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American painter

Chuck Shut
Chuck Close.jpg

Shut in 2009
Built-in

Charles Thomas Close


(1940-07-05)July 5, 1940

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

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

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

Early on life and education [edit]

Chuck Close was born in Monroe, Washington.[two] His father, Leslie Durward Close, died when Chuck was eleven years quondam. His mother's name was Mildred Wagner Close.[3] Every bit a kid, Close had a neuromuscular condition that made it difficult to lift his feet and a bout with nephritis that kept him out of school for most of 6th grade. Even when in school, he did poorly due to his dyslexia, which was not diagnosed at the fourth dimension.[4]

Most 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 (confront blindness), and has suggested that this condition is what commencement inspired him to practise portraits.[v]

In an interview with Phong Bui in The Brooklyn Rails, Close described an early on run across with a Jackson Pollock painting at the Seattle Art Museum: "I went to the Seattle Fine art Museum with my mother for the commencement time when I was xiv.[6] I saw this Jackson Pollock drip painting with aluminum paint, tar, gravel and all that stuff. I was absolutely outraged, disturbed. It was so far removed from what I thought fine art was. Still, within 2 or three days, I was dripping paint all over my old paintings. In a style I've been chasing that experience ever since."[vii]

Close attended Everett Customs College in 1958–60.[8] Local notable eccentric, author, activist and journalist John Patric was an early anti-institution intellectual influence on him, and a role model for the iconoclastic and theatric creative person's persona Close learned to projection 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,[viii] and the following yr entered the graduate degree program at Yale Academy, where he received his MFA in 1964. Amidst 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 The states, he worked equally an fine art teacher at the Academy of Massachusetts. Close moved to New York City in 1967 and established himself in SoHo.[10]

Work [edit]

Style [edit]

Mark (1978–1979), acrylic on canvas. Metropolitan Museum of Fine art, New York, New York. Detail at right of eye. This is a photorealistic painting representative of Close'due south earlier style, in contrast to his afterwards "pictorial syntax" using "many pocket-size marks of paint".[12] Laboriously synthetic from a serial of cyan, magenta, and yellowish airbrushed layers that imitated CMYK color press,[13] It took close to fourteen months to complete.

Lucas (1986 - 1987), oil and graphite on canvass. Metropolitan Museum of Fine art, New York, New York. Detail at right of centre. Representative of his "afterward, more colorful and painterly style", "the elements of the picture are seen every bit separate abstract markings" when viewed shut-upward, while simultaneously maintaining the illusion of a realistic portrait at a altitude.[xiv] The pencil filigree and thin undercoat of blue is visible beneath the splotchy "pixels." The painting'southward subject area 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 equally ink, graphite, pastel, watercolor, conté crayon, finger painting, and stamp-pad ink on newspaper; printmaking techniques, such as Mezzotint, etching, woodcuts, linocuts, and silkscreens; besides as handmade newspaper collage, Polaroid photographs, daguerreotypes, and Jacquard tapestries.[xv] His early airbrush techniques inspired the development of the ink jet printer.[sixteen]

Close had been known for his skillful brushwork equally a graduate student at Yale University. There, he emulated Willem de Kooning and seemed "destined to become a third-generation abstract expressionist, although with a dash of Pop iconoclasm".[ten] After a period in which he experimented with figurative constructions, Close began a series of paintings derived from black-and-white photographs of a female nude, which he copied onto sail and painted in color.[17] As he explained in a 2009 interview with Cleveland, Ohio's The Plain Dealer newspaper, he made a choice in 1967 to make fine art hard for himself and force a personal creative quantum by abandoning the paintbrush. "I threw away my tools", Close said. "I chose to practise things I had no facility with. The pick not to do something is in a funny way more positive than the choice to practise something. If you impose a limit to not do something you lot've done before, it will push you to where you've never gone before."[18] One photo of Philip Glass was included in his resulting black-and-white series in 1969, redone with watercolors in 1977, once more redone with stamp pad and fingerprints in 1978, and likewise done as grey handmade paper in 1982.

