Print

Bibliography


Monographs, solo exhibition catalogues and artist books

  • Lucie-Smith, Edward, Chuck Close (Cv, London 2013)
  • The Art Book (Phaidon, London 2012) texts by various authors
  • Zelanski, Paul and Mary Pat Fisher, The Art of Seeing (Prentice Hall, New Jersey 2011)
  • Finch, Christopher, Chuck Close: Life, (Prestel USA, 2010)
  • Aranson, H.H. and Elizabeth C. Mansfield, History of Modern Art (Prentice Hall, New Jersey 2010)
  • Bonham-Carter, Charlotte and David Hodge, The Contemporary Art Book (Goodman, London 2009)
  • Graham-Dixon, Andrew (ed.), Art: The Definitive Visual Guide (Dorling Kindersley, London 2008)
  • Acton, Mary, Guardare l’arte contemporanea (Learning to Look At Modern Art) (Einaudi, 2008)
  • Pipes, Alan. Foundations of Art + Design (Laurence King, London 2008)
  • Brommer, Gerald F. Discovering Art History. 4th ed. (Davis Publications, Massachusetts 2007); pp. 570–571
  • Ravenal, John B. Modern & Contemporary Art at the Virginia Museum of Fine Arts (Virginia Museum of Fine Arts, Richmond 2007), pp. 78 and 204
  • An Incomplete World: Works from the UBS Art Collection (Art Gallery of New South Wales; National Gallery of Victoria, Sydney and Melbourne 2007); text by Wayne Tunnicliffe and Jason Smith, pp.53 and 55
  • Dantzic, Cynthia Maris. 100 New York Painters (Schiffer, Pennsylvania 2006), pp.8 and 66–67
  • Lindemann, Adam. Collecting Contemporary (Taschen, Cologne 2006), p.83
  • Ocvirk, Otto G. et al. Art Fundamentals: Theory and Practice. 10th ed. (McGraw-Hill, New York 2006), pp. 36-37, 62-63 and 317
  • Richer, Francesca and Matthew Rosenzweig, (eds.), No. 1: First Works by 362 Artists (Distributed Arts Publishers, New York 2006), p. 88
  • Bits and Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections. (Walker Art Center, Minneapolis, Minnesota 2005), pp. 25 and 161–163
  • Friedman, Martin. Close Reading: Chuck Close and the Art of the Self-Portrait (Harry N. Abrams, New York 2005)
  • High Museum of Art: Selected Works from the Collection (High Museum of Art, Atlanta 2005), pp. 149, 166
  • Sajet, Kim. In Private Hands: 200 Years of American Painting (Pennsylvania Academy of the Fine Arts, Phileadelphia, 2005); pp. 225 and 90
  • Fine Art Works and Japanese Waka Poems (The Tokushima Modern Art Museum Japan 2005), p. 29
  • Cempellin, Leda. L’Iperrealismo “Fotografico” Americano in Pittura: Risonanze Storiche Nella East e Nella West Coast (CLEUP Ed., Italy 2004); pp. 206–207
  • Glass, Philip. A Musical (Portrait of Chuck Close (Performance commissioned in honor of the 90th birthday of David Rockefeller). (Premiere Commission Foundation 2004)
  • Schama, Simon. Hang-Ups: Essays on Painting (Mostly) (BBC Books, London 2004), p.2
  • Buskirk, Martha. The Contingent Object of Contemporary Art (MIT Press, Mass. 2003)
  • Close, Chuck, Glenn D. Lowry, Robert Storr, Kirk Varnedore, Deborah Wye, Chuck Close (Museum of Modern Art, New York 2002)
  • Glimcher, Mildred (ed.) Adventures in Art: 40 Years at Pace (Leaonardo International, Milan 2001); essay by Arne Glimcher.
  • Kosinski, Dorothy M. The Artist and the Camera: Degas to Picasso (Dallas Museum of Art, New Haven 1999
  • Spaulding, Karen Lee. Masterworks at the Albright-Knox Art Gallery. Enlarged and revised edition of: 125 Masterpieces from the Collection of the Albright-Knox Art Gallery (Rizzoli, New York 1987; Hudson Hills Press in association with Albright-Knox Art Gallery, New York 1999)
  • Greenberg, Jan and Sandra Jordan. Chuck Close: Up Close (Dorling Kindersley, New York 1998)
  • Kimmelman, Michael. Portraits: Talking with Artists at the Met, The Modern, The Louvre and Elsewhere (Random House, New York 1998)
  • Between Artists: Twelve Contemporary American Interview Twelve Contemporary American Artists (A.R.T. Press 1997); text by Dave Hickey
  • Kesten, Joanne. The Portraits Speak: Chuck Close in Conversation with 27 of his Subjects (A.R.T. Press 1997); Introduction by Dave Hickey.
  • Literatura Abremundos (Coleccion de lecturas, Colleccion 3, libro 2 (Silver Burdett Ginn, Simon & Schuster, Boston 1997)
  • Sussler, Betsy. Speak Art! The Best of Bomb Magazine’s Interviews with Artists (G&B Arts International 1997); Introduction by A.M. Homes.
  • Barnes, Rachel, The 20th Century Art Book (Phaidon Press, London 1996)
  • Brown, Kathan. Ink, Paper, Metal, Wood. Painters and Sculptors at Crown Point Press (Chronicle, San Francisco 1996)
  • Hirshhorn Museum and Sculpture Garden 150 Works of Art (Hirshhorn Museum and Sculpture Garden with Harry N. Abrams , Washington D.C 1996)
  • Shupan-Sha, Bijutsu, LTD (eds.) New Materials Guide (BBS, Tokyo 1996); introduction by James T Demetrion
  • Hickey, Dave, Between Artists (ART Press, Los Angeles 1996); Interviews by Vija Celmins
  • Brach, Paul, Artists Exposed (Ilisso, Nuoro, Italy 1996); photographs by Sebastiano Piras, Foreward by David Ross
  • Seidner, David. The Face of Contemporary Art (Gina Kehayoff Verlag, Munich 1996)
  • Stiles, Kristine and Peter Selz (eds.) Theories and Documents of Contemporary Art. A Sourcebook of Artist's Writings (University of California Press, California, Berkelely 1996)
  • Sweetkind, Irene S. (ed.), Master Paintings from the Butler Institute of American Art (Harry N. Abrams, with association with The Butler Institute of America 1996)
  • Tansey, Richard G. and Fred S. Kleiner (eds.) Gardiner's Art Through the Ages (Harcourt Brace College, New York 1996)
  • Weintraub, Linda, Arthur Danto and Thomas McEvilley, Art on the Edge and Over (Art Insights, Connecticut 1996)
  • Guare, John, Chuck Close: Life and Work 1988-1995 (Thames and Hudson, New York 1995)
  • Johnson, Kathryn C. Made in America, 10 Centuries in American Art (Hudson Hills, New York 1995)
  • Lauer, David and Stephen Pentak, Design Basics (Harcourt Brace & Company, Florida 1995)
  • Le Thorel, Edward. Dictionary of Contemporary Artists (Bordas, France 1995)
  • Lucie-Smith, Edward, ARTODAY (Phaidon Press, New York 1995)
  • Walther, Ingo (ed.), Malerei Der Welt ( Benedikttaschen Verlag, Koln 1995)
  • Wilson, Janet, National Museum of American Art (Smithsonian Institution, Washington, D.C. 1995)
  • Craven, Wayne, American Art: History and Culture (Harry N. Abrams, New York 1994)
  • Diamonstein, Barbaralee, Inside the Art World: Conversations with Barbaralee Diamonstein (Barbaralee Diamonstein and Rizzoli International, New York 1994)
  • Ewing, William E. The Body: Photographs of the Human Form (Chronicle Books, San Francisco 1994)
  • Lucie-Smith, Edward, American Realism (Thames and Hudson, London 1994)
  • Rose, Ted, Discovering Drawing (Davis Publications, Massachusetts 1994)
  • Schneider Adams, Laurie, A History of Western Art (Harry N. Abrams, New York 1994)
  • Kismaric, Carole (ed.), Art Works Teenagers and Artists Collaborate on the 20" x 24" Camera (Art Works / The Education Project, New York 1993)
  • Halle, David, Inside Culture (University of Chicago Press, Chicago 1993)
  • Jeffri, Joan (ed.), The Painter Speaks: Artists Discuss Their Experiences and Careers, (Columbia University and Greenwood Press, New York 1993)
  • Kennedy-Smith, Jean and George Plimpton, Chronicles of Courage, Very Special Artists (Random House, New York 1993)
  • Meisel, Louis K., Photorealism Since 1980 (Harry N. Abrams, New York 1993)
  • Mendelowitz, Daniel M. A Guide to Drawing. (Harcourt Brace Jovanovich College Publishers, Orlando 1993)
  • Smith, Ray, The DK School: An Introduction to Acrylics (Dorling Kindersley, London 1993)
  • Whipple, Enez, Guild Hall of East Hampton An Adventure in the Arts the First 60 Years (Harry N. Abrams, New York 1993)
  • Gotz, Stephan, American Artists in their New York Studios (Daco-Verlag Gunter Blase, Stuttgart 1992)
  • Lloyd, Michael and Michael Desmond, European and American Paintings and Sculpture 1870-1970 in the Australian National Gallery (The Australian National Gallery, Canberra 1992)
  • Seitz, William, Art in the Age of Aquarius 1955-1970 (Smithsonian Institution Press, Washington and London 1992)
  • Strickland, Carol, The Annotated Mona Lisa. A Crash Course from Prehistoric to Post-Modern (Universal Press Syndicate, Kansas City 1992)
  • Close, Chuck and Kirk Varnedoe, Artist’s Choice: Chuck Close, Head-On / The Modern Portrait (Museum of Modern Art, New York 1991)
  • Hoffman, Katherine, Explorations The Visual Arts Since 1945 (Harper Collins, New York 1991)
  • Wheeler, Daniel, Art Since Mid-Century: 1945 to the Present (The Vendome Press, New York 1991)
  • Yenawine, Philip. How to Look at Modern Art (Harry N. Abrams Inc., New York 1991 / Published in Japanese by Bijutu Shuppan-Sha, Ltd., 1993)
  • Cooper, Emmanuel, Fully Exposed The Male Nude in Photography (Unwin Hyman, London 1990)
  • Friedman, Martin, Walker Art Center: Paintings and Sculpture from the Collection (Rizzoli International Inc. in conjunction with the Walker Art Center in Minneapolis, New York 1990)
  • Goddard, Donald, American Painting (Hugh Lauter Levin Assoc. 1990)
  • Schwartz, Sanford, Artists and Writers (Yarrow Press, New York 1990)
  • Wax, Carol, The Mezzotint: History and Technique (Harry N. Abrams, Inc., New York 1990)
  • Bishop, Margaret, Young Artists :Visual Arts Activities for Young Artists at Home and at School (Piper Press, Annandale, Australia 1989)
  • Landau, Terry, About Faces (Anchor Books Doubleday, New York 1989)
  • Ward, John L., American Realist Painting 1945-1980 (UMI Research Press, Michigan 1989)
  • Finch, Christopher, Twentieth Century Watercolors (Abbeville Press, New York 1988)
  • Harvey, Steven, Michael Krondl, Tennyson Schad and Paul Villinski, SmithKline & French Research and Development Art Collection (SmithKline & French Laboratories, Inc., Upper Merion, CT 1988)
  • Legg, Alicia (ed.) and Mary Beth Smalley, Painting and Sculpture in the Museum of Modern Art (The Museum of Modern Art, New York 1988)
  • Levin, Kim, Beyond Modernism, Essays on the Art from the 70's and 80's (Harper & Row Publishers, Inc., New York 1988)
  • Sandler, Irving, American Art of the 1960's (Harper & Row Publishers, Inc., New York 1988)
  • Crane, Diane, The Transformation of the Avante Guarde, The New York Art World 1945-1985, (The University of Chicago Press, Chicago 1987)
  • Faulkner, Ray with Edwin Ziegfeld and Howard Smagula, Art Today (6th Edition, Holt Reinhardt and Winston, New York 1987)
  • Grundberg, Andy and Kathleen McCarthy Gauss, Photography and Art, Interactions Since 1946 (Abbeville Press, New York 1987)
  • Hoy, Ann H., Fabrications: Staged, Altered and Appropriated Photographs (Abbeville Press, New York 1987)
  • Lyons, Lisa and Robert Storr, Chuck Close (Rizzoli International Publications, New York 1987)
  • Sullivan, Constance (ed.), Legacy of Light (Alfred A. Knopf, Inc., New York 1987)
  • Arnason, H.H., History of Modern Art: Painting, Sculpture, Architecture (3rd edition, Harry N. Abrams, Inc., New York 1986)
  • Bowman, Russell, and Cynthia Holly, Milwaukee Art Museum Guide to the Permanent Collection (Milwaukee Art Museum, Milwaukee, WI 1986.)
