Sweet 9 point buck watching over the ART-O-MAT at its new location in Dundee at Scout: Dry Goods & Trade.
Zooming you in from outer space to the Geffen Contemporary at MOCA via The You Are Here Flipbook by Scott Blake, one of the incredible book makers here this weekend for Printed Matter’s L.A. Art Book Fair
Finished Pvt. Chelsea Manning mosaic using her 35-page statement. Download and print free PDF. http://www.barcodeart.com/Chelsea_Manning.html
Panorama of “Stocked” exhibit at the Faulconer Gallery at Grinnell College in Iowa.
Stocked: Contemporary Art from the Grocery Aisles.
My collection of 200 ART-O-MAT packs.
Caleb playing mandolin.
Warhol on my left, barcodes on my right.
Found a barcode “STICKER” on campus. I wonder if the person who stuck this knows I’m here. Made my day.
The Scarlet & Black, Grinnell College newspaper, wrote a really nice story about my visit. http://www.thesandb.com/arts/curation-for-the-masses.html
Goodbye Ricker House, designed by Walter Burley Griffin.
Found a barcode “STICKER” on Grinnell College campus today. I wonder if the person who stuck it knows I’m here. Made my day.
Conversation between Chuck Close and Brooklyn Rail publisher Phong Bui in 2008. http://www.brooklynrail.org/2008/06/art/chuck-close-with-phong-bui
Phong Bui: Let’s move to the subject of technology versus art, which has a great deal to do with the notion of order and randomness. It is the latter that can never be duplicated through man-made products. I am referring to Leon Harmon, a biomedical engineer who published a cover article in Scientific American (1973) called “Recognition of Faces,” which I know got you a bit upset. Would you tell us why the content of that article was so contrary to your view on these differences?
Chuck Close: Partially it’s because I thought, everyone will think I make my paintings with a computer, which I’m absolutely uninterested in. But I realized that what they were asking the computer to do was in many ways very similar to what I was doing. You have to place that in the larger context of scientific experiments in art and technology that were happening at the same time. For instance, there was E.A.T. (Experiments in Art and Technology), which was founded by Rauschenberg, Bob Whitman, Billy Klurer, and Fred Waldhauer. I remember attending “Nine Evenings” at the old Armory, which was really exciting. But I realized that by the early ’70s, this fusion between art and technology wasn’t something in which I would invest too much of my time. Even when Billy Kluver did a nude with letters (this was after I was already doing dots), I thought: I am going to come down firmly on the side of the hand-made objects without intervention of technology. It wasn’t that I was against it, I just wasn’t interested in labor-saving devices; I simply like to look at how a painting is made materially. How the hand or the touch is revealed on the surface.
The “nude with letters” Chuck Close is referring to was created by Leon Harmon and Ken Knowlton in 1966. Its proper title is “Studies in Perception #1″ or “Young Nude”. It was printed in the New York Times on October 11, 1967. It was also exhibited at one of the earliest computer art exhibitions, The Machine as Seen at the End of the Mechanical Age, at the Museum of Modern Art in New York City from November 25, 1968 through February 9, 1969.
Billy Kluver did not create the “nude with letters.” Billy Kluver worked with Leon Harmon and Ken Knowlton at Bell Labs. Billy Kluver claimed that “Studies in Perception #1″ was the first nude printed in the New York Times.
Chuck Close started making his first overtly gridded works with dots such as “Keith | Three-Drawing Set” in 1973. This is 7 years after Leon Harmon and Ken Knowlton created “Studies in Perception #1″.
Chuck Close is entitled to his own opinion, but not his own facts.