Bitten by the Y2K Bug, the world raced into the new millennium. The Internet boom connected citizens across the world instantaneously, opened doors to e-commerce and global communications, and forever altered our way of life.
However, the early magic of the 2000′s was soon interrupted. The September 11th terrorist attacks changed the nation as a whole and began the controversial War on Terror. Soon after, the world plummeted into financial crisis with repercussions that sent the governments and citizens into shock and struggle. Environmental catastrophes like Hurricane Katrina and the South Asian Tsunami brought a new sense of awareness to international aid and to the health of our environment, specifically global warming.
Referenced as New Millenium Art, art of the 2000′s reflected the social atmosphere and underwent revival. The spread of globalization largely impacted the nature of the art world. New influxes of art from artists in Africa, Latin America, and Asia rose to prominence amongst American contemporary artists like Damien Hirst and Jeff Koons. Artists employed a variety of mediums and presented continuously changing facades, as art was no longer for the masses, but for the individual. Art took a central focus throughout the globe as the art industry in China reached new heights and other continents like India began to witness new developments as well. Digital art entered into the artists repertoire of the 2000′s, as technological advancements continued to unfold.
James, a complex screenprint by Chuck Close completed in 2004, is comprised of 178 colors. It appears abstract, but from afar it is nearly photographic in its realism. See James on view in “It’s New / It’s Now: Recent Gifts of Contemporary Prints and Drawings” at the MIA.
More about the artist and print
Portraiture has been central to Chuck Close’s expression. He calls his portraits “heads” or “faces” to de-emphasize their connection to traditional portraiture—for him, portraits are less about the models than composition. Remarkably consistent, Close begins with a photographic close-up of his sitter’s face. He then overlays the photo with a grid to divide the image into manageable parts, facilitating the enlargement and transfer of the image to another medium. Working square by square, he builds his composition by approximating the tonal effects within a given square. Viewed up close, this complex screenprint—comprised of 178 colors—appears abstract, but from afar it is nearly photographic in its realism. Like most of his recent prints, it is based on his painting of the same subject, the New York artist James Siena.
Visit “It’s New / It’s Now: Recent Gifts of Contemporary Prints and Drawings” to see Chuck Close’s James and 120 other contemporary prints and drawings in person. Reserve your tickets today!
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