Chuck Close Famous Art Size of Leslie Chuck Close 1973

American painter

Chuck Close
Close in 2009
Born	Charles Thomas Close (1940-07-05)July 5, 1940 Monroe, Washington, U.South.
Died	August xix, 2021(2021-08-nineteen) (aged 81) Oceanside, New York, U.S.
Educational activity	University of Washington (BA, 1962) Yale University (MFA)
Known for	Photorealistic painter, lensman

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

Early life and education [edit]

Chuck Shut was born in Monroe, Washington.^[two] His father, Leslie Durward Close, died when Chuck was eleven years erstwhile. His mother'south name was Mildred Wagner Shut.^[three] As a child, Close had a neuromuscular condition that made information technology difficult to elevator his feet and a bout with nephritis that kept him out of school for most of sixth form. Even when in schoolhouse, he did poorly due to his dyslexia, which was not diagnosed at the time.^[4]

Near of his early works were very big portraits based on photographs, using Photorealism or Hyperrealism, of family and friends, often other artists. Close said he had prosopagnosia (face up blindness), and has suggested that this condition is what showtime inspired him to do portraits.^[5]

In an interview with Phong Bui in The Brooklyn Rail, Close described an early encounter with a Jackson Pollock painting at the Seattle Art Museum: "I went to the Seattle Fine art Museum with my mother for the first time when I was xiv.^[6] I saw this Jackson Pollock drip painting with aluminum paint, tar, gravel and all that stuff. I was admittedly outraged, disturbed. It was so far removed from what I idea art was. All the same, within 2 or 3 days, I was dripping paint all over my old paintings. In a way I've been chasing that experience ever since."^[7]

Close attended Everett Community College in 1958–threescore.^[viii] Local notable eccentric, author, activist and announcer 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.^[ix]

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 Fine art,^[8] and the post-obit yr entered the graduate degree program at Yale University, where he received his MFA in 1964. Among 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]

After Yale, he studied at the Academy of Fine Arts Vienna on a Fulbright grant.^[11] When he returned to the Us, he worked every bit an art instructor at the University of Massachusetts. Close moved to New York Urban center in 1967 and established himself in SoHo.^[10]

Work [edit]

Style [edit]

Mark (1978–1979), acrylic on canvas. Metropolitan Museum of Art, New York, New York. Detail at correct of middle. This is a photorealistic painting representative of Close'due south earlier style, in contrast to his afterwards "pictorial syntax" using "many small-scale marks of paint".^[12] Laboriously constructed from a series of cyan, magenta, and yellow airbrushed layers that imitated CMYK color printing,^[13] Information technology took close to fourteen months to complete.

Lucas (1986 - 1987), oil and graphite on canvas. Metropolitan Museum of Fine art, New York, New York. Detail at right of eye. Representative of his "later, more colorful and painterly style", "the elements of the picture are seen as carve 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 discipline is young man artist Lucas Samaras.

Throughout his career, Shut 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 postage-pad ink on newspaper; printmaking techniques, such every bit Mezzotint, etching, woodcuts, linocuts, and silkscreens; as well as handmade paper collage, Polaroid photographs, daguerreotypes, and Jacquard tapestries.^[15] His early on airbrush techniques inspired the development of the ink jet printer.^[sixteen]

Close had been known for his skillful brushwork as a graduate student at Yale University. There, he emulated Willem de Kooning and seemed "destined to become a third-generation abstruse expressionist, although with a dash of Popular iconoclasm".^[ten] After a flow 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 canvas and painted in colour.^[17] Equally he explained in a 2009 interview with Cleveland, Ohio'due south The Obviously Dealer newspaper, he made a choice in 1967 to make fine 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 choice non to do something is in a funny way more than positive than the choice to do something. If y'all impose a limit to not do something y'all've done earlier, information technology will push button you to where y'all've never gone before."^[xviii] Ane photograph of Philip Glass was included in his resulting black-and-white series in 1969, redone with watercolors in 1977, again redone with stamp pad and fingerprints in 1978, and likewise done as gray handmade paper in 1982.