Working from a gridded photograph, he built his images by applying one careful stroke later another in multi-colors or grayscale. He worked methodically, starting his loose but regular grid from the left hand corner of the canvas.[19] His works are generally larger than life and highly focused.[xx] "I demonstration of the way photography became assimilated into the fine art world is the success of photorealist painting in the late 1960s and early on 1970s. It is too called super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Close often worked from photographic stills to create paintings that appeared to exist photographs. The everyday nature of the subject area matter of the paintings also worked to secure the painting as 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 better able to recognize and remember faces.[22] On the subject, Close said, "I was not conscious of making a decision to paint portraits because I have difficulty recognizing faces. That occurred to me 20 years after the fact when I looked at why I was still painting portraits, why that still had urgency for me. I began to realize that it has sustained me for and so long because I have difficulty in recognizing faces."[23]

Although his later paintings differed in method from his earlier canvases, the preliminary procedure remained the same. To create his grid work copies of photos, Close put a grid on the photo and on the canvass and copied cell by jail cell. Typically, each square inside the grid is filled with roughly executed regions of color (unremarkably consisting of painted rings on a contrasting background) which give the prison cell a perceived 'average' hue which makes sense from a distance. His beginning tools for this included an airbrush, rags, razor bract, and an eraser mounted on a power drill. His first picture with this method was Big Self Portrait, a blackness and white enlargement of his face to a 107.5 by 83.5 inches (273 cm × 212 cm) canvas, fabricated in over four months in 1968, and acquired by the Walker Art Center in 1969. He made seven more black and white portraits during this catamenia. He has been quoted as saying that he used such diluted paint in the airbrush that all eight of the paintings were made with a single tube of Mars Black acrylic.[ citation needed ]

His later work branched into not-rectangular grids, topographic map style regions of similar colors, CMYK color grid work, and using larger grids to make the jail cell by cell nature of his piece of work obvious fifty-fifty in small reproductions. The Big Self Portrait is and so finely done that even a full page reproduction in an art volume is nevertheless indistinguishable from a regular photograph.[ citation needed ]

"The Result" [edit]

On December vii, 1988, Shut felt a strange pain in his chest. That day he was at a ceremony honoring local artists in New York Urban center and was waiting to be called to the podium to present an award. Shut delivered his speech and so made his way across the street to Beth Israel Medical Center where he had a seizure which left him paralyzed from the neck downwards. The crusade was diagnosed as a spinal artery collapse.[24] He had likewise experienced neuromuscular problems as a child.[25] Close chosen that day "The Event". For months, Close was in rehab strengthening his muscles with physical therapy; he presently had slight movement in his arms and could walk, yet merely for a few steps. He relied on a wheelchair thereafter. Close spoke candidly about the upshot inability had on his life and work in the book Chronicles of Courage: Very Special Artists written by Jean Kennedy Smith and George Plimpton and published by Random House.[26]

However, Close connected to pigment with a brush strapped onto his wrist, creating large portraits in low-resolution grid squares created past an banana. Viewed from distant, these squares appear every bit a unmarried, unified epitome which attempt photo-reality, albeit in pixelated form. Although the paralysis restricted his ability to paint as meticulously as before, Close had, in a sense, placed bogus 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 as media to reach astoundingly realistic and interesting results. Close proved able to create his desired effects fifty-fifty with the well-nigh difficult of materials to control. Close fabricated a practice, during his concluding years, of portraying artists who are similarly invested in portraiture, like Cecily Chocolate-brown, Kiki Smith, Cindy Sherman, and Zhang Huan.[27]

Prints [edit]

Close was a printmaker throughout his career, with about of his prints published by Pace Editions, New York.[8] He fabricated his get-go serious foray into impress making in 1972, when he moved himself and family unit to San Francisco to piece of work on a mezzotint at Crown Point Printing for a iii-month residency. To suit him, Crown Point found the largest copper plate it could (36 inches wide) and purchased a new press, assuasive Close 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 Close together with Grant Romer, director of conservation at the George Eastman Firm.[16] From that time on, Shut also continued to explore difficult photographic processes such every bit daguerreotype in collaboration with Jerry Spagnoli and sophisticated modular/jail cell-based forms such equally tapestry. Shut'southward 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 Limited Fine art Editions.[29] In the daguerreotype photographs, the background defines the limit of the image plane equally well as the outline of the discipline, with the inky pitch-black setting off the calorie-free, reflective quality of the subject field'due south face.[30]

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. One was the late Joe Wilfer, who was chosen the 'prince of pulp' … and at present I'1000 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 most of import collaborations of my life as an artist."[31]

