Viveros-Faune (July 18, 2012), A Visit With Art-World Hero Chuck Close Archived September 1, 2012, at the Wayback Machine Hamlet Voice.
  26. ^ Chronicles of Courage: Very Special Artists Archived April 9, 2011, at the Wayback Auto.
  27. ^ Martha Schwendener (September 27, 2013), Works in Conversation With Photography Archived October xix, 2017, at the Wayback Machine The New York Times.
  28. ^ Scarlet Cheng (January 21, 2007), Proof is in the printing Archived August 20, 2012, at Wikiwix Los Angeles Times.
  29. ^ Genocchio, B: Prints That Say Bold and Eclectic Archived Oct 10, 2017, at the Wayback Auto, The New York Times, March 4, 2009
  30. ^ a b Chuck Shut
  31. ^ Close, Chuck; Terrie Sultan. ""Chuck Close & Terrie Sultan" Interview at Strand Bookstore, May one, 2014". YouTube. Archived from the original on Feb 2, 2015.
  32. ^ a b "Chuck Close: Up Shut at Society Hall." Archived August 11, 2013, at the Wayback Machine Weinreich, Regina: the Huffington Mail service. August 10, 2013. Retrieved October 8, 2013.
  33. ^ "Art Review: Sumptuous Portraits by Chuck Close at Guild Hall Museum". Archived Oct five, 2013, at the Wayback Motorcar Hamptons Art Hub. Retrieved on October 8, 2013.
  34. ^ "Press Release: Chuck Close." Archived December fourteen, 2013, at the Wayback Machine Pace Gallery. Retrieved October eight, 2013.
  35. ^ "After Decades of Pixel Painting, Chuck Shut Goes Truly Digital." Archived September 24, 2013, at the Wayback Motorcar Co.Design. Retrieved on October viii, 2013.
  36. ^ "Interface: American Master Chuck Close." Archived March 27, 2014, at the Wayback Machine Kelly, Brian: Long Island Pulse Magazine. September 20, 2013. Retrieved on October 8, 2013.
  37. ^ a b "A Review of 'Chuck Close – Recent Works,' at Guild Hall Museum." Archived May 1, 2018, at the Wayback Motorcar Schwendener, Martha: The New York Times, September 27, 2013. Retrieved on October 8, 2013.
  38. ^ Finch, Christopher (2007). Chuck Close: Work. Prestel. p. 286. ISBN978-three-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 October 8, 2013.
  40. ^ "Capital Roundup." Archived January 26, 2009, at the Wayback Machine artnet Magazine. Retrieved on April ix, 2009.
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