Working from a gridded photograph, he built his images by applying one careful stroke later on another in multi-colors or grayscale. He worked methodically, starting his loose but regular grid from the left paw corner of the canvas.^[nineteen] His works are mostly larger than life and highly focused.^[20] "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the tardily 1960s and early 1970s. Information technology is besides 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 be photographs. The everyday nature of the field of study matter of the paintings as well worked to secure the painting every bit a realist object."^[21]

Close said he had prosopagnosia, also known as face up blindness, in which he had difficulty recognizing new faces. By painting portraits, he was better able to recognize and think faces.^[22] On the subject, Close said, "I was not conscious of making a decision to paint portraits because I take difficulty recognizing faces. That occurred to me xx years afterwards the fact when I looked at why I was still painting portraits, why that even so had urgency for me. I began to realize that it has sustained me for so long because I have difficulty in recognizing faces."^[23]

Although his after paintings differed in method from his before canvases, the preliminary process remained the same. To create his grid work copies of photos, Close put a filigree on the photograph and on the canvas and copied jail cell by jail cell. Typically, each square within the filigree is filled with roughly executed regions of color (normally 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 start motion picture with this method was Big Cocky Portrait, a black and white enlargement of his face to a 107.5 by 83.five inches (273 cm × 212 cm) sheet, made in over four months in 1968, and acquired by the Walker Art Center in 1969. He made vii more black and white portraits during this menstruum. He has been quoted as saying that he used such diluted pigment in the airbrush that all eight of the paintings were made with a single tube of Mars Blackness acrylic.^{[ citation needed ]}

His later piece of work branched into non-rectangular grids, topographic map way regions of similar colors, CMYK color filigree work, and using larger grids to brand the prison cell by jail 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 notwithstanding duplicate from a regular photograph.^{[ citation needed ]}

"The Event" [edit]

On Dec seven, 1988, Close felt a strange pain in his breast. That solar day he was at a ceremony honoring local artists in New York City and was waiting to be called to the podium to nowadays an award. Close delivered his speech and and then made his way across the street to Beth Israel Medical Center where he had a seizure which left him paralyzed from the neck down. The cause was diagnosed as a spinal artery plummet.^[24] He had besides experienced neuromuscular issues as a child.^[25] Shut called that day "The Consequence". For months, Close was in rehab strengthening his muscles with concrete therapy; he soon had slight movement in his artillery and could walk, nevertheless only for a few steps. He relied on a wheelchair thereafter. Close spoke candidly about the issue 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 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 image which attempt photo-reality, albeit in pixelated class. Although the paralysis restricted his ability to paint equally meticulously as 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. Modest $.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 most difficult of materials to command. Close fabricated a practise, during his final years, of portraying artists who are similarly invested in portraiture, like Cecily Brown, Kiki Smith, Cindy Sherman, and Zhang Huan.^[27]

Prints [edit]

Close was a printmaker throughout his career, with most of his prints published by Pace Editions, New York.^[eight] He made his kickoff serious foray into print making in 1972, when he moved himself and family unit to San Francisco to work on a mezzotint at Crown Betoken Press for a three-calendar month residency. To accommodate him, Crown Betoken found the largest copper plate information technology could (36 inches wide) and purchased a new press, allowing Close to make a work that was three feet by iv 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 time on, Close too connected to explore hard photographic processes such equally daguerreotype in collaboration with Jerry Spagnoli and sophisticated modular/cell-based forms such equally tapestry. Close'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 Express Fine art Editions.^[29] In the daguerreotype photographs, the background defines the limit of the paradigm plane equally well as the outline of the subject area, with the inky pitch-black setting off the light, reflective quality of the bailiwick's face up.^[thirty]

In a 2014 interview with Terrie Sultan, Close said: "I've had ii slap-up collaborators in the God knows how many years I've been making prints. I was the late Joe Wilfer, who was called the 'prince of pulp' … and at present I'm working with Don Farnsworth in Oakland at…Magnolia Editions: I exercise the watercolor prints with him, I practice the tapestries with him. These are the most important collaborations of my life as an artist."^[31]

Since 2012, Magnolia Editions has published an ongoing serial of archival watercolor prints past Close which apply the artist's grid format and the precision afforded by contemporary digital printers to layer water-based pigment on Hahnemuhle rag paper^[32] such that the native beliefs 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 effect behind the intended colour swatches."^[33] The watercolor prints are created using more than x,000 of Close's paw-painted marks which were scanned into a computer and and so digitally rearranged and layered past the creative person using his signature filigree.^[34] These works were chosen Shut's first major foray into digital imagery:^[35] with the artist himself having said, "It's amazing how precise a computer can be working with calorie-free and color and h2o."^[36] A New York Times review noted that the "exaggerated breakup of the image, particularly when viewed at close range," that characterizes Close's piece of work "is also apparent in... [watercolor impress] portraits of the artists Cecily Dark-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, depict 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 black-and-white daguerreotypes, all of the tapestries use multiple colors of thread. No printing is involved in their creation; colors and values announced to the viewer based on combinations of more than than 17,800 colored warp (vertical) and weft (horizontal) threads, in an echo of Close'south typical grid format.^{[39] [40]} Close'southward tapestry series began with a 2003 black-and-white portrait of Philip Glass. In August 2013 he debuted two colour self-portraits at Guild Hall in East Hampton, New York.^[32] In reviewing this exhibition, Marion Weiss wrote .."Close's Jacquard tapestries are not obviously fragmented, but 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.' It's just when nosotros get closer that we see the individual threads, which are woven together."^[41]

