Artists David Capra, Julie Frager, Emily Hunt and Curator Glenn Barkley bring you films inspired by the work of Chuck Close.
Sat 3, 10, 17, 24, 31 Jan, 2pm
Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero
Charles and Ray Eames
Artist Emily Hunt chose the short film Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero. Powers of Ten takes us on an adventure in magnitudes. Starting at a picnic by the lakeside in Chicago, this famous film transports us to the outer edges of the universe. Every ten seconds we view the starting point from ten times farther out until our own galaxy is visible only as a speck of light among many others. Returning to Earth with breathtaking speed, we move inward- into the hand of the sleeping picnicker- with ten times more magnification every ten seconds. Our journey ends inside a proton of a carbon atom within a DNA molecule in a white blood cell.
Emily says ‘The film made a profound impact on me when I was seventeen. I was totally obsessed with the organisation of the macro and micro levels. The film still affects my relationship to cosmic space as well as eternal space, I am always surprised by the fact that we are made up of atoms. Like Chuck Close’s painting there in the representation of the macroscopic (the terrain of the large painted portrait) and the microscopic level (the early portraits which detail every skin pores and hair follicle)
Director: Roman Polanski
Artist Julie Fragar chose the film Carnage, a tale of two pairs of parents holding a cordial meeting after their sons are involved in a fight, though as their time together progresses, increasingly childish behaviour throws the discussion into chaos. Julie says ‘Close’s work has that same feeling of a literally closed space (the apartment) inside which a core set of problems are thrashed out within the limitations of the single scenario (two couples meet to discuss a fight their boys had at school) and the emotional limitations of its characters (all of whom are sharply defined). There’s a very direct humanity in this film that mirrors Closes concern with individual subjects (the film centres of the two couples).
The visiting couples keep trying to leave the apartment but for several reasons they don’t – attempts are made but they fail – returning to the space of the apartment. Each time the visiting couple fail to leave, the dynamics of the situation are altered. This reminds me of how Close returns to his set of constraints but in slightly different material guises (paint, paper pulp or finger prints or whatever). These slight variations serve only to make the limits of his practice more pronounced. Ditto the finite outcomes that are possible from the apartment in Polanski’ film.’
Please be seated by 2pm
Chuck Close, Self-Portrait (Yellow Raincoat), 2013, archival watercolour pigment print (90º) on Hahnemühle rag paper, edition of 10, © Chuck Close in association with Magnolia Editions, Oakland, courtesy Pace Gallery, photograph courtesy Magnolia Editions, Oakland and Pace Gallery