Since 2012, Magnolia Editions has published an ongoing series of archival watercolor prints by Close which use the artist's grid format and the precision afforded past contemporary digital printers to layer h2o-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 iii-dimensional fog effect backside the intended colour swatches."[33] The watercolor prints are created using more than 10,000 of Close's paw-painted marks which were scanned into a computer and then digitally rearranged and layered by the artist using his signature grid.[34] These works were called Close'south outset major foray into digital imagery:[35] with the artist himself having said, "It's astonishing how precise a reckoner can be working with light and color and water."[36] A New York Times review noted that the "exaggerated breakdown of the image, specially when viewed at close range," that characterizes Close's work "is also apparent in... [watercolor impress] portraits of the artists Cecily Brown, Kiki Smith, Cindy Sherman, Kara Walker and Zhang Huan."[37]

Tapestries [edit]

Shut'south wall-size tapestry portraits, in which each prototype is composed of thousands of combinations of woven colored thread, draw subjects including Kate Moss, Cindy Sherman, Lorna Simpson, Lucas Samaras, Philip Drinking 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 use multiple colors of thread. No printing is involved in their creation; colors and values appear to the viewer based on combinations of more than 17,800 colored warp (vertical) and weft (horizontal) threads, in an echo of Shut'due south typical grid format.[39] [40] Close'southward tapestry serial began with a 2003 black-and-white portrait of Philip Drinking glass. In August 2013 he debuted 2 color cocky-portraits at Guild Hall in Eastward Hampton, New York.[32] In reviewing this exhibition, Marion Weiss wrote .."Close's Jacquard tapestries are not obviously fragmented, merely are created by repeating multicolor warp and weft threads that are optically composite. Thus, portraits of Lou Reed and Roy Lichtenstein, for example, seem 'whole.' It'due south but when we get closer that we see the individual threads, which are woven together."[41]

Commissions [edit]

In 2010, Close was commissioned by MTA Arts & Design to create twelve large mosaics, totaling more than 2,000 square feet (190 1000two), for the 86th Street subway station on the New York City Subway'due south 2nd Avenue Line in Manhattan.[42] [43] [44] [45]

Vanity Fair'southward 20th Almanac Hollywood edition in March 2014 featured a portfolio of twenty Polaroid portraits of moving-picture show stars shot by Close, including Robert De Niro, Scarlett Johansson, Helen Mirren, Julia Roberts, and Oprah Winfrey. Close requested that his subjects be prepare to be 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 singer-songwriter Paul Simon was used as 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.

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

Exhibitions [edit]

Close'southward 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 magazine illustrations. The exhibition captured the attending of the university assistants which promptly airtight it, citing the male nudity as obscene. The American Civil Liberties Union (ACLU) and the American Clan of University Professors (AAUP) came to the defense of Close and a landmark court example ensued. A Massachusetts Supreme Courtroom Justice decided in favor of the artist against the academy. When the academy appealed Close chose not to return to Boston, and ultimately the decision was overturned past an appeals court.[48] (Shut was later 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 Self-Portrait (1967–1968)[49] in 1969, the starting time painting he sold.[50] His get-go one-man testify in New York Urban center was in 1970 at Bykert Gallery. His outset 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 subject of an exhibition at the Walker Art Eye. His work has since been the subject area of more than 150 solo exhibitions including a number of major museum retrospectives.[11] After Shut abruptly canceled a major show of his piece of work scheduled for 1997 at the Metropolitan Museum of Fine art,[51] the Museum of Mod Art announced that it would present a major midcareer retrospective of the artist's piece of 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 year.[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, Germany, and the State Hermitage Museum in Saint petersburg, Russia. He also participated in almost 800 group exhibitions,[54] including documentas V (1972) and VI (1977), the Venice Biennale (1993, 1995, 2003), and the Carnegie International (1995).[thirty]

In 2013, Close's 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 Australia at the Museum of Contemporary Art in Sydney, which he visited.[56]

In 2016, Close'due south work was the bailiwick of a retrospective at the Schack Art Center in Everett, Washington, where he attended high school and community higher.[57] [58]

Close's piece of work is in the collections of well-nigh of the nifty international museums of gimmicky art, including the Middle Georges Pompidou in Paris, the Tate Mod in London, and the Walker Fine art Center in Minneapolis who published Chuck Close: 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'south Art Award, and the Skowhegan Arts Medal, among 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 every bit an Acquaintance Academician, and became a total Academician in 1992. New York City Mayor Michael R. Bloomberg appointed the artist to the municipality's Cultural Diplomacy Advisory Commission, a body mandated by the Metropolis Charter to propose 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's Committee in August 2017, co-signing a letter of the alphabet of resignation that said in reference to President Donald Trump, "Ignoring your hateful rhetoric would have fabricated us complicit in your words and deportment."[62]

