Top 77 Chuck Close Quotes of All time - Quotes.Pub

Here you will find all the famous Chuck Close quotes. There are more than 77 quotes in our Chuck Close quotes collection. We have collected all of them and made stunning posters out of those quotes so you can use Chuck Close quotes wallpapers and images to share on the various social media platforms. You can download the quotes posters in various different sizes for free.

Amateurs look for inspiration; the rest of us just get up and go to work.

I have a great deal of difficulty recognizing faces, especially if I haven’t – if I’ve just met somebody, it’s hopeless.

You know, the way art history is taught, often there’s nothing that tells you why the painting is great. The description of a lousy painting and the description of a great painting will very much sound the same.

I did some pastels and I did other pieces in which there was just basically one color per square, and then they would get bigger and I could get 2 or 3 colors into the square, and ultimately I just started making oil paintings.

I have always attempted to create images that deliver the maximum amount of information about the subject.

I never said the camera was truth. It is, however, a more accurate and more objective way of seeing.

Like any corporation, I have the benefit of the brainpower of everyone who is working for me. It all ends up being my work, the corporate me, but everyone extends ideas and comes up with suggestions.

The first thing I do is take Polaroids of the sitter – 10 or 12 color Polaroids and eight or 10 black-and whites.

There are things about signing on to a process over the long term that protect you from the buffeting winds of change.

It’s always a pleasure to talk about someone else’s work.

I only use three primaries, so the nice thing is I can’t have favorite colors.

Of all the artists who emerged in the ’80s, I think perhaps Cindy Sherman is the most important.

Any innovation that is evident in my paintings is a direct result of something that happened in the course of making a print.

I love sculpture, and minimal sculpture is really my favorite stuff, but I wasn’t very good at it, and I don’t think in a three-dimensional way.

I’m plagued with indecision in my life. I can’t figure out what to order in a restaurant.

What difference does it make whether you’re looking at a photograph or looking at a still life in front of you? You still have to look.

I’m very learning-disabled, and I think it drove me to what I’m doing.

When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.

Any artist who goes to Las Vegas is an idiot as far as I am concerned. Whoever goes to Las Vegas can stay in Las Vegas.

I’m very interested in how we read things, especially the link between seeing two-dimensional and three-dimensional images, because of how I read.

I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won’t be able to give much information about who it is.

If the bottom dropped out of the market and the artist was not going to sell anything, he or she will keep working, and the dealer will keep trying to find some way to convince somebody to buy this stuff.

I only have so much time and energy and money, and I’m going to put it into my work.

Painting is the most magical of mediums. The transcendence is truly amazing to me every time I go to a museum and I see how somebody figured another way to rub colored dirt on a flat surface and make space where there is no space or make you think of a life experience.

Sometimes I really want to paint somebody and I don’t get a photograph that I want to work from.

All the fingerprint paintings are done without a grid.

I learned you could suffer a terrible tragedy and still be happy again.

I knew from the age of five what I wanted to do. The one thing I could do was draw. I couldn’t draw that much better than some of the other kids, but I cared more and I wanted it badly.

You can give the same recipe to ten cooks, and some make it come alive, and some make a flat souffle. A system doesn’t guarantee anything.

At the same time that I’m finding the color world I want, I’m also trying to make the imagery, you know, by the nature of the strokes themselves.

I think the problem with the arts in America is how unimportant it seems to be in our educational system.

The reason I don’t like realist, photorealist, neorealist, or whatever, is that I am as interested in the artificial as I am in the real.

I think women realise that I love women, and very often women seem to love me.

The camera is objective. When it records a face it can’t make any hierarchical decisions about a nose being more important than a cheek. The camera is not aware of what it is looking at. It just gets it all down.

I think most paintings are a record of the decisions that the artist made. I just perhaps make them a little clearer than some people have.

I always thought problem solving was greatly overrated – and that the most important thing was problem creation.

The thing that interests me about photography, and why it’s different from all other media, is that it’s the only medium in which there is even the possibility of an accidental masterpiece.

Painting is a lie. It’s the most magic of all media, the most transcendent. It makes space where there is no space.

From my point of view, photography never got any better than it was in 1840.

Painting is the frozen evidence of a performance.

I build a painting by putting little marks together-some look like hot dogs, some like doughnuts.

I absolutely hate technology, and I’m computer illiterate, and I never use any labor-saving devices although I’m not convinced that a computer is a labor-saving device.

I’m poor white trash from the state of Washington.

If it looks like art, chances are it’s somebody else’s art.

It doesn’t upset artists to find out that artists used lenses or mirrors or other aids, but it certainly does upset the art historians.

Neurologically, I’m a quadriplegic, so virtually everything about my work has been driven by my learning disabilities, which are quite severe, and my lack of facial recognition, which I’m sure is what drove me to paint portraits in the first place.

A photograph doesn’t gain weight or lose weight, or change from being happy to being sad. It’s frozen. You can use it, then recycle it.

Most people are good at too many things. And when you say someone is focused, more often than not what you actually mean is they’re very narrow.

In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.

While photography is the easiest medium in which to be competent, it is the hardest in which to develop an idiosyncratic personal vision.

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