  • Fischl, Eric and Jerry Saltz (eds.), Sketchbook with Voices (Alfred Van der Marck Editions, New York 1986)
  • Finch, Christopher, American Watercolors, (Abbeville Press, New York 1986)
  • Marshall, Richard and Robert Mapplethorpe, 50 New York Artists (Chronicle Books, San Francisco 1986)
  • Martin, Alvin, American Realism: Twentieth Century Drawings and Watercolors (Harry N. Abrams, Inc., in association with the San Francisco Museum of Art, New York 1986)
  • Piper David, The Illustrated Library of Art (4 Vols.,Portland House, New York 1986)
  • Rose, Barbara, American Painting: The Twentieth Century (Rizzoli International Publishers, New York 1986)
  • King, Elaine, Artists Observed (Harry N. Abrams, Inc., New York 1986); photographs by Harvey Stein
  • Adrian, Dennis, Sight Out of Mind: Essays and Criticism on Art (UMI Research Press, Ann Arbor 1985)
  • Billeter, Erika, Das Selbstportrait (Musée Cantonal des Beaux-Arts, Lausanne 1985)
  • Feldman, Edmund Burke, Thinking About Art (Prentice Hall, Englewood Cliffs, NJ 1985)
  • Gorgoni, Gianfranco, Beyond the Canvas: Artists of the Seventies and Eighties (Rizzoli International Publications, New York 1985)
  • Hertz, Richard, Theories of Contemporary Art (Prentice Hall, Englewood Cliffs, NJ 1985)
  • Hunter, Sam and John Jacobus, Modern Art: Painting, Sculpture, Architecture (2nd edition, Harry N. Abrams, Inc., New York 1985)
  • Kramer, Hilton, The Revenge of the Philistines: Art and Culture, 1972-1984 (The Free Press, New York 1985)
  • Krantz, Les, American Art Galleries and Illustrated Guide to Their Art and Artists (Facts on File Publishers, New York 1985)
  • Krantz, Les, American Artists: An Illustrated Survey of Leading Contemporary Americans (The Krantz Company Publishers, Chicago 1985)
  • Lucie-Smith, Edward, Movements in Art Since 1945 (Rev. edition, Thames & Hudson, New York 1985)
  • Pelfrey, Robert and Mary Hall-Pelfrey, Art and Mass Media (Harper and Row, New York 1985)
  • Simms, Patterson, The Whitney Museum of American Art: Selected Works from the Permanent Collection (W. W. Norton & Co., in association with the Whitney Museum of American Art, New York 1985)
  • Armstrong, Tom and Richard Marshall, American Art Since 1970: Painting, Sculpture and Drawing from the Collection of The Whitney Museum of American Art (Whitney Museum of American Art, New York 1984)
  • Baigell, Matthew, A Concise History of American Painting and Sculpture (Harper and Row, New York 1984)
  • Lee, Marshall (ed.) Art at Work. The Chase Manhattan Collection (E.P. Dutton, Inc., New York 1984)
  • Levin, Kim, Art of Our Time, The Saatchi Collection, Vol.4. (Rizzoli International Publishers, New York 1984)
  • Lucie-Smith, Edward, Movements in Art Since 1945, New Revised Edition (Thames and Hudson, New York 1984)
  • Markowski, Eugene, D. Image and Illusion (Prentice Hall, Englewood Cliffs, NJ 1984)
  • Oldenburg, Richard E. and Sam Hunter, The Museum of Modern Art: The History of the Collection (Harry N. Abrams, Inc., New York 1984)
  • Piper, David (ed.) Looking at Art (Random House, New York 1984)
  • Robins, Corinne, The Pluralist Era: American Arts, 1968-1981 (Harper & Row, New York 1984)
  • Rosenblum, Naomi, A World History of Photography (Abbeville Press, New York 1984)
  • Russell, Stella Pandell, Art in the World (2nd edition, CBS College Publishing, New York 1984)
  • Vitz, Paul and Arnold Glimcher, Modern Art and Modern Science: The Parallel Analysis of Vision (Praeger Publishers, New York 1984)
  • Watrous, James, A Century of American Printmaking 1880-1980 (The University of Wisconsin Press, Madison, WI 1984)
  • Arthur, John, Realists at Work (Watson-Guptill Publications, New York 1983)
  • Emanuel, Muriel(eds.), Contemporary Artists (2d edition, St. Martin's Press, New York 1983)
  • Kaplan, Ellen, Prints: A Collector's Guide (Coward-McCann, Inc., New York 1983)
  • Martin, Judy, The Complete Guide to Airbrushing Technique and Materials (Chartwell Books, New Jersey 1983)
  • Naef, Weston, New Trends from The Gallery of World Photography Series (Shueisha Publishing Co., Japan 1983)
  • Bujese, Arlene (ed.) Twenty-five Artists (University Publications of America, Inc., Frederich, MD 1982); foreword by Thomas M. Messer
  • Daval, Jean-Luc (ed.) Photography: History of an Art (Rizzoli International Publications, New York 1982)
  • Goldstein, Nathan, One Hundred American and European Drawings: A Portfolio (Prentice Hall, Englewood Cliffs, NJ 1982)
  • Herrmanns, Ralf, Varfor New York ? (Forlags AB Wilken, Stockholm, Sweden 1982)
  • Johnson, Ellen H. American Artists on Art from 1940 to 1980 (Harper & Row, New York 1982)
  • Mendelowitz, Daniel, Mendelowitz's Guide to Drawing (3d edition, CBS College Publishing / Holt, Rinehart and Winston, New York 1982); revised by Duane A. Wakeham.
  • Mollison, James and Laura Murray (eds.) Australian National Gallery: An Introduction (Australian National Gallery, Canberra 1982)
  • Ronte, Dieter, Museum moderner kunst Wien (Georg Westermann Verlag, Braunshweig, Germany 1982)
  • Vaizey, Marina, The Artist as Photographer (Holt, Rinehart and Winston, New York 1982)
  • Armstrong, Tom. Amerikanische Malerei 1930-1980, (Munich: Prestel-Verlag, 1981)
  • Brommer, Gerald F. Discovering Art History. (Worcester, MA: Davis Publications, Inc., 1981)
  • Close, Charles. Transcribed lecture in: Excellence: The Pursuit, The Commitment, The Achievement. (Washington, D.C.: The LTV Corporation, 1981)
  • Cummings, Paul. Twentieth-Century Drawings: Selections from the Whitney Museum of American Art. (New York: Whitney Museum of American Art, 1981)
  • Elsen, Albert E. Purposes of Art. (New York: CBS College Publishers, 1981)
  • Gabay, Neil. Modern Painters: An Art Appreciation . (Akron, OH: Nina Books, 1981)
  • Goodyear, Frank H., Jr. Contemporary American Realism Since 1960, (New York: New York Graphic Society, 1981)
  • Huyghe, Rene, ed. Larousse Encyclopedia of Modern Art from 1880 to the Present Day. (New York: Excalibur Books, 1981)
  • Melot, Michael, Antony Griffiths, and Richard S. Field. Prints: History of an Art, (New York: Skira/ Rizzoli International Publications, 1981)
  • Piper, David, ed. The Random House Library of Paintings and Sculpture, Vol .I, (New York: Random House, 1981)
  • Sachs, Samuel. Favorite Paintings from the Minneapolis Institute of Arts. (New York: Abbeville Press, 1981)
  • Selz, Peter. Art in Our Times: A Pictorial History 1890-1980, (New York: Harry N. Abrams, Inc., 1981)
  • Vogt, Paul. Contemporary Painting. (New York: Harry N. Abrams, Inc. 1981)
  • Wise, Kelly, ed. Portrait: Theory. (New York: Lustrum Press, 1981)
  • Arthur, John. Realist Drawings and Watercolors: Contemporary Works on Paper. (Boston: New York Graphic Arts Society/Little, Brown and Co., 1980)
  • Betti, Claudia and Teel Sale. Drawing: A Contemporary Approach, (New York: Holt, Rinehart and Winston, with Capital City Press, Vermont, 1980)
  • Butler, Christopher. After the Wake, An Essay on the Contemporary Avant-Garde, (Oxford: Clarendon Press, 1980)
  • Canaday, John. What is Art? An Introduction to Painting, Sculpture, and Architecture, (New York: Alfred A. Knopf, 1980)
  • Daval, Jean-Luc, ed. Art Actuel/Skira Annuel 80/ Skira Annuel No. 6, (Geneva: Skira, 1980)
  • Goodrum, Charles A. Treasures of the Library of Congress. (New York: Harry N. Abrams, Inc., 1980)
  • Hill, Patricia, and Tarbell, Roberta K. The Figurative Tradition and The Whitney Museum of American Art. (New York: Whitney Museum of American Art in association with University of Delaware Press, 1980)
  • Hobbs, Jack A. Art in Context. (2nd ed. New York: Harcourt Brace Jovanovich, 1980)
  • Johnson, Una E. American Prints and Printmakers. (New York: Doubleday and Co., 1980)
  • Lindey, Christine. Superrealist Painting and Sculpture. (New York: William Morrow and Co., 1980)
  • Lucie-Smith, Edward. Art in the Seventies. (Ithaca, NY: Cornell University Press, 1980)
  • Meisel, Louis K. Photorealism. (New York: Harry N. Abrams, Inc., 1980)
  • Alloway, Lawrence. Great Drawings of All Time: The Twentieth Century. (2 vols.) (New York: Shorewood Fine Books, 1979)
  • Baigell, Mathew. Dictionary of American Art. (New York: Harper and Row, 1979)
  • Brown, Milton W., et al. American Art: Painting, Sculpture, Architecture, Decorative Arts, Photography. (New York: Harry N. Abrams, Inc., 1979)
  • Castleman, Riva. Prints of the 20th Century: A History. (New York: Holt, Rinehart and Winston, 1979)
  • Chaet, Bernard. An Artists' Notebook, Techniques and Materials. (New York: Holt, Reinhart and Winston, 1979)
  • Close, Chuck. Keith/Six Drawings/1979. (New York: Lapp Princess Press, Ltd. 1979)
  • Diamonstein, Barbaralee. Inside New York's Art World. (New York: Rizzoli International Publications, 1979) INTERVIEW
  • Lucie-Smith, Edward. Super Realism. (Oxford, England: Phaidon Press Ltd, 1979)
  • Warner, Malcolm. Portrait Painting. (New York: Phaidon Press, 1979)
  • Distel, Herbert. The Museum of Drawers. (Zurich: Kunsthaus Zürich, 1978)
  • Mathey, Francois. American Realism, (Geneva: Editions d'Art Albert Skira, 1978)
  • Naylor, Colin, and Genesis P. Orridge. Contemporary Artists. (Calne, England: Hilmarton Manor Press, 1978)
  • Saff, Donald and Deli Sacilotto. Printmaking: History and Process, (New York: Holt, Rinehart and Winston, 1978)
  • Vyverberg, Henry. The Living Tradition: Art, Music and Ideas in the Modern Western World. (New York: Harcourt, Brace and Jovanovich, 1978)
  • Arnason, H.H. History of Modern Art (revised and enlarged edition), (New York: Harry N. Abrams, Inc., 1977)
  • Becker, Wolfgang, introduction. Art for the Museum Since 1945. Second edition, Vol. 2, (Aachen, West Germany: The Neue Gallery, 1977)
  • Bevlin, Marjorie E. Design through Discovery. 3d ed. (New York: Holt, Reinhart and Winston, 1977)
  • Billeter, Erika. Malerei und Photographie im Dialog von 1840 bis Heute. (Bern: Benteli Verlag, 1977)
  • Brommer, Gerald F. and George Horn. Art in Your World. (Worcester, MA: Davis Publications Inc., 1977)
  • Cummings, Paul. Dictionary of Contemporary American Artists, 3rd Edition. (New York: St. Martin's Press, 1977)
  • Daval, Jean-Luc. Skira Annuel No.4/ Art Actuel '78. (Geneva: Editions d'Albert Skira SA. 1977)
  • Donson, Theodore B. Prints and the Print Market. (New York: Thomas Crowell, 1977)
  • Emanuel, Muriel and Sharon Harris et al., Contemporary Artists, (New York: St. Martin's Press, 1977)
  • Lucie-Smith, Edward. Art Now: From Abstract Expressionism to Superrealis, (New York: William Morrow and Co., 1977)
  • Rattemeyer, Volker. Kunst und Median: Materialien sur Documenta 6, (Kassel, West Germany: Stadtzeitung Verlag, 1977)
  • Rose, Barbara. and Jules D. Prown. American Painting, (New York: Skira, Rizzoli, 1977)
  • Selleck, Jack. Looking at Faces. (Worcester, MA: Davis Publications, 1977)
  • Thomas, Karin and Gerd de Vries. DuMont's Hunstler Lexikon: Von 1945 bis zur Gegenwart, (Cologne: DuMont Buchverlag, 1977)
  • Castleman, Riva. Prints of the 20th Century: A History, (New York: Museum of Modern Art; London: Thames and Hudson, 1976)
  • Honish, Dieter and Jens Christian Jensen. Amerikanische Kunst von 1945 bis heute. (Cologne: DuMont Buchverlag, 1976)
  • Hunter, Sam and John Jacobus. Modern Art: From Post-Impressionism to the Present--Painting, Sculpture and Architecture, (New York: Harry N. Abrams, Inc., in association with Alexis Gregory, 1976)
  • Johnson, Ellen. Modern Art and the Object. (Harper & Row, NY, 1976)
  • Kulterman, Udo. The New Painting. translated from the German by Wesley V. Blomster (Westview Press, Colorado, 1976)
  • Lipman, Jean and Helen M. Franc. Bright Stars: American Painting and Sculpture Since 1776 (E.P. Dutton & Co., Inc., NY, 1976)
  • Lucie-Smith, Edward. Super Realism. (Phaidon Press Ltd., Oxford, 1976 and E.P. Dutton & Co., Inc., NY, 1979)
  • Stebbins, Theodore E., Jr. American Master Drawings and Watercolors: A History of Works on Paper from Colonial Times to the Present, (Harper & Row in association with the Drawing Society, NY, 1976)
  • Wilmerding, John. American Art, (Penguin Books, NY, 1976)
  • Battcock, Gregory, ed. Super Realism: A Critical Anthology, (E.P. Dutton, NY, 1975)
  • Daval, Jean-Luc, ed. Art Actuel/Skira Annuel 75: Skira Annuel No. 1 Geneva: Skira, 1975.
