Chuck Close

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Chuck Close
Mark (1978 - 1979), acrylic on canvas. Metropolitan Museum of Art, New York, New York. Detail at right of eye. Mark, a painting that took Close fourteen months to complete, was constructed from a series of airbrushed layers that imitated CMYK color printing. Compare the picture's integrity close up with the later work below, executed through a different technique.
Birth name	Charles Thomas Close
Born	July 5, 1940 (1940-07-05) (age 69) Monroe, Washington
Nationality	American
Field	photorealistic painter, photographer,
Training	B.A., University of Washington in Seattle, 1962 M.F.A., Yale University

Lucas (1986 - 1987), acrylic on canvas. Metropolitan Museum of Art, New York, New York. Detail at right of eye. The pencil grid and thin undercoat of blue is visible beneath the splotchy "pixels." The painting's subject is fellow artist Lucas Samaras.

Chuck Thomas Close (born July 5, 1940, Monroe, Washington)^[1] is an American painter and photographer who achieved fame as a photorealist, through his massive-scale portraits. Though a catastrophic spinal artery collapse in 1988 left him severely paralyzed, he has continued to paint and produce work which remains sought after by museums and collectors.

Life and work

Most of his early works are very large portraits based on photographs (Photorealism or Hyperrealism technique). In 1962, he received his B.A. from the University of Washington in Seattle. He then attended graduate school at Yale University, where he received his MFA in 1964. After Yale, he lived in Europe for a while on a Fulbright grant. When he returned to the US, he worked as an art teacher at the University of Massachusetts.

In 1979 his work was included in the Whitney Biennial. His first one-man show was in 1970. Close's work was first exhibited at the New York Museum of Modern Art in early 1973. One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often 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.^[2]

One photo of Philip Glass was included in his black and white series in 1969, redone with water colors in 1977, again redone with stamp pad and fingerprints in 1978, and also done as gray handmade paper in 1982.

Although his later paintings differ in method from his earlier canvases, the preliminary process remains the same. To create his grid work copies of photos, Close puts a grid on the photo and on the canvas and copies cell by cell. Typically, each square within the grid is filled with roughly executed regions of color (usually consisting of painted rings on a contrasting background) which give the cell a perceived 'average' 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 first picture with this method was Big Self Portrait, a black and white enlargement of his face to a 107.5 in by 83.5 in (2.73 m by 2.12 m) canvas, made 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 period. 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.

Later work has branched into non-rectangular grids, topographic map style regions of similar colors, CMYK color grid work, and using larger grids to make the cell by cell nature of his work obvious even in small reproductions. The Big Self Portrait is so finely done that even a full page reproduction in an art book is still indistinguishable from a regular photograph.

Close has also continued to explore difficult photographic processes such as daguerreotype in collaboration with Jerry Spagnoli and sophisticated modular/cell-based forms such as tapestry. Close's wall-size tapestry portraits, in which each image is composed of thousands of combinations of woven colored thread, depict subjects including Kate Moss, Cindy Sherman, Lorna Simpson, Philip Glass, and Close himself.^[3] They are produced in collaboration with Donald Farnsworth of Magnolia Editions in Oakland, CA.^[4]

Close currently lives and paints in Bridgehampton, New York. He has been represented by PaceWildenstein, in New York since 1977.^[5] He will have a solo exhibition of paintings and tapestries, Chuck Close: Selected Paintings and Tapestries, at PaceWildenstein's 534 West 25th Street gallery from May 1 through June 20, 2009.

"The Event"

On December 7, 1988, Close felt a strange pain in his chest. That day he was in New York about to give an art award. He begged to present first, went on stage, quickly read his speech and then ran to the hospital. Within a few hours, Close was paralyzed from the neck down. At first the doctors were confused but eventually they diagnosed a rare spinal artery collapse. Close called that day "The Event." For months Close was in rehab strengthening his muscles; he soon had slight movement in his arms and could walk, yet only for a few steps. He has relied on a wheelchair since.

However, Close continued to paint on with a brush strapped onto his wrist with tape, creating large portraits in low-resolution grid squares created by an assistant. Viewed from afar, these squares appear as a single, unified image which attempt photo-reality, albeit in pixilated form. Although the paralysis restricted his ability to paint as meticulously as before, Close had, in a sense, placed artificial restrictions upon his hyper-realist approach well before the injury. That is, he adopted materials and techniques that did not lend themselves well to achieving a photorealistic effect. Small bits of irregular paper or inked fingerprints were used as mediums to achieve, nonetheless, astoundingly realistic and interesting results. Close proved able to create his desired effects even with the most difficult of materials to control.

See also

• List of Chuck Close subjects
• The Portrait Now

References

• Bartman, William; Joanne Kesten (editors) (1997). The Portraits Speak: Chuck Close in Conversation with 27 of his subjects. A.R.T. Press, New York. ISBN 0923183183. 
• Jordan, Sandra (1998). Chuck Close Up Close. DK Publishing. ISBN 0789426587. 
• Wei, Lilly (essay) (2009). Chuck Close: Selected Paintings and Tapestries 2005-2009. PaceWildenstein. ISBN 978-1-930743-99-8. 

External links

Wikiquote has a collection of quotations related to: Chuck Close

• Watch Chuck Close and Robert Storr in Conversation on BUniverse
• Watch/listen to full episode of KCRW's "Art Talk: Close-Up on Chuck Close"
• URBAN-MUSE.COM interview with Chuck Close at his NYC Studio (Young Artists and 9/11)
• "Close Encounters," artNet Magazine, 8-05-08.
• "Close Call" By Jon Marmor
• Chuck Close at the Walker Art Center
• Images of Chuck Close tapestries
• Smithsonian Archives of American Art: Interview, 1987
• Chuck Close: Process & Collaboration
• Chuck Close Q&A with Men's Vogue
• Habits of Disbelief: Chuck Close by John Haber
• One hour interview with Charlie Rose at Google Video (March 15, 2007)
• Book Review of "A Couple Ways of Doing Something"
• Chuck Close and Bob Holman in Conversation, 2006