46 ordspråk av Chuck Close

Chuck Close

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If you ask yourself a personal enough question, your response is more likely to be personal, and that means that if you get yourself into trouble, no one else's answers are going to be applicable, and you'll be flying by the seat of your pants and you'll have to come up with something.

Of course there are all the negative reviews, which also are incredibly important. Hilton Kramer hated the work, and if he had loved it I would have wanted to commit suicide. I still remember to this day that he called me a lunatic and he said the work is the kind of trash that washed ashore when the tide of pop art went out... and I thought, Gee, if he doesn't like what I'm doing, then I must be on the right track.

I mean, if you think about a writer, you're going to write a novel that takes several months, but there's never a time you're doing anything more than shoving one word up against the next. And clusters of those words make sentences and paragraphs and a chapter. You just try to maintain the same voice and the same attitude so it sounds like the same person wrote the last chapter that wrote the first chapter.

It's always a pleasure to talk about someone else's work.

I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won't be able to give much information about who it is.

I'm very learning-disabled, and I think it drove me to what I'm doing.

In between those early ones and what I'm doing now, there were all kinds of pieces in which I tried to build works incrementally and let the increments show, so I sprayed dots or I used my finger prints or used chunks of pulp paper, or any one of a number of ways to build an image out of discrete individual units.

If you think about the way a composer would go in a room and score, let's say, the oboe's gonna play this note, the bassoon's gonna play that note, the french horn will play that note, the resultant sound, the combination of those notes makes kind of a chord, and I'm doing the same thing with color.

The city continues to be a magnet for the best and the brightest that come here from all over the country and all over the world. It's a very vital exciting community. The art world gobbles up people and spits them out the other end and keeps chugging along.

The only thing stupider than making a painting was making a representational painting, and of all the genres the most dead and seemingly bankrupt was portraiture.

It's the tension between the marks on a flat surface, and then the image built, that interested me. And I was always a dyed-in-the-wool formalist anyway. I think process sets you free, because you know you don't have good days or bad days. You just show up. You don't wait for inspiration.

When you come up in the art world, whatever's in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.

Once I started working with the Polaroid, I would take a shot and if that shot was good, then I'd move the model and change the lighting or whatever... slowly sneaking up on what I wanted rather than having to predetermine what it was.

I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.

Part of the joy of looking at art is getting in sync in some ways with the decision-making process that the artist used and the record that's embedded in the work.

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