  • Hobbs, Jack A. Art in Context. New York:Harcourt Brace Javanovich, 1975.
  • Popper, Frank, Art--Action and Participation. (New York University Press, 1975)
  • Rose, Barbara (ed.) Readings in American Art: 1900-1975, (Praeger Publishers, NY, 1975)
  • Rose, Barbara. American Art Since 1900. Revised and expanded edition. (Praeger Publishers, NY, 1975)
  • Walker, John A. Art Since Pop, (Thames and Hudson, London, 1975)
  • Carucci, Beniamino (ed.), I potesi per Una Casa Esistenziale: Spazio Dedicato a Charles Close, (Benianimo Carrucci, Rome, 1974)
  • Calamandrei, Mauro, with photographs by Gianfranco Gorgoni. ART USA.: Arte e Vita dell'America d'Oggi, (Fratelli Fabbri Editori, Milan, 1974)
  • Cotler, Sheldon, Ed. Photography Year/1974 Edition. (Time-Life Books, NY, 1974)
  • Mussa, Italo. L'Iperrealismo: Il Vero Piu Vero Del Vero, (Romana Libri Alfabeto, Rome, 1974)
  • Read, Herbert. A Concise History of Modern Painting. ( Praeger Publishers, NY, 1974)
  • John Wilmerding, ed. The Genius of American Painting. (William Morrow and Co., NY, 1973)
  • Brachot, Isy (ed.), Hyperrealisme, (Imprimeries F. Van Buggenhoudt, Brussels, 1973)
  • Chase, Linda, Grands Musees No.2/ L'Hyperrealisme Americain: Peintures et Sculptures, (Filipacchi, Paris, 1973)
  • Robinson, Franklin W. One Hundred Master Drawings from New England Private Collections. (Hanover, NH: The University Press of New England, 1973)
  • Sager, Peter. Neue Formen des Realismus, (Verlag M. DuMont Schauberg, Cologne, 1973)
  • Coke, Van Deren. The Painter and the Photograph: From Delacroix to Warhol, (Albuquerque, University of New Mexico Press, 1972)
  • Hunter, Sam. American Art of the 20th Century, (Harry N. Abrams, Inc., NY, 1972)
  • Kulterman, Udo. New Realism. (New York Graphic Society, 1972)
  • Rose, Barbara. American Art Since 1900, (Praeger Publishers, NY, 1972)
  • Dempsey, Michael. The Year's Art 1969-70: Europe and the U.S.A (New York: G.P. Putnam's Sons, 1971)
  • Thomas, Karin. Bis Heute: Stilgeschichte der bildenen Kunste im 20 Jahrhundert, (Verlag M. DuMont Schauberg, Cologne, 1971)


General publications and group exhibition catalogues

  • Grovier, Kelly, Art Since 1989 (Thames & Hudson, London 2015)
  • Fortenberry, Diane and Rebecca Morrill (eds.), Body of Art (Phaidon Press, London, 2015), pp. 70-71
  • Philips Contemporary Art: New York Evening sale 13-14 November 2014 (Philips, New York 2014) 
  • Shedden, Jim (ed.), Ago: Highlights from the Collection of the Art Gallery of Ontario, (Art Gallery of Ontario, 2013), p.280
  • Jean – Luc, Nancy (ed.), L’Altrori Tratto (Museo di arte moderna e contemporanea di Trento e Roverto by Mondadori Electa S.p.A., Milan 2013)
  • Hallett, Jess and Jefferson Hack, Kate Moss (Rizzoli International Publications, New York 2012)
  • Grant, Simon (ed.), In My View: Personal Reflections on Art by Today’s Leading Artists (Thames & Hudson, London 2012); text by Chuck Close and various authors
  • Engberg, Siri (ed.), Like life (Walker Art Center, Minneapolis 2012); texts by: Siri Engberg, Michael Lobel, Josiah McElheny, Rochelle Steiner, Robert Gober, Vija Celmins, Peter Rostovsky, Mungo Thomson, Ai Weiwei, Susan Collis, Paul Sietsema, Ketih Edmier and Kaz Oshiro.
  • Rosenthal, Mark, Marla Prather, Ian Alteveer and Rebecca Lowery, Regarding Warhol sixty artists fifty years (The Metropolitan Museum of Art, New York 2012)
  • Farthing, Stephen (ed.), 1001 Paintings You Must See Before You Die (Harper Collins Publishers, Sydney 2011)
  • Finch, Christopher, Chuck Close: Work (Prestel USA, 2010)
  • Bernstein, Joanne, ed. Moving Horizons: UBS Art Collection: 1960s to the present day. Beijing: NAMOC and UBS, 2008
  • Chuck Close: Family & Others (Jay Joplin / White Cube, London 2007); texts by various authors.
  • Whitford, Frank, Royal Academy Illustrated (Royal Academy, London 2007)
  • Chuck Close Paintings 1968/2006 (exhibition catalogue). Text by Robert Storr and Klaus Kertess; interview with Richard Shiff. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2007.
  • Boswell, Peter. LeWitt x 2 (exhibition brochure). Miami: Miami Art Museum, 2007.
  • Techno Sublime (exhibition catalogue). Text by Lisa Tamiris Becker and Richard Shiff. Boulder: CU Art Museum, University of Colorado, 2007: 36, 37, 39, illustrated.
  • Woodrow, Bill, ed. Royal Academy Illustrated 2007 (exhibition catalogue). London: Royal Academy of Arts, 2007
  • Celant, Germano and Lisa Dennison. New York New York: Fifty Years of Art, Architecture, Cinema, Performance, Photography and Video (exhibition catalogue). Milan: Skira Editore S.p.A., 2006: 176–177, 402–403
  • Chuck Close: A Couple of Ways of Doing Something. New York: Aperture Gallery, 2007.
  • LeWitt x 2 (exhibition catalogue). Texts by Dean Swanson and Martin Friedman. Madison, Wisconsin: Madison Museum of Contemporary Art, 2006: 55
  • Tapestries (exhibition catalogue). Text by Jeremy Tessmer. Santa Barbara, California: Sullivan-Goss, 2006
  • From Pollock to Pop: America’s Brush with Dalí (Salvador Dalí Museum, 2005) texts by Hank Hine and William Jeffett, p.75
  • Contemporary Voices: Works from the UBS Art Collection (exhibition catalogue). New York: The Museum of Modern Art, 2005: 146–149
  • Chuck Close: Recent Paintings. Essay by Robert Rosenblum. New York: PaceWildenstein, 2005.
  • Chuck Close: Self-Portraits 1967–2005. Text by Madeleine Grynsztejn, Siri Engberg, Douglas R. Nickel. San Francisco: San Francisco Museum of Art and Walker Art Center, 2005.
  • Molinard, Stephanie, Double Take: Photorealism from the 1960s and’70s (exhibition catalogue). (Waltham, Massachusetts, Brandeis University, 2005) p. 19
  • Self Portrait: Renaissance To Contemporary (exhibition catalogue). London: National Portrait Gallery Publications, 2005: 202–207
  • Longwell, Alicia G, North Fork/South Fork: East End Art Now (Southampton, New York: Parrish Art Museum, 2004), p. 33
  • Carter, Foster E. Drawing Modern. Works from the Agnes Gund Collection. (The Cleveland Museum of Art, 2003)
  • Pakesch, Peter (ed.) Imagination: Perception in Art, (Walther König, Cologne, 2003), p. 74–77
  • Sultan, Terrie and Richard Shiff. Chuck Close Prints: Process and Collaboration (Princeton, N.J.: Princeton University Press, 2003)
  • Pace, Wildenstein, Chuck Close: Recent Works, Introduction by Kirk Varnedoe. (New York: Pace Wildenstein, 2002)
  • Paparoni, Demetrio (ed.), Chuck Close: Daguerreotypes, (Alberico Cetti Serbelloni editore, Milan, 2002), conversation between Chuck Close, Timothy Greenfield-Sanders and Jerry Spagnoli
  • Whitney Museum of American Art. An American Legacy, A Gift to New York. Recent Acquisitions from the Board of Trustees. Intoduction by Maxwell L. Anderson. New York: Whitney Museum of American Art, 2002.
  • Gift To The Nation. Washington, D.C.: Friends of Art and Preservation in Embassies in Embassies, 2001.
  • Pakesch, Peter, Alexander Marzahn, Anne Krauter, Ingo Niermann, Sissi Tax, Georg Simmel, Antonin Artaud, Samuel Beckett, Benjamin H.D. Buchloh, Alex Pentland and Matthew Turk. ABBILD recent portraiture and depiction. Vienna: Springer-Verlag, 2001.
  • Galerie Daniel Blau. Daguerreotypien. Munich: Galerie Daniel Blau, 2000.
  • Detroit Institute of Arts. Dorn, Roland, et al. Van Gough Face to Face: The Portraits. Detroit: Detroit Institute of Arts, 2000.
  • PaceWildenstein. Chuck Close: Recent Paintings. Essay by Richard Shiff. New York: PaceWildenstein, 2000.
  • San Francisco Museum of Modern Art. Celebrating Modern Art: Highlights of the Anderson Collection. San Francisco: San Francisco Museum of Modern Art, 2000.
  • Schwabsky, Barry. “Between Matter and Memory.” In Under Pressure: Prints from Two Palms Press (exhibition catalogue). New London, Connecticut: Lyman Allyn Museum of Art, 2000.
  • Green, Pauline, ed. Developing the Collection: Acquisitions 1997–1999. Canberra: National Gallery of Australia, 1999.
  • Phillips, Lisa. The American Century: Art & Culture 1950–2000. New York: Whitney Museum of American Art, 1999.
  • Storr, Robert. Chuck Close. Essays by Kirk Varnedoe and Deborah Wye. New York: The Museum of Modern Art, 1998.
  • Breuer, Karin, Ruth E. Fine and Steven A. Nash. Twenty-Five Years at Crown Point Press: Making Prints, Doing Art. Berkeley and Los Angeles: The University of California Press, Fine Arts Museum of San Francisco, 1997.
  • Curiger, Bice. ed. “Artists in Conversation: Chuck Close, Philip Taaffe, Sue Williams, Christopher Wool. Moderated by Alan Schwartzman.”
  • Birth of the Cool: American Painting from Georgia O'Keefe to Christopher Wool. Zurich: Kunsthaus Zurich and Hamburg: Deichtorhallen Hamburg, 1997.
  • Joachimides, Christos M. and Norman Rosenthal, eds. The Age of Moderism: Art in the 20th Century. Berlin: Zeitgeist-Gesellschaft e.V., 1997.
  • Ross, David A., Director's Foreward. Views from Abroad: European Perspectives on American Art 3: American Realities. Essays by Nicholas Serota, Adam D. Weinberg and Sandy Nairne. New York: Whitney Museum of American Art and Harry N. Abrams, Inc. 1997.
  • Ruzicka, Joseph. Landfall Press: Twenty-five Years of Printmaking. Contributions by Jack Lemon, Vernon Fisher, Mark Pascale. Milwaukee: Milwaukee Art Museum, 1997.
  • Serota, Nicholas, Sandy Nairne and Adam Weinberg. American Realities: Views from Abroad, Europen Perspectives on American Art 3 (volume 3). Essays by Andrew Brighton and Peter Wollen. New York: Whitney Museum of American Art, 1997.
  • Schaffner, Ingrid. Project Painting. New York: Basilico Fine Arts and Lehman Maupin, Unpaginated. 1997.
  • Temkin, Ann, introduction. Chuck Close/Paul Cadmus: In Dialogue. Interview with Chuck Close and Paul Cadmus. Philadelphia: Philadelphia Museum of Art, 1997.
  • Barnes, Rachel and others. The 20th Century Art Book. London: Phaidon Press Limited, 1996, p. 94.
  • Bruzelius, Caroline, introduction. Annual Exhibition 1996. Rome: American Academy in Rome, 1996.
  • Courville, Marianne. Collection in Context: Selected Contemporary Photographs of Hands from the Collection of Henry Mendelssohn Buhl. New York: Thread Waxing Space, 1996.
  • Grausman, Jennifer, Andrew Lohr and Lisa Pasquariello. Fractured Fairy Tales: Art in the Age of Categorical Disintegration. Essay by Jennifer Grausman and interview with Chuck Close. Durham, N.C.: Duke University Museum of Art, 1996.
  • Greenfield-Sanders, Timothy. Selected Portraits, 1985-1995. Cologne: Kunst-Station Sankt Peter Koln, 1996.
