chuck close heads

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An exhibition of Chuck Close prints at Utopia Art Sydney to coincide with 'Chuck Close - Prints, Process and Collaboration' at the Museum of Contemporary Art, Australia

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  • Chuck Close

    Heads

  • 25 October - 29 November, 2014

    Utopia Art Sydney

    Chuck Close

    Heads

  • Chuck Closes images of himself, his friends, family, and the occasional politi-cian (Obama and Clinton spring to mind), could be called portraits. However, the term heads is probably more appropri-ate, and more in line with the artists own thinking.

    In the seminal text on Closes prints, Chuck Close: Prints, Process and Collabo-ration, Richard Shiff writes that initially, Close called his early black-and-white portraits heads to stress the importance of their impersonal, process-oriented con-struction - he was certain he wasnt doing portraiture nor was he a realist or even a photorealist.

    The head can be understood as a formal entity composed of a series of interrelated abstract shapes. Even in his hyper-real art, Close breaks his subject down into its composite marks in order to build it back up again. So, in one sense, the notations of art making are the subject across all of his work.

    The meticulous processes of printmak-ing, the intricate layering of colours and shapes, has played a pivotal role in Closes studio practice: Virtually everything that has happened in my unique work can be traced back to the prints. There is also an interesting relationship at play between the photographic prints from which Close often works, and the traditional hand-crafted printmaking techniques through which his subjects are elaborated.

    In collaboration with some of the worlds most experienced master printmakers, Close has created works which are in many ways more labour-intesnsive and time-consuming than painting. Some of these prints have over 200 colours, some took over a year to realise and some are nearly two metres tall. Because of the great demand for Closes painting, his fo-cus on printmaking has also made his work available to a much broader audience.

    It is wonderful that the Museum of Con-temporary Art, Australia will be staging a major survey of Closes prints, opening in late November. It is a rare opportunity for Australian audiences to see a block-buster exhibition devoted solely to an artists printmaking oeuvre, and one that will introduce many not only to the depth and breadth of Closes practice but to the incredible potentials of printmaking.

    After many years of campaigning by our director, Christopher Hodges, and working closely with Pace Prints, New York, Utopia Art Sydney presented the first Australian exhibition of Chuck Closes work in 2010. Today, Utopia Art Sydney holds the larg-est collection of Closes prints available in Australasia. To coincide with the MCAs survey exhibition, we will show a selection of Closes heads.

    Chloe Watson

  • Self-Portrait, 2014, 84 colour woodcut, 35 1/2 x 29 1/2 inches (image size), 43 1/4 x 35 1/4 inches (paper size), edition of 70

    [currently accepting pre-orders, print still in production)

  • Self-Portrait Screenprint, 2012, silkscreen in 246 colours, 59 1/2 x 50 inches (image size), 66 1/2 x 55 inches (paper size), edition of 80

  • Self-Portrait Woodcut, 2007, ukiyo-e woodcut from 39 blocks with 47 colours on shiramine paper, 30 x 25 inches (image size), 37 x 30 inches (paper size), edition of 60

    Self-Portrait, 2002, Forty-three colour handprinted woodcut on Nishinouchi paper, 22 1/8 x 17 3/4 inches (image size), 31 x 25 inches (paper size), edition of 60

  • Self-Portrait Woodcut, 2009, woodcut in 47 colours, 28 x 23 inches (image size), 35 1/2 x 28 1/2 inches (paper size), edition of 70

    Self-Portrait Woodcut, 2007, ukiyo-e woodcut from 39 blocks with 47 colours on shiramine paper, 30 x 25 inches (image size), 37 x 30 inches (paper size), edition of 60

  • S.P. I, 1997, linoleum cut printed reductively, 11 5/8 x 9 inches (image size), 24 x 18 inches (paper size), edition of 70

  • S.P. I, 1997, linoleum cut printed reductively, 11 5/8 x 9 inches (image size), 24 x 18 inches (paper size), edition of 70

    S.P. II, 1997, linoleum cut printed reductively, 11 5/8 x 9 inches (image size), 24 x 18 inches (paper size), edition of 70

  • Janet/Pulp, 2007, stenciled handmade paper print, 47 1/4 x 38 1/2 inches, edition of 35

  • Alex, 1991, ukiyo-e woodcut from 47 blocks with 95 colours, 23 1/4 x 19 1/4 inches (image size), 28 x 23 1/4 inches (paper size), edition of 75

  • Alex, 1991, ukiyo-e woodcut from 47 blocks with 95 colours, 23 1/4 x 19 1/4 inches (image size), 28 x 23 1/4 inches (paper size), edition of 75

    Alex (Colour), 1992, 165 colour ukiyo-e woodcut printed from 86 woodblocks, 23 1/4 x 19 1/4 inches (image size), 28 x 23 inches (paper size), edition of 75

  • Alex/Reduction Print, 1993, screenprint from reduction carved linoleum, 72 x 58 inches (image size), 79 3/8 x 60 3/8 inches (paper size), edition of 35

  • Utopia Art Sydney2 Danks StreetWaterloo NSW 2017

    Telephone: + 61 2 9699 2900email: utopiaartsydney@ozemail.com.auwww.utopiaartsydney.com.au

    Utopia Art Sydney

    25 October - 29 November, 2014

    Chuck Close

    Heads

  • Utopia Art Sydney2 Danks StreetWaterloo NSW 2017

    Telephone: + 61 2 9699 2900email: utopiaartsydney@ozemail.com.auwww.utopiaartsydney.com.au