Editing Chuck Close (section)

===Prints===
Close was a [[printmaker]] throughout his career, with most of his prints published by [[Pace Gallery|Pace Editions]], New York.<ref name="Chuck Close"/> He made his first serious foray into print making in 1972, when he moved himself and family to San Francisco to work on a [[mezzotint]] at [[Crown Point Press]] for a three-month residency. To accommodate him, Crown Point found the largest copper plate it could (36 inches wide) and purchased a new press, allowing Close to make a work that was 3 feet by 4 feet. In 1986 he went to [[Kyoto]] to work with Tadashi Toda, a highly respected woodblock printer.<ref>Scarlet Cheng (January 21, 2007), [https://www.latimes.com/archives/la-xpm-2007-jan-21-ca-close21-story.html Proof is in the printing]  ''[[Los Angeles Times]]''.</ref>

In 1995, curator [[Colin Westerbeck]] used a grant from the [[Lannan Foundation]] to bring Close together with Grant Romer, director of conservation at the [[George Eastman House]].<ref name="Lyle Rexer 2000"/> From that time on, Close also continued to explore difficult photographic processes such as [[daguerreotype]] in collaboration with [[Jerry Spagnoli]] and sophisticated modular/cell-based forms such as [[tapestry]]. Close's [[photogravure]] portrait of artist [[Robert Rauschenberg]], "Robert" (1998), appeared in a 2009 exhibition at the [[Heckscher Museum of Art]] in [[Huntington, New York]], featuring prints from [[Universal Limited Art Editions]].<ref>Genocchio, B: [https://www.nytimes.com/2009/03/08/nyregion/long-island/08artsli.html Prints That Say Bold and Eclectic] {{webarchive|url=https://web.archive.org/web/20171010211639/http://www.nytimes.com/2009/03/08/nyregion/long-island/08artsli.html |date=October 10, 2017 }}, ''[[The New York Times]]'', March 4, 2009</ref> In the daguerreotype photographs, the background defines the limit of the image plane as well as the outline of the subject, with the inky pitch-black setting off the light, reflective quality of the subject's face.<ref name="whitecube.com">[https://whitecube.com/artists/artist/chuck_close/ Chuck Close]</ref>

In a 2014 interview with Terrie Sultan, Close said: "I've had two great collaborators in the God knows how many years I've been making prints. One was the late Joe Wilfer, who was called the 'prince of pulp' ... and now I'm working with [[Donald Farnsworth|Don Farnsworth]] in Oakland at...[[Magnolia Editions]]: I do the watercolor prints with him, I do the tapestries with him. These are the most important collaborations of my life as an artist."<ref>{{cite web|last=Close|first=Chuck|title="Chuck Close & Terrie Sultan" Interview at Strand Bookstore, May 1, 2014|url=https://www.youtube.com/watch?v=tedC8_s90rE|author2=Terrie Sultan|website=[[YouTube]]|date=May 5, 2014 |url-status=live|archive-url=https://web.archive.org/web/20150202224549/https://www.youtube.com/watch?v=tedC8_s90rE|archive-date=February 2, 2015}}</ref>

Since 2012, Magnolia Editions has published an ongoing series of archival [[watercolor]] prints by Close which use the artist's grid format and the precision afforded by contemporary digital printers to layer water-based pigment on [[Hahnemuhle]] rag paper<ref name="weinreich" /> such that the native behavior of watercolor is manifested in each print: "The edges of each [[pixel]] bleed with cyan, magenta, and yellow, creating a kind of three-dimensional fog effect behind the intended color swatches."<ref>[http://hamptonsarthub.com/2013/09/09/art-review-sumptuous-portraits-by-chuck-close-at-guild-hall-museum/ "Art Review: Sumptuous Portraits by Chuck Close at Guild Hall Museum".] {{webarchive|url=https://web.archive.org/web/20131005211114/http://hamptonsarthub.com/2013/09/09/art-review-sumptuous-portraits-by-chuck-close-at-guild-hall-museum/ |date=October 5, 2013 }} Hamptons Art Hub. Retrieved on October 8, 2013.</ref> The watercolor prints are created using more than 10,000 of Close's hand-painted marks which were scanned into a computer and then digitally rearranged and layered by the artist using his signature grid.<ref>[http://www.pacegallery.com/newyork/exhibitions/12548/chuck-close "Press Release: Chuck Close."] {{webarchive|url=https://web.archive.org/web/20131214173146/http://www.pacegallery.com/newyork/exhibitions/12548/chuck-close |date=December 14, 2013 }} Pace Gallery. Retrieved October 8, 2013.</ref>
These works were called Close's first major foray into digital imagery,<ref>[http://www.fastcodesign.com/1671037/after-decades-of-pixel-painting-chuck-close-goes-truly-digital "After Decades of Pixel Painting, Chuck Close Goes Truly Digital."] {{webarchive|url=https://web.archive.org/web/20130924184425/http://www.fastcodesign.com/1671037/after-decades-of-pixel-painting-chuck-close-goes-truly-digital |date=September 24, 2013 }} Co.Design. Retrieved on October 8, 2013.</ref> with the artist himself having said, "It's amazing how precise a computer can be working with light and color and water."<ref>[http://www.lipulse.com/art-music/article/interface#sthash.jOjVkO31.dpuf "Interface: American Master Chuck Close."] {{webarchive|url=https://web.archive.org/web/20140327213710/http://www.lipulse.com/art-music/article/interface |date=March 27, 2014 }} Kelly, Brian: Long Island Pulse Magazine. September 20, 2013. Retrieved on October 8, 2013.</ref> A [[New York Times]] review noted that the "exaggerated breakdown of the image, particularly when viewed at close range," that characterizes Close's work "is also apparent in... [watercolor print] portraits of the artists [[Cecily Brown]], [[Kiki Smith]], [[Cindy Sherman]], [[Kara Walker]] and [[Zhang Huan]]."<ref name="Schwendener">[https://www.nytimes.com/2013/09/29/nyregion/a-review-of-chuck-close-recent-works-at-guild-hall-museum.html "A Review of 'Chuck Close – Recent Works,' at Guild Hall Museum."] {{webarchive|url=https://web.archive.org/web/20180501124345/https://www.nytimes.com/2013/09/29/nyregion/a-review-of-chuck-close-recent-works-at-guild-hall-museum.html |date=May 1, 2018 }} Schwendener, Martha: The New York Times, September 27, 2013. Retrieved on October 8, 2013.</ref>