  • Grynsztejn, Madeleine. Affinities: Chuck Close and Tom Friedman. Chicago: The Art Institute of Chicago, 1996.
  • Shaw, Reesy, foreword. Narcissism, Artists Reflect Themselves. California Center for the Arts Museum, 1996.
  • Wye, Deborah. Thinking Print: Books to Billboards, 1980-95. New York: The Museum of Modern Art, 1996.
  • Armstrong, Richard. Carnegie International 1995. Pittsburgh: The Carnegie Museum of Art, 1995.
  • Beyond the Borders: The First International Kwangju Biennale: International Exhibition of Contemporary Art. Seoul: Kwang-Ju Biennale Foundation Publisher/Life and Dream Publishing, Co., 1995.
  • Babbitt, Sherry, ed. Philadelphia Museum of Art: Handbook of the Collections. Essay by Ann Temkin. Philadelphia: Philadelphia Museum of Art, 1995.
  • Broun, Elizabeth, foreward and William Kloss, introduction. National Museum of American Art, Smithsonian Institution. Washington, D.C.: National Museum of American Art with Bulfinch Press-Little, Brown and Company, 1995.
  • Clair, Jean and Manlio Brusatin, ed. La Biennale di Venezia, 46 esposizione internationale d’arte Identity and Alterity, Figures of the Body 1895/1995. Venice: Marsilio Editori s.p.a., 1995.
  • De Salvo, Donna. Face Value: American Portraits. Essays by Kenneth E. Selver, Max Kozloff, Michele Wallace and Maurice Berger. Southampton, New York: The Parrish Art Museum and Paris: Flammarion, 1995.
  • Flam, Jack, Monique Beudert, and Jennifer Wells. The Paine Webber Collection. New York: Rizzoli International Publications and Paine Webber, Inc., 1995.
  • Hanson, Trudy N., David Mickenberg, Joann Moser, and Barry Walker. Printmaking in America: Collaborative Prints and Presses, 1960-1990. Evanston, IL: Mary and Leigh Block Gallery, Northwestern University in association with Harry N. Abrams Inc., 1995.
  • Humanism and Technology. The Human Figure in Industrial Society. Seoul: Seoul International Art Festival, National Museum of Contemporary Art, 1995.
  • Johnson, Kathryn C., ed. Made in America: Ten Centuries of American Art. St. Louis: The St. Louis Art Museum and New York: Hudson Hills Press, 1995.
  • Sobel, Dean. 25 Americans: Painting in the 90’s. Milwaukee, Wis.: Milwaukee Art Museum, 1995.
  • Yates, Sam. Pace Prints. Knoxville, Tenn.: University of Tennessee, 1995.
  • Yau, John. Chuck Close: Recent Paintings. New York: PaceWildenstein, 1995.
  • Chuck Close: 8 peinture recentes. Paris: Fondation Cartier pour l’art contemporain, 1994.
  • Feldman, Melissa E. Essay by Benjamin H. D. Buchloh. Face-Off: The Portrait in Recent Art. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1994.
  • Fine, Ruth E. and John T. Paoletti, essays. From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection. Washington, D.C.: National Gallery of Art, 1994.
  • Johnson, Ken, essayist. Democratic Vistas: 150 Years of American Art from Regional Collections. Albany: University Art Museum, University of Albany, State University of New York, 1994.
  • Poetter, Jochen and Helmut Friedel (ed.). Chuck Close: Retrospektive. Baden-Baden: Staatliche Kunsthalleand Stuttgart: Edition Cantz, 1994, essays by Robert Storr and Margrit Franziska Brehm.
  • Westerbeck, Colin. Lessons in Life: Photographic Works from the Boardroom Collection. Chicago: The Art Institute of Chicago, 1994.
  • Brunon, Bernard. Autoportraits Contemporains. Here’s Looking at Me. Lyon, France: Lyonnais d’Art Contemporain, 1993.
  • Caws, Mary Ann, Charles Simic, and Ingrid Shaffner, essays, foreword by Ann Philbin The Return of the Cadavre Exquis. New York: The Drawing Center, 1993
  • Danto, Arthur C. Chuck Close: Recent Paintings. New York: The Pace Gallery, 1993.
  • Feldman, Andrea. A Print Project by Chuck Close. New York: Museum of Modern Art, 1993. [brochure]
  • Ganz, Kate. Heads and Portraits: Drawings from Piero di Cosino to Jasper Johns. New York: Jason McCoy, Inc., 1993
  • Gibson, Robin. The Portrait Now. London: National Portrait Gallery Publications, 1993
  • Newman, Sasha M. and Lesley R. Baies (ed.). Yale Collects Yale. Essay by Nicholas Fox Weber. New Haven: Yale University Art Gallery, 1993
  • Phillips, Lisa. Photoplay: Works from the Chase Manhattan Collection. New York: The Chase Manhattan Corporation, 1993.
  • Rollins, Tim. Art Works: The Education Project. New York: Art Works/The Education Project, 1993
  • Watrous, James and Andrew Stevens. American Color Woodcuts: Bounty from the Block, 1890s–1990s. Madison: Elevehjem Museum of Art, University of Wisconsin, 1993.
  • American Art 1930-1970. Milan: Fabbri Editori, 1992
  • Arthur, John. American Realism & Figurative Art: 1950–1990. Japan Association of Art Museums, 1992.
  • de Loisy, Jean. A Visage Decouvert. Paris: La Fondation Cartier pour l’art Contemporain, 1992.
  • Dietz, Steve. American Art. Washington, D.C.: National Museum of American Art, Smithsonian Institution and New York: Rizzoli International, Inc., 1992.
  • Le Portrait Dans l'Art Contemporain. Nice: Musée D'Art Moderne et D'Art Contemporain, 1992.
  • Leigh, Christian. Psysho. Essays by Octavio Zaya, Donald Kuspit, and Adrian Dannatt. New York: Kunst Halle, 1992.
  • Persona. Essay by Arthur Ollman. San Diego: Museum of Photographic Arts, 1992.
  • Ferrulli, Helen. Six Takes on Photo-Realism. New York: Whitney Museum of American Art, 1991.
  • Fine, Ruth E. and Mary Lee Corlett. Graphicstudio: Contemporary Art from the Collaborative Workshop at the University of South Florida. Washington, D.C.: National Gallery of Art, 1991.
  • Jensen, Knud W., ed. Louisiana: The New Graphics Wing. Humlebaek, Denmark: Louisiana Museum, 1991.
  • Large Scale Works on Paper. San Francisco: John Berggruen Gallery, 1991.
  • Armstrong, Richard, Lisa Phillips and John G.Hamberdt. 1991 Biennial Exhibition. Essays, foreword by David A. Ross, introduction by Richard Marshall. New York: Whitney Museum of American Art, 1991.
  • Schjeldahl, Peter. Chuck Close: Recent Paintings. New York: The Pace Gallery, 1991.
  • Schwartz, Constance. In Sharp Focus: Super-Realism. Roslyn Harbor, NY: Nassau County Museum of Art, 1991.
  • Tallman, Susan. Contemporary Woodblock Prints from Crown Point Press. Fort Meyers, Fla.: Edison Community College, 1991.
  • Westerbeck, Colin and Joy L. Gordon. Chuck Close: Up Close. East Hampton, N.Y.: Guild Hall of East Hampton, 1991.
  • Yankov, Edmund and Andy Grundberg. Departures: Photography 1923–1990. New York: Independent Curators Incorporated, 1991.
  • Leval, Susanna Torruella. Signs of the Self: Changing Perceptions. Woodstock, N.Y.: Woodstock Artists Association, 1990.
  • Stern, Jerome and Allys Palladino-Craig. MONOCHROME/POLYCHROME: Contemporary Realist Drawings. Tallahassee, Fla.: Florida State University Gallery & Museum, 1990.
  • Tallman, Susan, essay. Contemporary Woodblock Prints. Jersey City, N.J.: Jersey City Museum, 1990.
  • The 20th Anniversary 1970–1990 and The 20th Anniversary 1990. Tokyo: Fuji Television Gallery, 1990.
  • Fifty-Second National Midyear Exhibition. Youngstown, Ohio: The Butler Institute of American Art, 1989.
  • Greenough, Sarah, Joel Snyder, David Travis, and Colin Westerbeck. On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography. Washington, D.C.: National Gallery of Art, 1989.
  • Heiferman, Marvin and Lisa Phillips with John G. Hanhardt. Image World: Art and Media Culture. New York: Whitney Museum of American Art, 1989.
  • Pernotto, Jim. Chuck Close Editions: A Cagalog Raisonné and Exhibition. Essay and introduction by Louis A. Zona. Youngstown, Ohio: The Butler Institute of American Art, 1989.
  • Strick, Jeremy. Twentieth-Century Painting and Sculpture: Selections for the Tenth Anniversary of the East Building. Washington, D.C.: National Gallery of Art, 1989.
  • Westerbeck, Colin. Chuck Close. Chicago: The Art Institute of Chicago in collaboration with San Francisco: The Friends of Photography, 1989.
  • Bowman, Russell. 1988 The World of Art Today. Milwaukee: Milwaukee Art Museum, 1988.
  • Fifty-Second National Midyear Exhibition. Youngstown, Ohio: The Butler Institute of American Art, 1988.
  • Gianfranco Gorgoni Altered Images. New York: The Penson Gallery, 1988.
  • Identity: Representations of the Self. New York: Whitney Museum of American Art, 1988.
  • Kertess, Klaus. Chuck Close, New Paintings. New York: The Pace Gallery, 1988.
  • Kertess, Klaus essay and foreword by Trudy C. Kramer. Drawing on the East End, 1940-1988. Southampton, N.Y.: The Parrish Art Museum, 1988
  • Guenther, Bruce, essay. Three Decades: The Oliver-Hoffman Collection. Chicago: The Museum of Contemporary Art, 1988
  • Weinberg, Adam D. Aldo Crommelynck Master Prints with American Artists. New York: Whitney Museum of American Art at Equitable Center, 1988.
  • Chuck Close: Drawings 1974-1986, New York: Pace Gallery, 1987.
  • Cummings, Paul. 20th-Century Drawings from The Whitney Museum of American Art, New York: Whitney Museum of American Art in association with W.W. Norton & Co., 1987
  • Davis, Sandra. The Monumental Image. Essay by Judith Dunbau. Rolmert Park, Calif.: University Art Gallery, Sonoma State University, 1987
  • Fryberger, Betsy G. The Andreson Collection: Two Decades of American Graphics 1967-1987. Prints, Multiples, Monotypes, Works on Paper. Stanford, CA: Stanford Museum of Art, 1987.
  • Grundberg, Andy and Kathleen McCarthy Gauss. Photography and Art: Interactive Since 1946. Fort Lauderdale: Museum of Art; Los Angeles County Museum of Art; and New York: Abbeville Press, Publishers, 1987.
  • Hendricks, James. Assemblage/Collage. Westfield, MA: Westfield State College, Gallery, 1987.
  • Jacobs, Joseph and Marvin Heiferman. This is not a Photograph: Twenty Years of Large-Scale Photography 1966-1986. Foreword by Dr. Lawrence J. Ruggiero, introduction by Gordon Lewis, and preface by Joseph Jacobs.
  • Sarasota, Fla.: The John and Mable Ringling Museum of Art, 1987.
  • Morgan, Dahlia. American Art Today: The Portrait. Miami: The Art Museum at Florida International University, 1987.
  • Rosenblum, Robert, essay. Art Against Aids, New York: American Foundation for AIDS Research, 1987
  • Squiers, Carol, essay, introduction by Charles Staiziback. Portrayals. New York: International Center of Photography, Midtown, 1987.
  • Ackley, Clifford S. and David P. Becker and Barbara Stern Shapiro. 70s into 80s: Printmaking Now, Boston: Museum of Fine Arts, 1986.
  • Alvin, Martin. American Realism: Twentieth Century Drawings and Watercolors. San Francisco: San Francisco Museum of Modern Art and New York: Harry N. Abrams, Inc., 1986, foreword by Henry T. Hopkins and introduction by Glenn C. Jans
  • Barnett, Vivian Endicott, introduction. Drawings from the Collection of Dorothy and Herbert Vogel. Little Rick, Ark.: The University of Arkansas at Little Rock, Department of Art Galleries, 1986
  • Close, Chuck (interview with Arnold Glimcher). Chuck Close: Recent Work. New York: The Pace Gallery, 1986
  • Cummings, Paul. The Changing Likeness: Twentieth Century Portrait Drawings. New York: Whitney Museum of American Art at Phillip Morris, 1986.
  • Day, Holliday T. Painting and Sculpture Today—1986. Indianapolis: Indianapolis Museum of Art, 1986.
  • Friis-Hansen, Dana. Nude, Naked, Stripped. Cambridge, Mass.: MIT Committee on The Visual Arts, 1986.
  • Heiferman, Marvin. The Real Big Picture. Flushing, N.Y.: The Queens Museum of New York, 1986.
  • Heiting, Manfred with Gert Koshofer and Hans Staubach. 50 Years of Modern Color Photography. Cologne: Photokina, 1986.
