CHUCK CLOSE "KIKI"

Kiki

Chuck Close

Oil on canvas, 1993

100’’(8.3 ft) X 84.125’’(7.01 ft)

Chuck Close’s “Kiki” is one of many in the Walker art centers permanent collection, however it succeeds in stealing all of my attention, every time I walk by. Close’s work consists mostly of large-scale portraits of himself, as well as his friends and family. His paintings are almost always broken down into grids (although the grids are not always visible in the finished product) and Kiki does an excellent job of demonstrating his technique. His depictions are exceptionally accurate, causing his work to generally fall under the category of realism. However, Close’s work is more then that, when examined it becomes evident that his paintings are not simply enlargements of photographs, Kiki in particular is much more stylistic. From far away her face is as clear as day, But as you get closer you begin to understand the extent of the artist’s proficiency. Standing just a few feet away from this 8 and ½ by 7 foot tall portrait, her facial features have disappeared, and Kiki is unrecognizable. The piece is broken down into a grid, and within each section there is an abstract target-like shape with rings of multiple colors. I am truly amazed by this system; Close has managed to harmoniously combine realism and abstraction in a unique and down right brilliant way. Despite the fact that his subject matter is fairly simple, His passion is evident through his style and the magnificence of his work, giving it a strong but somewhat indecipherable emotive quality. This ability to create emotions in a realistic manner is somewhat reminiscent of impressionism. Although Close’s paintings are ideal examples of realism, in describing them I fear that this term could have an undeserved negative connotation. Close’s Kiki is not simply an accurate depiction of a young woman (although he does do this remarkably well) It presents incredible skill and commitment, and combines two completely different approaches to portraying the human face, leaving the viewer utterly speechless. It is a masterpiece in every aspect of the word.

WARHOL AT THE WALKER

16 Jackies,

Andy Warhol, 1964

Acrylic, Enamel on Canvas

Andy Warhol is arguably one of the most influential artists in American history. 16 Jackie’s which became part of the Walker Art Center’s permanent collection in 1968, is probably my favorite of his works. If you were alive at any point in the last five decades, then this piece is probably self-explanatory, and if the visuals don’t clarify, the title will. The top row shows an ecstatic Jackie Kennedy stepping off the airplane; the second row depicts a shocked Jackie as Lyndon B. Johnson is sworn in to office after the assassination of John F Kennedy; the third row shows Jackie at Her husband funeral, and the final row: a smiling Jackie in a limousine right before the shooting. I am drawn to this piece in particular because unlike Warhol’s infamous Campbell’s soup cans and Marilyn Monroe portraits (which are pleasant and emotionally unattached) this piece tells a story that hits you in the gut, every time. Jackie Kennedy was a pop icon even before her husbands murder, her life was in the public eye more then most political figures, which is why Warhol chose her as a subject. People mourned the death of their president, as well as for his beautiful, young, widowed wife. Warhol tapped into the vulnerability of his grieving country and created a very somber and emotional piece of work, appropriate primarily for it’s own generation. Aside from Warhol’s obsession with popular culture, he was also very invested in violence and death, especially within the media. Public tragedies play a huge role in much of his work; the effectiveness of this is present particularly in 16 Jackie’s. The repetition of a single image multiple times is inherently Warhol. In my opinion it is beneficial to this work; repetition forces realization. By seeing this image over and over, it becomes ingrained in your memory. However it’s not just the images, it’s the story that the images tell. The use of a strict color palette (blue, black, and white) amplifies the ominous nature this piece. I think psychologically the use of blue alone is depressing. Many of his other works use numerous bright colors to create a positive mood. The dismal quality of the black and blue add to the anguish and desperation of this piece. Although I was not alive when John F. Kennedy was assassinated, it is still recent history, meaning that this piece is still relevant to society. More so, it is informative to the modern viewer, these images are no longer seen in magazines or on the news. Warhol’s 16 Jackie’s, although unintentionally, has become an important documentation of history, as well as an artwork.

http://www.artknowledgenews.com/node/1194

http://collections.walkerart.org/item/object/422