CHUCK CLOSE DAGUERREOTYPES
Demetrio Paparoni
[Close, Chuck] Demetrio Paparoni: CHUCK CLOSE DAGUERREOTYPES. Milan: Alberico Cetti Serbelloni Editore, 2002. First edition. Text in English and Italian. A near-fine hardcover book in a near-fine dustjacket with minor shelf wear. Interior unmarked and very clean. Out-of-print. Rare.9.75 x 13 hardcover book with 224 pages and 128 full-page plates and 162 color and b/w text illustrations. A stunning volume featuring Chuck Closešs extraordinary daguerreotype portraits. Over the course of two years, Close worked with daguerreotype master Jerry Spagnoli to conquer the complexities of this venerable process, which yields images of astonishing detail and gravity. He photographed many of the same artist-friends who have made regular appearances in his paintings over the years: Laurie Anderson, James Turrell, Bob Holman, Philip Glass, Ellen Gallagher, Kiki Smith, Lorna Simpson, Carroll Dunham, Lyle Ashton-Harris, Elizabeth Peyton, Andres Serrano, Cindy Sherman, Elizabeth Murray, Gregory Crewdson, Cecily Brown, Lisa Yuskavage, James Siena, Robert Wilson, and himself among many others.
Contents
- I'm Just a Haystack by Philip Glass
- Portrait and Process by Demetrio Paparoni
- Daguerreotypes: A Conversation Between Chuck Close, Timothy Greenfield-Sanders, and Jerry Spagnoli
- Portraits
- Bodies
- Chronology
- Exhibitions, Writings, Collections
From a Chuck Close interview in The Guardian: Daguerreotypes "have a range from the deepest, darkest velvety blacks to the brightest highlights that reflect into your eyes. Each picture has unbelievable detail and very shallow depth of field. Photographs are often so big now that 20 or 30 people can view one at the same time, but a daguerreotype is the most intimate image made with a camera, because it is small and only one person can look at it."
It is a very slow process, too. After the plate is prepared, and the model is posed, you expose it in the same way that you would with film. The only difference is that it's a mirror-image. In a way, the daguerreotype is built for the sitter . . . because the sitter has always looked in the mirror, so it always looks right to them and wrong to everybody else . . . I'm not interested in daguerreotypes because it's an antiquarian process; I like them because . . . photography never got any better than it was in 1840."
out of stock