Commissions [edit]

In 2010, Shut was commissioned by MTA Arts & Blueprint to create twelve large mosaics, totaling more than 2,000 foursquare feet (190 m²), for the 86th Street subway station on the New York City Subway's Second Avenue Line in Manhattan.^{[42] [43] [44] [45]}

Vanity Off-white'southward 20th Annual Hollywood edition in March 2014 featured a portfolio of 20 Polaroid portraits of motion picture stars shot past Close, including Robert De Niro, Scarlett Johansson, Helen Mirren, Julia Roberts, and Oprah Winfrey. Close requested that his subjects be ready 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'due south portrait of vocaliser-songwriter Paul Simon was used equally the cover fine art for his 2016 album Stranger to Stranger. The right eye appears on the embrace; 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's 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 airtight information technology, citing the male nudity equally obscene. The American Civil Liberties Union (ACLU) and the American Association of University Professors (AAUP) came to the defense force of Close and a landmark court example ensued. A Massachusetts Supreme Court Justice decided in favor of the creative person confronting the university. When the university appealed Close chose not to return to Boston, and ultimately the decision was overturned by an appeals court.^[48] (Close was later on awarded an Honorary Doctorate of the Arts by the Academy of Massachusetts in 1995.)^[48]

Close credited the Walker Fine art Center and its and then-manager 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 starting time one-man testify in New York Urban center was in 1970 at Bykert Gallery. His kickoff impress was the focus of a "Projects" exhibition at the Museum of Modern Art in 1972. In 1979 his piece of work was included in the Whitney Biennial and the following twelvemonth his portraits were the subject of an exhibition at the Walker Art Heart. His work has since been the subject area of more than 150 solo exhibitions including a number of major museum retrospectives.^[11] After Close abruptly canceled a major bear witness of his work scheduled for 1997 at the Metropolitan Museum of Art,^[51] the Museum of Modern Art appear that it would nowadays a major midcareer retrospective of the artist's piece of work in 1998 (curated past 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.^[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, Frg, and the State Hermitage Museum in St. Petersburg, Russia. He besides participated in nearly 800 group exhibitions,^[54] including documentas V (1972) and Half-dozen (1977), the Venice Biennale (1993, 1995, 2003), and the Carnegie International (1995).^[xxx]

In 2013, Close'south work was featured in an showroom at White Cube in Bermondsey, London. "Process and Collaboration" displayed not but 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 Dec 2014 his work was exhibited in Australia at the Museum of Gimmicky Fine art in Sydney, which he visited.^[56]

In 2016, Close's work was the subject of a retrospective at the Schack Art Centre in Everett, Washington, where he attended high school and community college.^{[57] [58]}

Close'south piece of work is in the collections of almost of the neat international museums of contemporary fine art, including the Centre Georges Pompidou in Paris, the Tate Modern in London, and the Walker Fine art Heart in Minneapolis who published Chuck Close: Self-Portraits 1967–2005 coauthored with curators Siri Engberg and Madeleine Grynsztejn.^{[eight] [59]}

Public contour [edit]

Recognition [edit]

The recipient of the National Medal of Arts from President Bill Clinton in 2000,^[threescore] the New York Land Governor'southward Art Award, and the Skowhegan Arts Medal, amidst many others, Close received over twenty honorary degrees including 1 from Yale University, his alma mater.^[54] In 1990, he was elected into the National University of Design as 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 Affairs Advisory Commission, a body mandated past the Urban center Lease to advise the mayor and the cultural diplomacy commissioner.^[61] Close painted President Clinton in 2006 and photographed President Barack Obama in 2012.^[48] In 2010 he was appointed past Obama to the President's Committee on the Arts and Humanities.^[11] He resigned from the President's Committee in Baronial 2017, co-signing a letter of the alphabet of resignation that said in reference to President Donald Trump, "Ignoring your mean rhetoric would have made us complicit in your words and actions."^[62]

