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It doesn't upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.

Chuck Close

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Chuck Close
Age: 81 †
Born: 1940
Born: July 5
Died: 2021
Died: August 19
Drawer
Graphic Artist
Painter
Photographer
Monroe
Washington
Charles Thomas Close
Charles Close
Chuck Close (1940-2021)
Charles Close (1940-2021)
Doe
Mirrors
Used
Photographer
Find
Artists
Hiv
Photography
Historians
Certainly
Lenses
Artist
Historian
Doesn
Upset
Art
Aids

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I always thought that one of the reasons why a painter likes especially to have other painters look at his or her work is the shared experience of having pushed paint around.
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I wanted to translate from one flat surface to another.In fact, my learning disabilities controlled a lot of things. I don't recognize faces, so I'm sure it's what drove me to portraits in the first place.
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It's always a pleasure to talk about someone else's work.
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Never let anyone define what you are capable of by using parameters that don’t apply to you.
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All the fingerprint paintings are done without a grid.
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The thing that interests me about photography, and why it's different from all other media, is that it's the only medium in which there is even the possibility of an accidental masterpiece.
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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.
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Art saved my life in two ways. It made me feel special, because I could do things my friends couldn't, but it also gave me a way to demonstrate to my teacher that, despite the fact that I couldn't write a paper or do math, I was paying attention.
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All the best ideas come out of the process they come out of the work itself.
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In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.
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Ive said its a little bit like a magician performing for a convention of magicians... all the magicians in the audience watching this illusion-Do they see the illusion, or do they see the device that made the illusion? Probably they see a little of both.
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The reason I don't like realist, photorealist, neorealist, or whatever, is that I am as interested in the artificial as I am in the real.
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There's something Zen-like about the way I work - it's like raking gravel in a Zen Buddhist garden.
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Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
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I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.
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I've always thought that problem-solving is highly overrated and that problem creation is far more interesting.
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Of all the artists who emerged in the '80s, I think perhaps Cindy Sherman is the most important.
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The camera is objective. When it records a face it can't make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.
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A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been.
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Most people are good at too many things. And when you say someone is focused, more often than not what you actually mean is they're very narrow.
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