If any visitors to this website are aware of additional studies which could be included in this list, please contact the author.ġ916 Fire Insurance Maps.
#Project m cobalt legacy character roster download#
Some of these reports are also available for download from this website, and more will be added as they become available. This section lists these reports, providing brief summaries of each. Several environmental studies have been carried out in the Cobalt area, documenting pollution levels in the area, as well as sources of pollution. It’s healthier to see them - and their work - without the rose-tinted glasses.Environmental Studies in Cobalt *** Updated Novem*** There are scores of male artists who qualify, maybe some female ones too. And who knows, maybe asterisks aren’t so bad.
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I suspect his paintings will not be out of sight for long. They are extremely accessible and slightly sensational at a time when museums are being careful to play down their elitism and push public outreach. His big visages continue to startle and even thrill without offending. Even when the scandal was at its height, museum directors defended his work - pointing to other artists guilty of offensive behavior down through the centuries but who made worthy - or at least museum-worthy - art.Īnd Close’s work is in many, many museums - a staple of any self-respecting public collection. Now it will be interesting to see when and how Close’s career is rehabilitated and whether it will garner an “asterisk,” a label warning viewers of the less savory aspects of his life.
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It was different from other artists, like Josef Albers or Mark Rothko, for example, who progressed to motifs that seemed unchanging only after decades of exploration. Part of the problem may also have been his art’s popularity: Through its ubiquity and sameness, it became a kind of corporate brand that stood for contemporary museum art and also for Pace Gallery. Only his paralysis had forced his idea of scale and process into new territory - perhaps beyond his wildest imagination - bringing about a change that he had been tentatively flirting with for nearly a decade: of brighter colors, more freely applied, that distorted the image and messed with visual perception in new ways. This lateral growth provided only the appearance of development, but actually there was very little in Close’s work. Every time the medium changed, the work changed physically, but it wasn’t enough. It translated well into different mediums - prints, drawings, Polaroids, paper-pulp collages, ink-stamped fingerprints, daguerreotypes and even tapestries. His idea of the head rendered colossal and detailed enough to dislodge anyone’s socks propelled portraiture into the 21st century, and supported a certain kind of lateral expansion - a franchising, if you will. I actually think Close was a particularly great one-hit wonder, twice. At 6’3” with a deep voice, a quick wit and a kind of goofy face, he was so widely liked and so ubiquitous that he was once called the “Mayor of SoHo.” At times he seemed like the chief uptown representative of the downtown art world, attending dinners and benefits and serving on the boards of museums (including the Whitney Museum of American Art) and foundations. The artist himself projected an impressive authorial persona. He was equally admired by the cognoscenti and the public. But it also had the haughtier, more conceptual imprimatur of Post-Minimalism, arguably the last avant-garde art movement of classic modernism. It had the instant pow of Pop Art - indeed the artist had stated his desire to knock people’s socks off. Museums and private collectors started vying for it even before he had his first solo gallery show in New York in 1970.
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From 1967 to the end of 1988, he was a celebrated painter, a singular kind of Photorealist known for enormous grisaille portraits of intimate friends and family (and himself, perhaps his favorite subject) rendered on a pencil grid with watered-down paint and an airbrush. Chuck Close’s life as an artist divided into three distinct phases - two successful, one not.