In 2005, composer Philip Glass wrote a musical portrait of Shut. The limerick, 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 year.^[63]

Art market [edit]

Close was represented past the Pace Gallery (in New York City) from 1977, and after past White Cube (in London) from 1999.^[64] Already in 1999, Close's Cindy Two (1988), a portrait of the lensman Cindy Sherman sold for $i.two meg, against a high judge of $800,000.^[65] In 2005, John (1971–72) was sold at Sotheby'south to the Wide Art Foundation for $4.8 meg.^[66]

Fundraising and community service [edit]

In 2007 Close was honored by the New York Stalk 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 Close depicting President Barack Obama. The first tapestry was unveiled at the Mint Museum in North Carolina in laurels 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 by both Close and Obama. Shut previously sold work at sale to raise funds for the campaigns of Hillary Clinton and Al Gore.^{[68] [69]}

In Oct 2013, Shut 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.^[70] In the same yr piece of work by Close was as well 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 improve low-performing schools by increasing pupil "engagement" through the arts. Close mentored 34 students in the sixth through 8th grades at Roosevelt Schoolhouse in Bridgeport, Connecticut, i of eight schools in the nation to participate in this public-private partnership developed in cooperation with the U.S. Section of Education and the White House Domestic Policy Council. Close was honored by mayor Beak Finch with a central to the city at the November 7 reception at the Housatonic Community College Museum of Art, where five of Shut'south watercolor prints were exhibited aslope artwork by students participating in the program.^[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 Close", a full-length expansion of the start film.^[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: Fine art/new york No. 48, by his classmate at Yale University Paul Tschinkel.^[76]

Shut appeared on The Colbert Report on Baronial 12, 2010, where he said that he watches the bear witness every nighttime.^{[ citation needed ]}

Close was the discipline 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 serial.^{[ citation needed ]}

Sexual harassment allegations [edit]

On December 20, 2017, The New York Times and The Huffington Postal service published stories detailing two women accusing Close of sexual misconduct, saying Close invited the women to his studio to pose for what they thought would exist portraits, and 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, Shut issued a argument to The New York Times, saying "If I embarrassed anyone or made them feel uncomfortable, I am truly deplorable, I didn't mean to. I acknowledge having a dingy mouth, but we're all adults."^[78] On Jan 16, 2018, Hyperallergic published the accounts of 4 more than women who alleged Close harassed them.^[79] Their accounts were of alleged sexual harassment from 2001, 2009, and 2013. Nearly of the allegations were from women in their 20s, during the time that Shut was in his 60s and 70s. Many of the allegations were from college students, including from Yale University. Following the allegations, the Dean of the Yale Schoolhouse of Art, Marta Kuzma, "decided that in the best involvement of the students, faculty, and greater community of the Yale School of Fine art that Mr. Close will no longer serve every bit a member of the Dean's Council."^[80]

The National Gallery of 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 beliefs, alleged to take occurred from at least 2001 to 2013, could exist 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 blazon of dementia "destroys that part of the encephalon that governs behavior and inhibits base instincts," adding that "sexual inappropriateness and disastrous fiscal decisions are common presenting symptoms."^[1]

Personal life [edit]

Close lived and worked in Bridgehampton and Long Beach, New York (both on the due south shore of Long Island)^[10] and New York City'due south 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 afterward 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 besides [edit]

• Listing of Chuck Close subjects
• The Portrait Now

Further reading [edit]

• Dodie Kazanjian (Baronial 24, 2021). "Reckoning With the Monumental—and Damaged—Legacy of Chuck Close". Vogue.
• Jerry Saltz (August xx, 2021). "Chuck Shut, 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-three.
• 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 Retention of Time: Contemporary Photographs at the National Gallery of Art. National Gallery of Fine art. ISBN978-0500544495.
• Wei, Lilly (essay) (2009). Chuck Shut: Selected Paintings and Tapestries 2005–2009. PaceWildenstein. ISBN 978-one-930743-99-8.