  • Hunter, Sam, ed. An American Renaissance: Painting and Sculpture Since 1940. Fort Lauderdale, FL: Museum of Arts and New York: Abbeville Press, 1986
  • Structured Vision: Collage and Sequential Photography. Boise, Idaho: Boise Gallery of Art, 1986.
  • Arthur, John. American Realism: The Precise Image. Tokyo: Isetan Museum of Art, 1985.
  • Billeter, Erika, ed. Dae Selbstportrait im Zeitafter der Photographie/L’autoportrait a l’age de la photographie. Lausanne: Musee Cantonal des Beaux-Arts, 1985. English version: Self Portrait in the Age of Photography, translated by Birgit Remmel and Catherine Schelbert
  • Lyons, Lisa. “Changing Faces: A Close Chronology.” In Chuck Close. Tokyo: Fuji Television Gallery, 1985. Reprint of “Changing Faces: A Close Chronology.” In Close Portraits. Minneapolis: Walker Art Center, 1980. Translated into Japanese
  • Pillsbury, Edmund P. Chuck Close: Works on Paper. Houston: Contemporary Arts Museum, 1985
  • Taylor, Susan. Workshop Experiments: Clay, Paper, Fabric, Glass. Brattleboro, VT: Brattleboro Museum and Art Center, 1985, foreword by Alison Devine
  • Walker, Barry. Public and Private: American Prints Today. The 24th National Print Exhibition at The Brooklyn Museum. Brooklyn, N.Y.: The Brooklyn Museum, 1985
  • Ackley, Clifford S., Thomas Krens and Deborah Menaker,essays. The Modern Art of The Print: Selections from the Collection of Lois and Michael Torf. Williamstown, Mass.: Williams College Museum of Art in collaboration with the Museum of Fine Arts, Boston, 1984.
  • Gettings, Frank. Drawings 1974-1984. Washington, DC: Smithsonian Institution, 1984.
  • Kettenring, Pat and Ann Kent. Viewpoint: The Artist as Photographer. Summit, NJ: Summit Art Center, 1984.
  • Marshall, Richard. American Art Since 1970: Paintings, Sculpture, and Drawings from the Collection of the Whitney Museum of American Art, New York. New York: Whitney Museum of American Art, 1984
  • McDonald, Robert. Art of the States: Works From A Santa Barbara Collection. Santa Barbara, Calif.: The Santa Barbara Museum of Art, 1984, foreword by Robert Fitzpatrick.
  • Paper Transformed: A National Exhibition of Paper Art. Terre Haute, Ind.: Turman Gallery, Indiana State University, 1984
  • Viewpoint (exhibition catalogue). Essay by Pat Kettering and Ann Kent. Summit, New Jersey: Summit Art Center, 1984: 5
  • Brouwer, Bert. Paper Transformed. Terre Haute, Ind.: Turrman Gallery, Indiana State University, 1983.
  • Brown, Julia and Bridget Johnson, eds. The First Show: Painting and Sculpture from Eight Collections, 1940-1980. Los Angeles: The Museum of Contemporary Art, in association with Arts Publisher Inc., New York, 1983, with interviews and essays by Pontus Hulten, Susan C. Larsen and others.
  • Coleman, A.D (introduction). Subjective Vision. The Lucinda Bunnen Collection of Photographs. Atlanta: High Museum of Art, 1983.
  • Frank, Peter. Self-Portraits. Seattle: Linda Farris Gallery and Los Angeles Municipal Art Gallery, 1983
  • Jacobs, Joseph. Faces Since the 50's: A Generation of American Portraiture. Lewisburg, Pa.: Center Gallery, Bucknell University, 1983.
  • Perreault, John, essay. Chuck Close. New York: The Pace Gallery, 1983.
  • The Tate Gallery Illustrated Biennial Report, 1980–82. Uxbridge, Middlesex, England: The Hillingdon Press, 1983.
  • Varely, William. New Work New York. Newcastle-upon-Tyne, England: Newcastle Polytechnic Gallery, 1983
  • Armstrong, Tom. Amerikanische Malerei 1930-1980. Munich: Haus der Kunst and Prestel-Verlag, 1982.
  • Garver, Thomas H., Warrinton Colescott, and Gordon Scott. New American Graphics 2. Madison, Wis.: Madison Art Center, 1982.
  • Haenlein, Carl. Momentbuild: Kunstler Photographie. Essay by Els Barents. Hannover: Kestner-Gesellschaft, 1982.
  • Houk, Pamela. New Portraits: Behind Faces. Dayton, Ohio: The Dayton Art Institute, 1982.
  • Lewallen, Constance. Chuck Close. Matrix/Berkeley 50. Berkeley, Calif.: University Art Museum, University of California, 1982.
  • Monett, Alexandra. The Human Figure. New Orleans: The Contemporary Arts Center, 1982.
  • Phillips, Lisa. Surveying the Seventies. Stamford, Conn.: Whitney Museum of American Art, Fairfield County Branch, 1982.
  • Photo-Realisme. Dix ans apres. Paris: Galerie Isy Brachot, 1982.
  • Smith, Paul A. Making Paper. Essays by Lillian A. Bell, David Kimball, Donald Farnesworth and Timothy Barrett. New York: American Craft Museum, 1982.
  • Sosnoff, Martin (introduction). Homo Sapiens: The Many Images. Ridgefield, Conn.: The Aldrich Museum of Contemporary Art, 1982.
  • Badger, Gerry. Photographer as Printmaker: 140 Years of Photographic Printmaking. Northampton: Belmont Press and London: Arts Council of Great Britain, 1981.
  • Barents, Els. Instant Fotographie. Amsterdam: Stedelijk Museum, 1981.
  • Berreth, David. A Seventies Selection: An Exhibition of Works from the Collection of The Whitney Museum of American Art. Oxford, Ohio: Miami University Art Museum, 1981
  • Brandt, Frederick P. and Susan L. Butler. Late Twentieth Century Art From the Sydney and Frances Lewis Foundation. Richmond, Va.: The Sydney and Frances Lewis Foundation, 1981.
  • Chase, Linda. Super Realism from the Morton G. Neumann Family Collection. Kalamaazoo, Mich.: Kalamazoo Institute of Arts, 1981
  • Danoff, Michael I. The Image in American Painting and Sculpture, 1950-1980. Akron, Ohio: Akron Art Museum, 1981
  • Gamwell, Lynn and Victoria Kogan. Inside/Out: Self Beyond Likeness. Newport Beach, Calif.: Newport Harbor Art Museum, 1981.
  • Goldman, Judith. American Prints: Process and Proofs. New York: Harper & Row and Whitney Museum of American Art, 1981
  • Goodyear, Frank H. Jr. Contemporary American Realism Since 1960. Boston: New York Graphic Society in association with Pennsylvania Academy of Fine Arts, 1981
  • Infield, Warren. The Tyler Offset Workshop: An Exhibition of Prints and Posters. Philadelphia: Tyler School of Art, 1981.
  • Morrin, Peter and Eric Zafran. Drawings from Georgia Collections: 19th and 20th Centuries. Atlanta: High Museum of Art, 1981.
  • Sandler, Irving. 20 Artists: Yale School of Art 1950-1970. New Haven, Conn.: Yale University Art Gallery, 1981.
  • Carmean, E. A., Trinkett Clark and Eliza E. Rathbone. The Morton G. Neumann Family Collection: Selected works. Washington, D.C.: National Gallery of Art, 1980, two volumes
  • Castleman, Riva. Printed Art: A View of Two Decades. New York: The Museum of Modern Art, 1980.
  • Gelburd, Gail. American Realism of the 20th Century. Morristown, N.J.: Morris Museum of the Arts and Sciences, 1980
  • Hills, Patricia and Roberta K. Tarbell. The Figurative Tradition and the Whitney Museum of American Art: Paintings and Sculpture from the Permanent Collection. New York: Whitney Museum of American Art, 1980
  • Kalan, Mitchell D. American Painting of the Sixties and Seventies. Montgomery, AL: Montgomery Museum of Fine Arts, 1980
  • Lyons, Lisa and Martin Friedman. Close Portraits. Minneapolis: Walker Art Center, 1980.
  • Perreault, John. Aspects of the 70's: Directions in Realism. Framingham, Mass.: Danforth Museum, 1980
  • Metz, Gary. Box 24. Philadelphia: Light Gallery, The Philadelphia College of Art and Polaroid Corporation, 1980
  • Sadik, Marvin and Harold Francis Phister. American Portrait Drawings. Washington, D.C.: Smithsonian Institution Press for The National Portrait Gallery, 1980
  • Spaeth, Eloise. Portraits, Real and Imagined. East Hampton, N.Y.: Guild Hall Museum, 1980
  • Ten American Artists From Pace. London: Wildenstein & Co. and Pace Gallery, 1980.
  • Alexander, Carolyn and Judith Goldman. Print Publishing in America. 1979.
  • Armstrong, Tom. 1979 Biennial Exhibition. New York: Whitney Museum of American Art, 1979
  • Brutler, Hiram Carruthers, and others. Documents, Drawings and Collages: Fifty American Works on Paper From the Collection of Mr. and Mrs. Stephan D. Paine., Williamstown, Mass.: Williams College Museum of Art, 1979.
  • Callner, Richard. Faculty Choice. Albany: State University of New York at Albany, 1979.
  • Levin, Kim, essay. Chuck Close: Recent Work. New York: The Pace Gallery, 1979
  • Levin, Kim, essay, and others, portait by Pontus Hulten. Copie Conforme? Paris: Centre Georges Pompidou, Musée nationale d'art moderne, 1979.
  • Everson Museum of Art Bulletin. Syracuse, NY: Everson Museum of Art, 1979.
  • Kern, Hermann. Chuck Close. Munich: Kunstraum, 1979.
  • Landis, Ellen. Reflections of Realism. Albuquerque, N. Mex.: Albuquerque Museum, 1979.
  • Lochridge, Katherine. As We See Ourselves; Artists' Self Portraits. Huntington, N.Y.: Heckscher Museum, 1979.
  • MacGill, Peter. 20 x 24/Light. Essay by Garry Metz. New York: Light Gallery, 1979.
  • Miller, Wayne. Realist Space. Greenvale, N.Y.: C.W. Post Art Gallery, School of the AAS, 1979.
  • Rubin, David S. Black and White Are Colors: Paintings of the 1950's - 1970's. Claremont, Calif.: Trustees of Pomona College, 1979.
  • Shoemaker, Innis H. Drawings about Drawing Today. Chapel Hill, N.C.: The Ackland Art Museum, 1979.
  • Sims, Patterson. The Decade in Review: Selections from the 1970's. New York: Whitney Museum of American Art, 1979.
  • Yard, Sally. Images of the Self. Hampshire, MA: Hampshire College, 1979.
  • Imports: An Exhibition of Contemporary Art from across the Country. Murray, KY: Clara M. Eagle Gallery and Murray State University, 1979, essays by R. Abrahams and others (check year)
  • Cathcart, Linda L. American Painting of the 1970's. Buffalo, NY: Albright-Knox Art Gallery, 1978
  • Contemporary Drawing/New York. Santa Barbara: University of California at Santa Barbara Art Museum, 1978
  • Cummings, Paul. 20th Century American Drawings: Five Years of Acquisitions. New York: Whitney Museum of American Art, 1978
  • d'Harnoncourt, Anne. 8 Artists. Philadelphia: Philadelphia Museum of Art, 1978.
  • Documenta 6 (Sixth Annual Documenta Exhibition ). Kassel, Germany, 1978. Vol. I, Painting and Vol. II, Drawing.
  • Friedman, Martin, Robert Pincus-Witten and Peter Gay. A View of a Decade. Chicago: Museum of Contemporary Art, 1978.
  • Gilmour, Pat. The Mechanized Image: An Historical Perspective on 20th Century Prints. London: Arts Council of Great Britain, 1978.
  • Kardon, Jannet (introduction). Point. Philadelphia: Philadelphia College of Art, 1978
  • Krauss, Rosalind, essay. Grids. Format and Image in 20th Century Art. New York: The Pace Gallery, 1978
  • Late Twentieth Century Art. The Sydney and Frances Lewis Foundation, Richmond, Va.: Anderson Gallery, Virginia Commonwealth University, 1978.
  • Meisel, Susan Pear. Photo-Realist Printmaking. New York: Louise K. Meisel Gallery, 1978.
  • Plous, Phyllis. Contemporary Drawing/New York. Santa Barbara: University of California at Santa Barbara Art Museum, 1978.
  • Young, Mahonri Sharp, foreword. Aspects of Realism. East Hampton, N.Y.: Guild Hall Museum, 1978.
  • Becker, Wolfgang. Der ausgestellte Kunstler/Museumskunst seit 45/The Artist Exhibited/Art for the Museum since ‘45/L’artiste expose/L’art de Musee depuis ‘45. Aachen, Germany: Neue Galerie-Sammlung Ludwig, 1977 (2 vol.).
  • Belsito, Peter. Space. (A Guide to the Student Union Art Gallery University of Massachusetts Fall 1977). Amherst: The Student Union Gallery, University of Massachusetts, 1977.
  • Chuck Close/Matrix 35. Hartford, Conn.: Wadsworth Atheneum, 1977.
  • Chuck Close: Recent Work. New York: The Pace Gallery, 1977.
  • Cummings. Paul. American Drawing 1927-1977. St. Paul: Minnesota Museum of Art, 1977.