In 2005, composer Philip Drinking glass wrote a musical portrait of Shut. The limerick, a fifteen-minute piece for solo piano, 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 year.[63]

Fine art market place [edit]

Close was represented by the Stride Gallery (in New York City) from 1977, and subsequently past White Cube (in London) from 1999.[64] Already in 1999, Close's Cindy II (1988), a portrait of the photographer Cindy Sherman sold for $1.2 meg, against a high judge of $800,000.[65] In 2005, John (1971–72) was sold at Sotheby'due south to the Broad Fine art Foundation for $4.viii million.[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 sale.[67]

In September 2012 Magnolia Editions published two tapestry editions and three print editions by Close depicting President Barack Obama. The first tapestry was unveiled at the Mint Museum in North Carolina in honour 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 work at sale to raise funds for the campaigns of Hillary Clinton and Al Gore.[68] [69]

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

Close was ane of eight artists who volunteered in 2013 to participate in President Barack Obama's Turnaround Arts initiative, which aims to better depression-performing schools by increasing student "engagement" through the arts. Close mentored 34 students in the sixth through 8th grades at Roosevelt School in Bridgeport, Connecticut, one of eight schools in the nation to participate in this public-individual partnership developed in cooperation with the U.Southward. Department of Education and the White House Domestic Policy Council. Close was honored by mayor Neb Finch with a key to the urban center at the November 7 reception at the Housatonic Community College Museum of Art, where five of Close's watercolor prints were exhibited alongside artwork by students participating in the plan.[72]

In the media [edit]

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

Another documentary moving-picture show was made on Close in 1998, titled Chuck Close: Eye To Eye: ART/new york No. 48, by 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 prove 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.[ commendation 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, maxim Shut invited the women to his studio to pose for what they idea would be portraits, and and so Close asked them to pose nude and fabricated vulgar comments to them.[77] Their accounts were of alleged sexual harassment in 2007 and 2013. In response to the accusations, Close issued a statement to The New York Times, saying "If I embarrassed anyone or made them feel uncomfortable, I am truly sorry, I didn't mean to. I acknowledge having a dirty rima oris, but we're all adults."[78] On January 16, 2018, Hyperallergic published the accounts of four more women who alleged 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 Fine art, Marta Kuzma, "decided that in the best interest of the students, faculty, and greater community of the Yale Schoolhouse 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 Shut died, his neurologist, Thomas One thousand. 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 part of his underlying medical condition," and that this blazon of dementia "destroys that part of the brain that governs beliefs and inhibits base instincts," adding that "sexual inappropriateness and disastrous financial decisions are common presenting symptoms."[1]

Personal life [edit]

Close lived and worked in Bridgehampton and Long Beach, New York (both on the southward shore of Long Isle)[10] and New York Urban center's East Hamlet.[82] He had two daughters with Leslie Rose.[83] They divorced in 2011. Shut married artist Sienna Shields in 2013.[84] They subsequently divorced.[85]

Close was diagnosed with frontotemporal dementia in 2015.[86] He died on August 19, 2021, in Oceanside, New York, at the age of 81,[one] 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 Shut in Conversation with 27 of his subjects . A.R.T. Printing, New York. ISBN0-923183-18-iii.
  • Greenberg, January; Sandra Jordan (1998). Chuck Close Upward Close. DK Publishing. ISBN0-7894-2658-7.
  • Greenough, Sarah; Nelson, Andrea; Kennel, Sarah; Waggoner, Diane; Ureña, Leslie (2015). The Memory of Time: Gimmicky Photographs at the National Gallery of Art. National Gallery of Fine art. ISBN978-0500544495.
  • Wei, Lilly (essay) (2009). Chuck Close: Selected Paintings and Tapestries 2005–2009. PaceWildenstein. ISBN 978-ane-930743-99-eight.

