Weisman Museum of Art, Pepperdine University, Malibu, California, January 17–April 5, 2015. Schnitzer and his Family Foundation, Frederick R. Traveled to: University Museum of Contemporary Art, University of Massachusetts, Amherst, September 11–DecemNova Southeastern University Museum of Art, Fort Lauderdale, March 30–August 28, 2016.Ĭhuck Close, Merchant House, Amsterdam, April 17–July 12, 2015.Ĭhuck Close: Face Forward, From the Collections of Jordan D. (Catalogue)Ĭhuck Close Prints, Schack Art Center, Everett, Washington, May 12–September 7, 2016.Ĭhuck Close Photographs, Parrish Art Museum, Southampton, New York, May 10–July 26, 2015.

(Catalogue)Ĭhuck Close: Red Yellow Blue, Pace Gallery, 534 West 25th Street, New York, September 11–October 17, 2015. Starr Gallery, New York, April 1–May 27, 2016. Traveled to: Henry Art Gallery, University of Washington, Seattle, November 5, 2016–ApPennsylvania Academy of the Fine Arts, Philadelphia, October 6, 2017–April 8, 2018.Ĭhuck Close: Fingerprint Paintings and Drawings, 1978–86, Craig F. Schnitzer and his Family Foundation, Pendleton Center for the Arts, Pendleton, Oregon, March 10–April 29, 2017.Ĭhuck Close Photographs, NSU Art Museum Fort Lauderdale, Florida, March 20–October 2, 2016. Read Moreġ962, University of Washington, Seattle, B.A.ġ963, Yale University School of Art and Architecture, New Haven, B.F.A.ġ964, Yale University School of Art and Architecture, New Haven, M.F.A.Ĭhuck Close, Gary Tatintsian Gallery, Moscow, April 22–September 28, 2021.Ĭhuck Close, White Cube, Hong Kong, January 16–February 22 (extended through March 7), 2020.Ĭhuck Close, Pace Gallery, 12/F, H Queen’s, 80 Queen’s Road Central, Hong Kong, January 10–February 22 (extended through March 7), 2020.Ĭhuck Close: Selections from the Collections of Jordan D. Beginning in 1991, he continued his examinations of portraiture through productions of silk tapestries and, since 2003, has furthered this investigation, producing editions of large-scale Jacquard tapestry portraits.Ĭonstantly revitalizing his practice by challenging modes of representation, Close’s oeuvre encompasses various forms of painting, printmaking, drawing, collage, daguerreotype and Polaroid photography, and, most recently, tapestries. Through rehabilitation, he regained his ability to paint by using a brush-holding device strapped to his wrist and forearm. In 1988, Close was paralyzed following a rare case of spinal artery collapse. Louis Art Museum, Missouri Museum of Contemporary Art, Chicago closing at the Whitney Museum of American Art. The resulting works read like pixelated mosaics wherein the viewer’s perception blends distinct areas of juxtaposed color-be it layered shapes of colors, fingerprints, or lines-into a unified image.His first retrospective Close Portraits was organized by the Walker Art Center, Minneapolis in 1980, and traveled to the St. A year later he received his first major museum exhibition Recent Work at the Los Angeles County Museum of Art (1971).Įxploring different modes of representation, Close began in the late 1970s to make explicit use of a grid system or an irregular grid based on a physical relationship to his support. Close relinquished his strictly monochromatic palette in 1970 and began employing a three-color process as well as various imposed systems and techniques. During this time, the Walker Art Center, Minneapolis, acquired Big Self Portrait (1967) directly from his studio. He participated in his first New York exhibition in 1970 at Bykert Gallery alongside Lynda Benglis and Richard Van Buren. On relocating to New York, Close continued to explore realism, painting black-and-white photographic portraits of his family and friends onto large-scale canvases in precise detail, applying paint with an airbrush. His 1967 solo exhibition featured paintings of male nudes, proving controversial and ultimately resulted in a landmark court case that sought to extend freedom of speech to the visual arts. Basing his paintings on photographic imagery, Close reduced his palette to black and white, culminating in his large-scale painting Big Nude (1967).

Seeking to break from the gestural style that had characterised his student work, Close shifted toward Pop-inflected figuration before embracing the tools of commercial art and illustration. He taught painting at the University of Massachusetts, Amherst, where he received his first solo exhibition in 1967. After studying at the Akademie der Bildenden Künste in Vienna (1964) on a Fulbright grant, Close returned to the United States in 1965.

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