  • Documenta 6. Kassel: Verlag und Gesam Therstellung, 1977, 3 volumes.
  • Friedman, Martin and Robert Pincus-Witken and Peter Gay. 1967–1977: Ten Years Museum of Contemporary Art: A view of a Decade. Chicago: Museum of Contemporary Art, 1977
  • Hess, Thomas B. and Gene Baro, Hayden Herrara, and Carter Ratcliff. Critics' Choice. Syracuse, N.Y.: Lowe Art Gallery, Syracuse University, 1977.
  • Karp, Ivan. New Realism: Modern Art Form. Boise, Idaho: Boise Gallery of Art, 1977.
  • Kirschner, Judith Russi. Land Fall Press. Chicago: Museum of Contemporary Art, 1977.
  • Kunst und Medien: Materialen zur documenta 6. Kassel: Stadtzeitung und Verlag, 1977.
  • Sims, Patterson and Marcia Tucker. 1977 Biennial Exhibition. New York: Whitney Museum of American Art, 1977
  • Stringer, John. Illusion and Reality. Australian Gallery Directors Council, 1977.
  • Waller, Bret A. Works from The Collection of Dorothy and Herbert Vogel. Ann Arbor: The University of Michigan Museum of Art, 1977.
  • Armstrong, Thomas N. Three Decades of American Art Selected by the Whitney Museum, New York: Whitney Museum of American Art, 1976.
  • Chase, Linda. Aspects of Realisme/Aspects du Realisme. Stratford, Ontario: Rothmans of Pall Mall Canada, Ltd., 1976.
  • Haskell, Barbara and Jay Belloli. American Artists: A New Decade. Fort Worth: Fort Worth Art Museum and Detroit: Detroit Institute of Arts, 1976.
  • Honisch, Dieter and Jens Christian Jensen. Amerikanische kunst von 1945 bis haute, Berlin: Nationalgalerie Berlin and Cologne: Kunsthalle Zukiel, 1976.
  • Janis, Sydney. The Photographer and the Artist. New York: Sidney Janis Gallery, 1976.
  • Kord, Catherine. Richard Artschwager, Chuck Close, Joe Zucker. San Francisco: Daniel Weinberg Gallery, 1976.
  • Marioni, Tom, ed. Vision #3. New York: Crown Point Press, 1976.
  • Rose, Bernice. Drawing Now. New York: The Museum of Modern Art, 1976. German translation: Zeichnung Haute. Translation and introduction by Dr. Erika Gyeling-Billeter, Zurich: Kunsthaus Zurich, 1976. Hebrew translation: Tel Aviv: The Tel Aviv Museum, 1977.
  • Rorimer, Anne. Seventy-second American Exhibition. Chicago: The Art Institute of Chicago, 1976.
  • Varnedoe, Kirk R. ed. Modern Portraits: The Self and Others. New York: Columbia University, 1976.
  • Walthard, Dr. Frederic P. Art 7 /76. Basel, 1976.
  • Barette, G.W. and Allan Frumkin. Portrait Painting 1970-1975. New York: Allan Frumkin Gallery, 1975.
  • Delahanty, Suzanne. Painting, Drawing and Sculpture of the 60s and 70s from the Dorothy and Herbert Vogel Collection. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1975.
  • Field, Richard S. Recent American Etching. Middletown, Conn.: Wesleyan University, 1975.
  • Finch, Christopher. Chuck Close Dot Drawings 1973-1975. Austin, TX: Laguna Gloria Art Museum, 1975.
  • Meisel, Susan Pear. Watercolors and Drawings-American Realists. New York: Louise K. Meisel Gallery, 1975.
  • Slade, Roy. 34th Biennial of Contemporary American Painting. Washington, DC: The Corcoran Gallery of Art, 1975.
  • Abadie, Daniel and others. Hyperrélistes Americains/Réalistes Européens. Paris: Centre National d’Art. Contemporain/Archives, 1974.
  • Abadie, Daniel. Kijken naar de Werkelijkheid. Rotterdam: Museum Boymans-van-Beuningen, 1974.
  • Amerikaan Fotorealisme/Grafiek. Utrecht, Netherlands: Hedenaagse Kunst, 1974.
  • Armstrong, Thomas N., III. Three Decades of American Art Selected by the Whitney Museum of American Art. Tokyo: Seibu Museum, 1974
  • Carucci, Beniamino. Ico Parisi: Ipotesi per una Casa Esistenziale. Rome: Biblioteca d’arte contemporanea, 1974.
  • Chase, Linda. “Photo-Realism.” In Tokyo Biennale ‘74. Tokyo, 1974.
  • Clair, Jean, Daniel Abadie, Wolfgang Becker, and Pierre Restany. Hyperrealistes Americains/Realistes Europeens. Paris: Centre National d'Art Contemporain, 1974
  • Colossal Scale Exhibition, 25 Years of Janis, Part 2. New York: Sidney Janis Gallery, 1974.
  • de Menil, Dominique. Gray Is The Color: An Exhibition of Grisaille Painting XIIIth–XXth Centuries, Houston: Institute for the Arts, Rice University, 1974, introduction by J. Patrice Marandel.
  • Field, Richard S. Recent American Etching. Middletown, Conn.: Davison Center, Wesleyan University; Washington, DC: National Collection of Fine Arts, 1974.
  • Holtmann, Heinz. Amerikaans Fotorealisme/Grafiek. Utrecht: Hedenaaglse Kunst, 1974.
  • Ronte, Dieter et al. Kunst Bleibt Kunst Projekt '74, Cologne: Wallraf-Richartz Museum, 1974.
  • Sarajas-Korte, Salme. ARS’74. Helsinki: The Ateneum, Fine Arts Academy of Finland, 1974.
  • Shulman, Leon. Three Realists: Close, Estes, Raffael. Worcester, MA: Worcester Museum, 1974.
  • 25 Years of Janis, Part 2. New York: Sidney Janis Gallery, 1974.
  • Walthard, Dr. Frederic P. Art 5 '74. Basel, Switzerland, 1974.
  • Alloway, Lawrence. Photo-Realism: Paintings, Sculpture and Prints from The Ludwig Collection and Others. London: Serpentine Gallery, 1973.
  • Becker, Wolfgang. Kunst nach Wirklichkeit. Ein neuer Realismus in Amerika und in Europa. Hannover: Kunstverein Hannover, 1973.
  • Combattimento Per Un`immagine. Turin: Galleria Civica d'Arte Moderna, 1973.
  • Grand Maitres Hyperrealistes Americains. Introduction by Salvador Dali. Paris: Galerie des Quatre Mouvements, 1973.
  • Grochowiak, Thomas. Mit Kamera, Pinsel und Spritzpistole, Realistische Kunst in Unsever Zeit. Recklinghausen, Germany: Städtische Kunsthalle Recklinghausen, 1973.
  • Laursen, Steingrim. Young American Artists. Germany: Gentofte Radhus, 1973.
  • Nemser, Cindy. "Fotografiet Son Sandhed" (interview with Chuck Close) Louisiana Revy, 13 Argang, Nr. 3, February 1973.
  • Robinson, Franklin W. One Hundred Master Drawings from New England Private Collections, Dartmouth College, 1973.
  • Solomon, Elke M. American Drawings 1963-1973. New York: Whitney Museum of American Art, 1973.
  • The Super-Realist Vision. Foreward by Carlo Lamagna. Lincoln, Mass.: De Cordova Museum, 1973.
  • van der Marck, Jan. American Art Third Quarter Century. Seattle: Seattle Art Museum, 1973. Foreword by Thomas N. Maythan and Robert B.Dootson.
  • Abadie, Daniel. Hyperrealistes Americains. Paris: Galerie des Quatre Mouvements, 1972.
  • Adrian, Dennis. Chuck Close. Chicago: Museum of Contemporary Art, 1972.
  • Amaya, Mario. Realism Now. New York: New York Cultural Center, 1972
  • Ammann, Jean Christophe. Documenta 5. Kassel, West Germany: Neue Galerie; Museum Fridericianum, 1972.
  • Bauer, John I. H. 1972 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1972.
  • Becker, Wolfgang. Kunst um 197—Art Around 1970 Der Bestand ‘72. Aachen, West Germany: Neue Galerie, 1972.
  • Colossal Scale. New York: Sidney Janis Gallery, 1972.
  • Crown Point Press. Introduction by Helene Fried, essay by Kathan Brown. San Francisco: San Francisco Art Institute, 1972.
  • Lunn, Jr., Harry J. 19th and 20th Century Prints, Photographs, Drawings (cat. 2). Washington, DC: Graphics International Ltd., 1972.
  • Miller, Jo. Eighteenth National Print Exhibition. Brooklyn: The Brooklyn Museum, 1972.
  • Schneede, Uwe. Amerikanisher Fotorealismus. Stuttgart: Württembergischer Kunstverein, 1972.
  • Warrum, Richard L. Painting and Sculpture Today, 1972. Indianapolis: Indianapolis Museum of Art, 1972.
  • Fischer, Konrad, Jurgen Harten, and Han Strelow. “Projection.” In Prospect 71. Düsseldorf: Städtische Kunsthalle and Art-Press Verlag, 1971.
  • Scott, Gail R. Chuck Close: Recent Work. Los Angeles: Los Angeles County Museum of Art, 1971.
  • Young, Dennis. Recent Vanguard Acquisitions. Ontario: Art Gallery of Ontario, 1971.
  • Three Young Americans. Oberlin: Allen Memorial Art Museum, Oberlin College, 1970
  • Monte, James. 22 Realists. New York: Whitney Museum of American Art, 1970
  • 1969 Annual Exhibition Contemporary American Painting. Foreword by John H. Bauer. New York: Whitney Museum of American Art, 1969


Newspapers and magazine articles

  • Dean, James, ‘Artworks infused with genes will test forgers’ ingenuity’, The Times, 12 October 2015, p. 17
  • Amirsadeghi, Hossein, Maryam Eisler, Robin Friend, ‘Artists at Work’, FT Weekend Magazine, 2-3 November 2013, pp. 30-33; interview with the artist
  • Egan, John Patrick, ‘A 3-in-1: Gary Hume, Chuck Close and Eddie Peake at White Cube, Bermondsey’, onestoparts.com, 20 March 2013
  • Darwent, Charles, ‘Man of a thousand traces’, The Independent on Sunday, 10 March 2013, p.61
  • Luke, Ben, ‘Close-up king works his magic’, Evening Standard, 6 March 2013, p.38
  • Cohen, Patricia, ‘Arts as antidote for academic ills’, nytimes.com, 18 December 2012
  • Yuan, Jada, ‘Close encounters’, the Sunday Telegraph/stella magazine, 9 December 2012, pp.36-40
  • Campbell-Dollaghan, Kelsey, ‘After decades of pixel painting, Chuck Close goes truly digital’, Fastcodesign.com, November 2012
  • Boros, Phyllis, ‘Chuck Close in Bridgeport to inspire youngsters through art’, Ctpost.com, 8 November 2012
  • Kahn, Andrew, ‘Chuck Close sfN Lecture’, Danapress.typepad.com, 7 November 2012
  • Un-authored, ‘Works by Chuck Close displayed at the Monterrey Museum of Art’, Artmediaagency.com, 6 November 2012
  • Un-authored, ‘Portraits: Chuck Close and his friends at Pace Gallery’, Artsobserver.com, 3 November 2012
  • Ryce, Walter, ‘Close Encounter: unparalleled massive portrait artists Chuck Close sprawls across MMA La Mirada’, Montereycountyweekly.com, 1 November 2012
  • Pendle, George, ‘Cause celebre on Capitol Hill’, Financial Times (Life & Arts), 20-21 October 2012, p.15
  • Storr, Robert, ‘Chuck Close, Self-portrait, 2004-2005’, The Art Economist, Vol 1, No.10, 2011, pp.1, 4 and 5
  • Sobieski, Elisabeth, ‘Close Encounter’, The Art Economist, Vol 1, No.10, 2011, pp.36-37 and 40-44
  • ‘The Times Top 200 Artists of the 20th Century to Now’, Times Online, 8 June 2009
  • Hoyle, Ben. ‘Crunch time for Mr Brit Art’, The Times, 7 January 2009, p.15-16
  • Du, Huang. ‘Pace Wildenstein encounters Bejing’, Art in Asia, November - December 2008, p.104-105
  • Un-authored, Blacksquare, March – April 2008, p.9
  • Birnbaum, Molly, ‘Art Talk: Portrait of the Diva as Druid Priestess’, Art News 106, May 2007; p.44
  • Brunner, Jessie, “Revealing Artist’s Secrets” (exhibition review: “Chuck Close Prints: Process and Collaboration” at Orange County Museum of Art). Newport Beach and Costa Mesa Daily Pilot(dailypilot.com), 27 January 2007.
  • Cash, Stephanie. ‘Report from Colorado: The Hills Are Alive’ (Denver Art Museum opening review). Art in America, February 2007, pp.56–65.
  • Chapman, Peter, ‘Pick of the week – Chuck Close’, The Independent, 20 October 2007, p.15
  • Chang, Richard. “Chuck Close Looking Behind the Scenes” (exhibition review: “Chuck Close Prints: Process and Collaboration” at Orange County Museum of Art). The Orange County Register, 30 January 2007. http://www.ocregister.com.