External links [edit]

  • Official website
  • Chuck Close 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 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 Dec 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 14, 2016.
  5. ^ "Mosaic Art NOW: 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 one, 2018.
  7. ^ Bui, Phong (June 2008). "In Conversation: Chuck Close with Phong Bui". The Brooklyn Rail. Archived from the original on April 6, 2012.
  8. ^ a b c d Chuck Close Archived October 23, 2012, at the Wayback Machine Crown Bespeak Press, 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 Light, and Making Faces Archived Dec 22, 2017, at the Wayback Automobile The New York Times.
  11. ^ a b c d Chuck Close Solomon R. Guggenheim Museum, New York.
  12. ^ Newhall, Edith (Apr 15, 1991). "Shut to the Border". New York. pp. 40–41. .
  13. ^ Edkins, Jenny (2015), Face 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 7, 2017 .
  15. ^ Chuck Close, Oct 29 – December 22, 2011 Archived January 13, 2012, at the Wayback Machine Blum & Poe, Los Angeles.
  16. ^ a b Lyle Rexer (March 12, 2000), Chuck Close Rediscovers the Art in an Old Method Archived March 7, 2016, at the Wayback Automobile The New York Times.
  17. ^ Chuck Close Archived Baronial 5, 2012, at the Wayback Machine Tate Modernistic, London.
  18. ^ Norman, Thousand. Contemporary Fine art Legend Chuck Close Talks About Painting Archived June 4, 2010, at the Wayback Machine, The Plain Dealer, September i, 2009
  19. ^ Chuck Close: Photographs, 23 July – four September 1999White Cube, London.
  20. ^ Chuck Close Archived March 18, 2012, at the Wayback Motorcar Footstep Prints, New York.
  21. ^ Thompson, Graham: American Culture in the 1980s (Twentieth Century American Civilisation) Edinburgh Academy Press, 2007
  22. ^ For Chuck Close, an Evolving Journey Through the Faces of Others Archived January 21, 2014, at the Wayback Automobile PBS Newshour July six, 2010
  23. ^ Yuskavage, Lisa. "Chuck Shut" Archived August 18, 2011, at Wikiwix, "BOMB Magazine", Summer, 1995. Retrieved July 25, 2011.
  24. ^ O'Hagan, Sean Head Master Archived December 4, 2016, at the Wayback Machine, The Observer, October 9, 2005
  25. ^ Christian Viveros-Faune (July 18, 2012), A Visit With Art-World Hero Chuck Close Archived September 1, 2012, at the Wayback Automobile Village Vocalism.
  26. ^ Chronicles of Courage: Very Special Artists Archived April 9, 2011, at the Wayback Automobile.
  27. ^ Martha Schwendener (September 27, 2013), Works in Conversation With Photography Archived October 19, 2017, at the Wayback Machine The New York Times.
  28. ^ Red Cheng (January 21, 2007), Proof is in the printing Archived August twenty, 2012, at Wikiwix Los Angeles Times.
  29. ^ Genocchio, B: Prints That Say Bold and Eclectic Archived October x, 2017, at the Wayback Machine, The New York Times, March 4, 2009
  30. ^ a b Chuck Shut
  31. ^ Shut, Chuck; Terrie Sultan. ""Chuck Close & Terrie Sultan" Interview at Strand Bookstore, May 1, 2014". YouTube. Archived from the original on February 2, 2015.
  32. ^ a b "Chuck Close: Upwardly Close at Lodge Hall." Archived August 11, 2013, at the Wayback Machine Weinreich, Regina: the Huffington Mail service. August 10, 2013. Retrieved Oct 8, 2013.
  33. ^ "Art Review: Sumptuous Portraits past Chuck Close at Lodge Hall Museum". Archived Oct 5, 2013, at the Wayback Machine Hamptons Art Hub. Retrieved on Oct 8, 2013.
  34. ^ "Press Release: Chuck Close." Archived Dec 14, 2013, at the Wayback Motorcar Pace Gallery. Retrieved October 8, 2013.
  35. ^ "Afterwards Decades of Pixel Painting, Chuck Close Goes Truly Digital." Archived September 24, 2013, at the Wayback Motorcar Co.Design. Retrieved on Oct eight, 2013.
  36. ^ "Interface: American Primary Chuck Close." Archived March 27, 2014, at the Wayback Machine Kelly, Brian: Long Island Pulse Mag. September 20, 2013. Retrieved on October 8, 2013.
  37. ^ a b "A Review of 'Chuck Shut – Contempo Works,' at Gild Hall Museum." Archived May 1, 2018, at the Wayback Auto Schwendener, Martha: The New York Times, September 27, 2013. Retrieved on October 8, 2013.
  38. ^ Finch, Christopher (2007). Chuck Close: Piece of work. Prestel. p. 286. ISBN978-iii-7913-3676-3.
  39. ^ "Artist'south Portrait of Kate Moss Dazzles." Archived January 24, 2015, at the Wayback Machine Britt, Douglas: Houston Chronicle, Oct 29, 2008. Retrieved October 8, 2013.
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