External links [edit]

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

References [edit]

1. ^ ^{a b c} Johnson, Ken; Pogrebin, Robin (August nineteen, 2021). "Chuck Shut, Creative person 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 Eye. Archived from the original on September 7, 2007. Retrieved August 15, 2007.
3. ^ "Oral history interview with Chuck Shut". Archived from the original on January fourteen, 2015. Retrieved December 9, 2014.
4. ^ Hylton, Wil Southward. (July thirteen, 2016). "The Mysterious Metamorphosis of Chuck Close". The New York Times. Archived from the original on July 13, 2016. Retrieved July xiv, 2016.
5. ^ "Mosaic Art Now: Prosopagnosia: Portraitist Chuck Close". mosaicartnow.com. Archived from the original on August 21, 2017. Retrieved August xx, 2017.
6. ^ "Chuck Shut". 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 vi, 2012.
8. ^ ^{a b c d} Chuck Close Archived October 23, 2012, at the Wayback Machine Crown Point Press, San Francisco.
9. ^ Finch, Christopher (June 27, 2012). Chuck Shut: Life. ISBN9783641083410.
10. ^ ^{a b c d} Helen A. Harrison (February 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 Shut Solomon R. Guggenheim Museum, New York.
12. ^ Newhall, Edith (Apr xv, 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 Fine art, archived from the original on July 24, 2017, retrieved May vii, 2017 .
15. ^ Chuck Close, October 29 – December 22, 2011 Archived January xiii, 2012, at the Wayback Motorcar Blum & Poe, Los Angeles.
16. ^ ^{a b} Lyle Rexer (March 12, 2000), Chuck Close Rediscovers the Fine art in an Old Method Archived March 7, 2016, at the Wayback Car The New York Times.
17. ^ Chuck Close Archived Baronial 5, 2012, at the Wayback Machine Tate Modern, London.
18. ^ Norman, M. Contemporary Art Fable Chuck Close Talks About Painting Archived June 4, 2010, at the Wayback Auto, The Evidently Dealer, September ane, 2009
19. ^ Chuck Close: Photographs, 23 July – iv September 1999White Cube, London.
20. ^ Chuck Close Archived March 18, 2012, at the Wayback Car Pace 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 6, 2010
23. ^ Yuskavage, Lisa. "Chuck Close" Archived Baronial 18, 2011, at Wikiwix, "BOMB Magazine", Summertime, 1995. Retrieved July 25, 2011.
24. ^ O'Hagan, Sean Caput 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 Car Village Voice.
26. ^ Chronicles of Courage: Very Special Artists Archived Apr ix, 2011, at the Wayback Machine.
27. ^ Martha Schwendener (September 27, 2013), Works in Conversation With Photography Archived October 19, 2017, at the Wayback Machine The New York Times.
28. ^ Scarlet Cheng (January 21, 2007), Proof is in the press Archived August 20, 2012, at Wikiwix Los Angeles Times.
29. ^ Genocchio, B: Prints That Say Bold and Eclectic Archived October 10, 2017, at the Wayback Machine, The New York Times, March 4, 2009
30. ^ ^{a b} Chuck Close
31. ^ Close, Chuck; Terrie Sultan. ""Chuck Shut & Terrie Sultan" Interview at Strand Bookstore, May one, 2014". YouTube. Archived from the original on Feb 2, 2015.
32. ^ ^{a b} "Chuck Close: Up Close at Lodge Hall." Archived August 11, 2013, at the Wayback Automobile Weinreich, Regina: the Huffington Post. August 10, 2013. Retrieved October 8, 2013.
33. ^ "Fine art Review: Sumptuous Portraits by Chuck Shut at Guild Hall Museum". Archived October 5, 2013, at the Wayback Machine Hamptons Fine art Hub. Retrieved on October 8, 2013.
34. ^ "Press Release: Chuck Shut." Archived Dec 14, 2013, at the Wayback Motorcar Pace Gallery. Retrieved October 8, 2013.
35. ^ "Subsequently Decades of Pixel Painting, Chuck Shut Goes Truly Digital." Archived September 24, 2013, at the Wayback Machine Co.Design. Retrieved on October 8, 2013.
36. ^ "Interface: American Chief Chuck Close." Archived March 27, 2014, at the Wayback Machine Kelly, Brian: Long Isle Pulse Mag. 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 Car Schwendener, Martha: The New York Times, September 27, 2013. Retrieved on October 8, 2013.
38. ^ Finch, Christopher (2007). Chuck Close: Work. Prestel. p. 286. ISBN978-3-7913-3676-3.
39. ^ "Artist's Portrait of Kate Moss Dazzles." Archived January 24, 2015, at the Wayback Motorcar Britt, Douglas: Houston Chronicle, October 29, 2008. Retrieved Oct 8, 2013.
40. ^ "Capital Roundup." Archived Jan 26, 2009, at the Wayback Motorcar artnet Magazine. Retrieved on April ix, 2009.
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Source: https://en.wikipedia.org/wiki/Chuck_Close

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