  • De La Fuente, Manuel. “Chuck Close — Pintor” (Museo Nacional Centro de Arte Reina Sofîa exhibition review). ABC (Spain), February 2007: 83, illustrated.
  • McCormick, Carlo. “Chuck Close & Personal.” Whitewall (Summer 2007):88–103, illustrated.
  • McDonald, Fiona, ‘Chuck Close: Family And Others’, London Metro, 16 October 2007, p.29
  • Rubio, Carlos. “Anticipa Close arte digital” (Museo Nacional Centro de Arte Reina Sofîa exhibition review). Reforma (Mexico), 7 February 2007, Cultura: 10, illustrated.
  • “Self-Reflection.” New York Sun, 13–15 April 2007: 12, illustrated.
  • Sooke, Alastair, ‘What’s free in Frieze Week?’, Telegraph Review, 6 October 2007, pp.12-13
  • Van Gelder, Lawrence. “Arts, Briefly: Where Artists and Filmmakes Intersect.” The New York Times, 17 April 2007: E2.
  • “100 Eye-Opening New Painters.” Courierlife.net, 29 November 2006, http://www.courierlife.net/site/.
  • “Around Town: Close Encounter.” Time Out New York, 14–20 September 2006: 104, illustrated.
  • Allen, Kathleen. “Speaker Series Begins Today at CCP.” Arizona Daily Star, 22 September 2006.
  • Arden, Patrick. “A Close Look at What It Is to Be a New Yorker.” Metro, 20 September 2006, 3
  • Ayers, Robert. “Portrait of a Portrait Painter” (Close Reading book review). Art News (October 2006): 132, illustrated.
  • Calendar: A New High for Atlanta. April–May 2006. Atlanta: High Museum of Art, 2006: cover, illustrated.
  • Close, Chuck. “Visual Arts: The Great Illusionist.” Financial Times, 26 September 2006: 14, illustrated.
  • Close, Chuck. “Kijken met het oog van een kunstenaar: Chuck Close over Erasmus van Rotterdam (1523).” Kunst & Antiek Journaal Collect (December 2006): 67–69, illustrated/
  • Feaver, William. “Reviews, International-Self-Portrait: Renaissance to Contemporary” (exhibition review). Art News (March 2006): 148, discussed.
  • “Flashback Photography: Modern Eyes, Vintage Ways” (University of Central Florida Art Gallery exhibition review). orlando.com, 6 November 2006, http:www.orlando.com/.
  • Jones, Charisse. “Public Art Project Documents Urban Change.” USA Today, 13 September 2006: 7A, illustrated.
  • Lukas, Alex. “Chuck Close: Portraitist, Photorealist, & Traditionalist.” Swindle, November 2006: 74–75, illustrated.
  • Montefinise, Angela. “Artbreaking: Painter Sues Over Sunlight ‘Blocker.’” The New York Post, 27 August 2006: 5, illustrated.
  • Ayers, Robert, ‘Contemporary Voices, Museum of Modern Art’, Artnews 104, May 2005; p.142.
  • Baker, Kenneth, ‘Giant Self-Portrait Should Be Revealing, yet Chuck Close Still Paints Puzzle’, San Francisco Chronicle, 19 November 2005, section E: 1E and E3.
  • Cembalest, Robin, ‘Art Talk: Close Encounters’. Art News 104, Summer 2005;p.45, illustrated.
  • “Chuck Close” (Walker Art Center exhibition review). Tema Celeste (Siracuse, Italy) (November 2005): 104, illustrated.
  • Cohen, David. “Gallery Going: Chuck Close at PaceWildenstein.” New York Sun, 19 May 2005: 15, illustrated.
  • Danto, Arthur C. “35 Who Made a Difference: Chuck Close.” Smithsonian, November 2005: 106–108, illustrated.
  • Ewing, John. “New York-Chuck Close: Recent Paintings” (exhibition review). Modern Painters (September 2005): 108, illustrated.
  • Gomez, Edward M. “Today’s Masters: Painting Up Close.” Art and Antiques (March 2005): 87–90, illustrated.
  • Kozinn, Allan. “A Pianist Turns the Tables On a Portrait Painter.” New York Times, 27 April 2005: E5.
  • MacAdam. Barbara A. “Reviews: New York-Logical Conclusions, PaceWildenstein” (exhibition review). Art News 104 (June 2005): 119.
  • McGrath, Charles. “A Portraitist Whose Canvas Is a Piano.” New York Times, 22 April 2005, Weekend Arts: E1, illus., E20, illus.
  • Morgan, Robert C. “Reviews: Logical Conclusions, PaceWildenstein, New York” (exhibition review). Tema Celeste 110 (July–August 2005): 69.
  • “Navigating the Self.” Interview by Siri Engberg. Walker museum newsletter (July/August 2005): illustrated.
  • Pasquariello, Lisa. “Preview: Chuck Close, Walker Art Center.” Artforum (May 2005): 113, illus.
  • Saltz, Jerry. “Inky Depths.” New York Village Voice, Habyart 4–10, 2006: C75.
  • Stevens, Isabel. “Ready for a Close-up?” Art Review (May 2005): 25, illustrated.
  • Sultan, Terrie. “Curating Now (Part II): An Ongoing, Informal Report.” Art Papers, November/December 2005: 38, illustrated.
  • “This Week: Close Encounter.” Time Out New York, 27 October–2 November 2005: 57, illustrated.
  • Wullschlager, Jackie. “Arts and Ideas: Faces That Were Chosen for Eternity” (exhibition review). Financial Times, 19 October 2005: 12+, discussed.
  • O’hern, John. “Art Encounters On the Road.” American Art Collector, (October 2006): 50-56, illustrated.
  • “On the Town: Calendar” (Aperture Foundation exhibition preview). The New York Sun, 9 November 2006: 10, illustrated.
  • Ribas, João. “Arts: Another Record Week?” The New York Sun, 13 November 2006: illustrated.
  • Tuchman, Phyllis. “Report from Monte Carlo: A Helluva Town” (Grimaldi Forum exhibition review). Art in America (November 2006): 88–89.
  • Vogel, Carol. “Inside Art: Urban Evolution.” The New York Times, 22 September 2006: E26, discussed.
  • Close, Chuck. “A Little Help From His Friends.” Interview by Clare Henry. Financial Times (London), January 21, 2004, p. 10, illus.
  • Harrison, Helen A. “Following the Light, and Making Faces.” New York Times (Long Island Edition), February 22, 2004, Section 14, pp. 1, 6, illus.
  • Hirsch, Faye. “Prints: Close & Company.” Art in America, March 2004, pp. 44–50, illus.
  • Johnson, Ken. “The Hamptons, A Playground for Creativity,” Parrish Art Museum exhibition review. New York Times, August 6, 2004, Weekend, p.E29, illus.
  • Kimmelman, Michael. “Savoring Chuck Close By Savoring The Process,” Metropolitan Museum of Art exhibition review. New York Times, January 16, 2004, Weekend, p. E33, E41, illus.
  • Scott, Andrea K. “Proof Positive: A revelatory Chuck Close show at the Met unveils the hidden process in his prints,” The Metropolitan Museum of Art exhibition review. Time Out New York, February 12–19, 2004, p. 63, illus.
  • Villani, John. “Inaugral Exhibition: Bentley Projects,” exhibition review. Art News, June 2004, p. 123.
  • Vogel, Carol. “At Auction, Snapshots Of a Market: Spring sales emphasize newer art.” New York Times, 28 April 2004, The Arts Section: E1, E7.
  • “Art Guide. Galleries: Chelsea: Chuck Close.” New York Times, January 3, 2003, p. E44, illus. (“Emma,” PaceWildenstein and “Elizabeth,” Pace/MacGill).
  • Bayliss, Sarah. “Living in Art. Walking on Lucas Samaras.” Art News, December 2003, p. 98–101, illus.
  • Buck, Louisa. “Chuck Close: new paintings. White Cube,” review. Art Newspaper (London), Commercial Galleries section, February 2003, p. 14, illus.
  • The Cleveland Museum of Art. “A Modern Eye.” Cleveland Museum of Art Members Magazine, October 2003, pp. 4–5, illus.
  • Close, Chuck. “Here and Abroad.” Interview. [American Express] Departures, March/April 2003, p. 54.
  • Close, Chuck. “OK! The Kate Moss Portfolio.” W, September 2003, pp. 414–421, illus.
  • Fotografia: Chuck Close. Arte (Milan), September 2003, p. 177, illus. cover.
  • “Galleries-Chelsea: Chuck Close.” New Yorker, January 6, 2003, p. 18.
  • Horyn, Cathy. “Critic’s Notebook: Fashion and Art Embrace, if Not Passionately.” New York Times, 2003.
  • Hughes, Rober J. “The Museum Season.” Wall Street Journal, October 3, 2003, p. W2, illus. (Roy II, 1994)
  • Alva, Marilyn. “Color This Painter Determined. Face Down Adversity: Chuck Close battled disability to make his mark in art world.” Investor’s Business Daily, 18 August 2002, Leaders & Success sec.
  • Bohlen, Celestine. “An Exhibition Celebrates 10 Years of Free Studio Space for Artists.” New York Times, May 30, 2002: E3
  • Close, Chuck. “What I’ve Learned.” Interview by Andy Ward.
  • Esquire, January 2002, pp. 94-95.
  • Cotter, Holland. “Art Review: A Gift to the Whitney, for New Yorkers to Open.” New York Times, October 25, 2002, p. E38.
  • Diamonstein, Barbaralee. “Chuck Close: “I’m Some Kind Of Slow-Motion Cornball.” Art News, November 2002, p. 226.
  • “Galleries–Chelsea: Chuck Close,” PaceWildenstein review. New Yorker, December 23 and 30, 2002, p. 38.
  • Glueck, Grace. “For Wall Street’s Sake: Art to Lure Visitors Downtown.” New York Times, June 14, 2002, p. E37.
  • Kino, Carol. “Hired Hands.” Art & Auction, February 2002, 102-111.
  • Landi, Ann. “The Real Thing?” Art News, June 2002, p. 88-91.
  • “Parrish Council Exclusive: Artists of the East End,” Parrish Art Museum News, Autumn 2002.
  • Pisarra, Drew. “Chuck Close: New Paintings” and “Chuck Close: Daguerreotypes,” PaceWildenstein and Pace/MacGill reviews. New York.Citysearch, December 9, 2002, www.newyork.citysearch.com/review/35695439/editorial/ and www.newyork.citysearch.com/review/11411178/editorial/
  • Schmerler, Sarah. “Art Listings: Close encounters.” Time Out New York, November 21-28, 2002, p. 93.
  • Smith, Roberta. “Chuck Close: Recent Works.” New York Times, December 27, 2002, p. E46.
  • Vogel, Carol. “The Modern Gets a Trove From Corporate Collection.” New York Times, April 11, 2002, p. E1, E3.
  • Keats, Jonathan. “Through The Lesn of History.” Art and Auction, March 2003, pp. 74-85, illus.
  • Morgan, Robert C. “Profiles: Chuck Close.” Tema Celeste (Milan), no. 96 (2003), pp. 86-87, illus.
  • Mullins, Charlotte. “Up Close and personal.” Financial Times, February 8-9, 2003, Weekend edition, p. VII, illus.
  • Nakamura, Marie-Pierre. “Chuck Close, ‘Le visage d’une personne, est comme la carte de sa vie,” PaceWildenstein and Pace/MacGill New York, exhibition review. Art Actuel (Paris), January 2003, pp. 82-85, illus.
  • Rexer, Lyle. “Chuck Close at PaceWildenstein,” PaceWildenstein exhibition review. Art in America, May 2002, pp. 150-151, illus.
  • Tansini, Laura. “Signore e signori: A Coloquio con Chuck Close nel Suo Studio di Manhattan.” Arte In (Bologna), 14, no. 82 (January), 2003, pp. 56-60, illus.
  • Van Gelder, Lawrence. “Houston: Chuck Close Prints,” Blaffer Galler, the Art Museum of the University of Houston exhibition review. New York Times, September 11, 2003, Arts Briefing, p.E2.
  • “Chuck Close Ritratti in pixel.” Firma (Italy), October 2001, pp. 49-57.
  • Eberle, Todd. “Broad Strokes.” W, September 2001, pp.549-560.
  • Glueck, Grace. “Art in Review: ‘Self-Made Men.’” New York Times, April 27, 2001.
  • Korotkin, Joyce. “Self-Made Men at DC Moore Gallery.” New York Art World.com, May 2001.
  • Maber, Marie. “Blurring the line.” Digital Fine Art Magazine, summer 2001, pp. 32-37.
  • Mason, Brooke S. “New York: Il signor Pace.” Il Giornale Dell’Arte (Turin), 205 (2001): 4-7.
  • “Self-Made Men,” review. Metro, April/May 2001.
  • Anderson, Maxwell L. “Preserving the Perishable Art of the Digital Age.” New York Times, 24 September 2000, p.AR 33
  • Berkovitch, Ellen. “Art Matters.” Santa Fe New Mexican Pasatiempo, 26 May - 1June 2000, pp.10, 15
  • Clemmer, David. “Critical Reflections: Chuck Close,” THE magazine, June 2000, p.43.
