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Culture Sower Culture 菌整理编辑，版权为艺术家本人所有 未经允许禁止转载复制
查克·克洛斯 Chuck Close
在他的整个职业生涯中，克洛斯通过掌握墨水、石墨、粉彩、水彩、蜡笔、手指画和纸上印泥等各种绘画技术，扩大了他对肖像画的贡献；版画技术，如mezzotint、蚀刻、木刻、linocuts和丝网印刷；以及手工拼贴画、宝丽来照片、银版和提花挂毯。 他早期的喷枪技术启发了喷墨打印机的发展。 Throughout his career, Close 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 stamp-pad ink on paper; printmaking techniques, such as mezzotint, etching, woodcuts, linocuts, and silkscreens; as well as handmade paper collage, Polaroid photographs, daguerreotypes, and Jacquard tapestries. His early airbrush techniques inspired the development of the ink jet printer. 克洛斯在耶鲁大学读研究生时就以其娴熟的笔触而闻名。在那里，他模仿了威廉·德·库宁（Willem de Kooning），似乎“注定要成为第三代抽象表现主义者，尽管有点打破流行偶像的意味”。 在尝试了一段时间的具象结构后，克洛斯开始了一系列源自女性裸体黑白照片的绘画，他将这些照片复制到画布上并用彩色绘制。正如他在2009年接受俄亥俄州《平原商人》（The Plain Dealer）报纸《克利夫兰》（Cleveland）采访时所解释的那样，他在1967年做出了一个选择，对自己而言特别难，并通过放弃画笔来迫使个人在艺术上取得突破。“我扔掉了我的工具”，克洛斯说。“我选择了做一些我不擅长的事情。不做某事的选择比做某事更积极。如果你限制不做你以前做过的事情，它会把你推向你从未去过的地方。”1969年，菲利普·格拉斯的一张照片被收录在他创作的黑白系列中，1977年用水彩重新绘制，1978年再次用印泥和指纹重新制作，1982年也用灰色手工纸制作。 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 abstract expressionist, although with a dash of Pop iconoclasm".After a period 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 color. As he explained in a 2009 interview with Cleveland, Ohio's The Plain Dealer newspaper, he made a choice in 1967 to make art hard for himself and force a personal artistic breakthrough by abandoning the paintbrush. "I threw away my tools", Close said. "I chose to do things I had no facility with. The choice not to do something is in a funny way more positive than the choice to do something. If you impose a limit to not do something you've done before, it will push you to where you've never gone before."One photo 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 also done as gray handmade paper in 1982. 他从一张网格照片开始，通过一个又一个小心的多色或灰度笔画来构建自己的图像。他有条不紊地工作，从画布的左手角开始他松散但有规律的网格。 他的作品通常比生活更宏大，而且高度集中。 “摄影融入艺术世界的一个例子是20世纪60年代末和70年代初照片主义绘画的成功。它也被称为超现实主义或超现实主义，像理查德·埃斯特斯、丹尼斯·彼得森、奥黛丽·弗拉克和克洛斯这样的画家经常从摄影剧照中创作出看起来像照片的绘画绘画的主题同样起到了确保画作成为现实主义对象的作用。" Working from a gridded photograph, he built his images by applying one careful stroke after another in multi-colors or grayscale. He worked methodically, starting his loose but regular grid from the left hand corner of the canvas. His works are generally larger than life and highly focused. "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 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." 克洛斯说，他患有面容失认症，也被称为脸盲症，很难识别新面孔。通过画肖像，他能够更好地识别和记忆人脸。关于这个问题，克洛斯说：“我没有意识到要画肖像，因为我很难识别人脸。20年后，当我看到为什么我还在画肖像，为什么这对我来说仍然很紧迫时，我突然想到了这一点。我开始意识到，这让我坚持了这么长时间，因为我难以识别人脸。” Close said he had prosopagnosia, also known as face blindness, in which he had difficulty recognizing new faces. By painting portraits, he was better able to recognize and remember faces. On the subject, Close said, "I was not conscious of making a decision to paint portraits because I have difficulty recognizing faces. That occurred to me twenty years after the fact when I looked at why I was still painting portraits, why that still had urgency for me. I began to realize that it has sustained me for so long because I have difficulty in recognizing faces."
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