Chuck Close Essay Example
IS THIS ME ?
Chuck Close’s Self-Portrait* (1967-1968)
In this paper I will explore critically on Chuck Close’s Self-Portrait* (1967-1968). I will begin by describing and display the significance of this piece. I chose Chuck Close’s Self-Portrait* (1967-1968), as my thesis image, this work is an example of the excellent superealism and photorealism that Chuck Close is capable of and known for. In the first stage of his painting career, he did a lot of abstract paintings and later he focused on new ways to portray the human figure, since 1964. His work was superealistic and gigantic in size featuring atypical art subjects with empty facial expressions. In this huge self portrait he catches every tiny detail of his face, the mussy hair, the shadow that hair created on his forehead, the cigarette, the smog of the cigarette, the mole on his neck, and the reflection on his glassed. He highlights details even a camera would not capture. This self-portrait is 263×213cm, almost 10 times bigger than his body. I think mostly people don’t see themselves in this size, and more important that they don’t face them self through painting, this unique way and let other people define your identity. The sheer scale and meticulous attention to his body has a profound impact on the viewer, the viewer is under his watching, covered by him. His facial features are removed from the familiar and made into something to be confronted by.
Through this paper I attempt to conceive and illustrate a compelling interpretation of Chuck Close’s self-portrait through the lens of body art. I will define the idea of body art while considering the writings of Ewa Lajer-Burcharth’s article. I will also examine and compare the Chuck Close’s self-portrait with Gary Hill’s video Inasmuch as it is always already taking place , Cindy Sherman’s photography , and Mona Hatoum’s Corps Etrange from the view of body art.
In this paragraph I will present the basic characters and artful differences between
Chuck Close’s Self-Portrait* (1967-1968)
In this paper I will explore critically on Chuck Close’s Self-Portrait* (1967-1968). I will begin by describing and display the significance of this piece. I chose Chuck Close’s Self-Portrait* (1967-1968), as my thesis image, this work is an example of the excellent superealism and photorealism that Chuck Close is capable of and known for. In the first stage of his painting career, he did a lot of abstract paintings and later he focused on new ways to portray the human figure, since 1964. His work was superealistic and gigantic in size featuring atypical art subjects with empty facial expressions. In this huge self portrait he catches every tiny detail of his face, the mussy hair, the shadow that hair created on his forehead, the cigarette, the smog of the cigarette, the mole on his neck, and the reflection on his glassed. He highlights details even a camera would not capture. This self-portrait is 263×213cm, almost 10 times bigger than his body. I think mostly people don’t see themselves in this size, and more important that they don’t face them self through painting, this unique way and let other people define your identity. The sheer scale and meticulous attention to his body has a profound impact on the viewer, the viewer is under his watching, covered by him. His facial features are removed from the familiar and made into something to be confronted by.
Through this paper I attempt to conceive and illustrate a compelling interpretation of Chuck Close’s self-portrait through the lens of body art. I will define the idea of body art while considering the writings of Ewa Lajer-Burcharth’s article. I will also examine and compare the Chuck Close’s self-portrait with Gary Hill’s video Inasmuch as it is always already taking place , Cindy Sherman’s photography , and Mona Hatoum’s Corps Etrange from the view of body art.
In this paragraph I will present the basic characters and artful differences between