  • Close, Chuck, “About Face. Chuck Close in Conversation with Bice Curiger.” Parkett 60 (2000); 56-66
  • Close, Chuck, “About Face. Chuck Close in Conversation with Elizabeth Peyton.” Parkett 60 (2000): 28-34.
  • Collins, Tom. “Eye Dazzling Of the Hightest Order.” Albuquerque Journal North, 12 May 2000, p.6
  • “Close and Personal.” Art News, May 2000, p. 45.
  • “Chuck Close.” Santa Fean, May 2000, p. 77.
  • “Chuck Close Will Receive Honorary Degree from LIU.” Southampton Press, 18 May 2000, p.5
  • “Chuck Close Honored.” East Hampton Star, 18 May 2000.
  • Dannatt, Adrian. “NY Diary: Closer than ever.” Art Newspaper, (London), March 2000, p. 77.
  • Feeney, Mark. “Chuck Close’s work is well placed in Worcester.” Boston Globe, 29 December 2000.
  • Fletcher, Nina. “Close Encounters: The Mosaic Face of Chuck.” Worcester Magazine, 20 December 2000
  • Greben, Deidre Stein. “Chuck Close and Franz Gertsch.” Review. Art News, February 1991, p.159
  • Horton, Anne. “Color Specs.” Art & Auction, October 2000, pp.124-129.
  • Johnson, Ken. “Objects of Desire: 125 Views of the Human Figure.” New York Times, September 1, 2000.
  • Magiera, Frank. “Chuck Close Turns The Abstract Into The Concrete.” Telegram & Gazette, December 7, C1, C12.
  • Nigrosh, Leon. “Close-ups: Chuck Close’s “heads” visit WAM.” Boston Worcester Phoenix, December 29, 2000, p. 12.
  • Prose, Francine. “Distances and Faces of the Moon.” Parkett 60 (2000): 18-22.
  • Protzman, Ferdinand. “Chuck Close, Bigger Than Ever.” Washington Post , October 5, 2000, p.C5.
  • Rexer, Lyle. “Chuck Close Rediscovers the Art in an Old Method.” New York Times, March 12, 2000, pp. 25-26.
  • Romancito, Rick. “‘Inspiration is for Amateurs.’ Harwood Museum hosts first New Mexico exhibition of works by Chuck Close.” Tempo: The Arts and Entertainment Magazine of The Taos News, May 4, 2000, pp. 14, 16.
  • Shiff, Richard. “Raster + Vector = Animation Squared.” Parkett 60 (2000): 28-36.
  • “Sculptor, painter among National Medal of Arts Winner.” December 2000,
  • cnn.com/2000/STYLE/arts/12/20/national.medal. of.arts/index.html].
  • Smith, Roberta. “Chuck Close/PaceWildenstein.” New York Times, April 7, 2000, p. E40.
  • Van Gelder, Lawrence. “Grid Master.” New York Times, December 7, 2000, p. E1.
  • Weil, Rex. “Chuck Close.” Art News, December 2000, p. 164.
  • Burton, Jane. “Face, the Final Frontier.” Independent (London), July 22, 1999, p. 10.
  • Cork, Richard. “Off the Wall and Into Your Face.” Times (London), July 21, 1999, p. 43.
  • Derrington, Andrew. “How Art Puts the Brain Into a Fresh Perspective.” Financial Tmes, (London), August 6, 1999, p. 12.
  • Evenson, Brad. “Don’t Stand So Close to Me.” Ontario National Post, August 6, 1999, p. B11.
  • Farr, Sheila. “Coming to Life’ is Mostly Lifeless.” Seattle Times, March 16, 1999, p. E6.
  • Gayford, Martin. “Max Headroom: Specialising in ‘Superreal’ Portraits of Giant Heads, American Painter Chuck Close is Set to Stun Viewers This Summer With His Fanatical Exactitude of Detail.” Harpers & Queen (London), August 1999, p. 46.
  • Hawkes, Nigel. “‘Hidden’ Portraits Reveal How People See.” Times (London), August 6, 1999.
  • Harris, Lyle Ashton. “Chuck Close Master Portraitist: Lyle Ashton Harris at Chuck Close’s Studio in Soho.” Iké Udé aRude, November12, 1999, pp. 74 - 77.
  • Hessman, Tina. “The Art of Perception: Painters Help Color Scientists’ Ideas of How Brain Sees Images.” Dallas Morning News, September 20, 1999, pp. 7D-8D.
  • “Hillary, Herself.” New York Times Magazine. 30 May 1999: cover illustration by Chuck Close.
  • Kent, Sara. “Preview: Close to the Edge.” Time Out (London), August 4 - 11, 1999, p. 51.
  • MacRitchie, Lynn. “Squared Up to Friends.” Financial Times (London), p. 9.
  • Murphy, Dominic. “Heads I Win.” Guardian Weekend (London), July 3, 1999, pp. 24 - 25, 27, 30.
  • Nochlin, Linda, Richard Kalina, Lynne Tillman, and Jerry Saltz, “Four Close-Ups (and One Nude).” Art in America, February 1999, pp.66-73, 127.
  • O’Rorke, Imogen. “Chuck close: Head Lines.” Tate The Art Magazine (London), Summer 1999, pp.6 - 7
  • Pelli, Denis. “Close Encounters - An Artist Shows that Size Affects Shape.” Science, 6 August 1999, pp. 844 - 846.
  • —. “An Artist’s Work Blurs Lines Between Art and Science.” New York Times, 10 August 1999, p. F5.
  • Sarver, Patrick. “The Adamson Connection.” Digital Fine Art, Winter 1999, pp.22-31.
  • Schrader, Christopher. “Der Kunst auf der Spur: Sie lüften das Geheimnis der Fantasie und Erklären Åsthetik: Wissenschaftler bezeichnen Kunst als Instrument der Hirnforschung.” Facts Das SchweizerNachrichtenmagazin, 26 August 1999, pp.114-118.
  • Shiff, Richard. “Chuck Close: La réalité dévisagée,” Beaux Arts Magazine (Paris), August 1999, pp. 36 - 41.
  • Sultan, Terrie. “Contemporary Portraiture’s Split Reference.” Art On Paper, March - April, 1999 p. 38-42.
  • Westerbeck, Colin, “Modern and Contemporary Art: The Lannan Collection at The Art Institute of Chicago: Chuck Close.” Edited by Jeremy Strick, Museum Studies 25, No.1 (1999); pp.74 - 77
  • Adams, Brooks. “Close Encountered,” Artforum, April 1998, pp.90 – 98 and 135.
  • Adato, Allison. “Chuck Close, The Magic of Art: A Master Painter Shows How He Does It,” Life, February 1998, pp.48 - 53
  • Allen, Jane and Derek Guthrie, “Rewind: Chuck Close,” Chicago Tribune, 28 June 1998, p.4
  • Aloff, Mindy, “Chuck Close: Painting as Performing Art,” Graphis 313, No.313, 1998, pp.32-41
  • Anfam, David, “New York and Chicago: Chuck Close,” Burlington Magazine (London), August 1998, pp.583 - 584.
  • Anzelowitz-Tanner, Lois. “Close Encounters,” Where New York, April, 1998, pp. 28-29.
  • “Artbeat: Chuck Close,” Travel and Leisure, March 1998.
  • Artner, Alan G. Chicago Tribune, July 5, 1998, p. 5.
  • Athineos, Doris. “The Directors’ Cuts,” Wine Spectator, April 30, 1998, p.353.
  • Brody, Jacqueline. “Chuck Close: Innovation Through Process,” On Paper, March - April 1998, pp. 18-26.
  • Belcove, Julie L. “Close Up: A new MoMA retrospective celebrates 30 years of Chuck Close.” W, February 1998, pp. 204-208.
  • Budick, Ariella. “About Faces: Contradictions Abound in MoMA Exhibit of Chuck Close’s Colossal Mug Shots,” New York Newsday, March 4, 1998, p. B3, part II.
  • “Chuck Close at MoMA,” Flash Art, January/February 1998, p. 45.
  • “Close Readings.” New and Noteworthy, Museums New York, Winter 1998, p.14.
  • Conroy, Sarah Booth. “For Friends of Art, a Welcome Home,” Washinton Post, June 1, 1998, Styles Section, p. 2.
  • Costello, Daniel. “Chuck Close’s Recommendations,” Wall Street Journal, April 24, 1998, Futures and Options, p. W2.
  • Drew, Karin. “Sketchbook: Show Not To Miss.” Art & Antiques, March 1998, p. 24.
  • Drolet, Owen. “Chuck Close at MoMA.” Flash Art, January-February 1998, p. 45.
  • Ebony, David. “Ganz Sale Dominates Fall Auctions,” Art in America, January 1998, p. 31.
  • “For the Arts and Good Causes.” Photographs by Bill Cunningham. New York Times, March 1, 1998.
  • Gardner, James. “Up Close and Impersonal,” National Review, 18 May 1998, pp.58-59.
  • Glatt, Cara. “A Closer Look at a Legendary Artist,” Hyde Partk Herald (Chicago), 7 July 1998.
  • Glaubinger, Jane. “Chuck Close.” The Cleveland Museum of Art Memebers Magazine. January 1998, pp.8-9.
  • Goodrich, John. “Up Close and Personal,” Review (London), 1 May 1998, pp.1 and5-6
  • Gregg, Gail. “The Making of a Retrospective,” Art News, April 1998, pp.142 - 147 and cover.
  • Guimaraes, Marcelo Lima. “Chuck Close ganha mostra em Chicago,” Folha de Sao Paulo, 3 July 1998, p.5
  • Hanson, Doug. “Weinstein’s Close Show a Standout.” Minneapolis Star Tribune, 27 March 1998, p.E4.
  • Hill, Olga. “CE Calendar, Spring ‘98.” WE Magazine, March 1998.
  • Hoban, Phoebe. “See the Art and Read the Book.” New York Times,
  • March 1, 1998, Sunday Styles, section 9, p.6.
  • Hogrefe, Jeffrey. “Chuck Close Up: A Portrait of the Artist.” New York Observer, 9 March 1998, Art Diary, p. 20
  • Holg, Garrett. “Closeup on Chuck Close,” Chicago Sun Times, June 14, 1998
  • Huebner, Jeff. “Talking Head: A Conversation with Chuck Close,” Chicago Tribune, July 5, 1998, pp.1, 5
  • Hughes, Robert. “Close Encounters,” Time, April 13, 1998, pp. 209-210.
  • Kaminker, Laura. “Chuck Close and the Salvation of Work,” New Mobility, December 1998, pp. 30-39
  • Kamps, Louisa. “Facing Up to Chuck Close: A Retrospective for a Master Portraitist,” Mirabella, January/February 1998, p. 26
  • Kean, Amy. “Calendar: Museum Pick,” New York Post, March 13, 1998
  • Kennedy, Kerrie. “Face to Face,” Windy City Times (Chicago), August 20, 1998
  • Kimmelman, Michael. “Playful Portraits Conveying Enigmatic Messages,” New York Times, February 27, 1998, E33, E35
  • Klawans, Stuart. “Critics’ Choice: Museums.” Daily News, February 28, 1998
  • “Kleinkarierte Bilder mit Uberraschungseffekt.” Spektrum der Wissenschaft, October 10, 1999, p. 25
  • Kramer, Hilton. “Chuck Close’s MoMA Show? You Could Do a Lot Worse,” New York Observer, March 9, 1998 12, no. 9, pp. 1, 26
  • Kuspit, “Heroic Isolation or Delusion of Grandeur?” Chuck Close’s Portraits of Artists,” Art New England, June/July 1998, p. 11
  • Levin, Kim. “Voice Choices: Chuck Close.” New York Village Voice, March 3, 1998, pp. 69-70
  • Lewis, Jim. “Chuck Close in Close-Up,” Harper’s Bazaar, February 1998, pp. 184 - 189
  • Longmire, Stephen. “What’s in a Face?” Chigago Reader, September 4, 1998, pp. 34, 36-37
  • Lustig, Jessica. “TakeOut: A Sampling of the Best Things to See and Do this Week.” Time Out New York, February 1998, pp. 183-89
  • Lynch, Kevin. “Show Intrigues in New Museum Gracing Chicago,” Capitol Times, August 12, 1998, p. 4
  • Meijas, Jordan with photographs by Timothy Greenfield-Sanders. “Das Fremde Gesicht: Chuck Close Malt Robert Rauschenberg.” Frankfuter Allgemeine Magazin, 11 Woche, March 13, 1998, pp. 30-33
  • Naves, Mario. “An Ongoing Viability,” New Criterion, May 1998, pp. 40 - 42
  • Newhall, Edith. “Retrospective: Talking Pictures.” New York, March 2, 1998, p. 78
  • Newman, Howard. “The Gallery ‘98: Head and Shoulders Above the Rest,” River North News (Chicago), p. 16
  • “98 People to Watch in ‘98,” Time Out New York, January 29 - February 5, 1998, p. 6, p. 10
  • O’Sullivan Michael. “Chuck Close’s Many Faces,” Washington Post, December 4, 1998, pp. 70
  • Packer, William. “An artist down to his fingertips: William Packer on the career of the American painter, Chuck Close.” Financial Times (London) April 7, 1998, The Arts.
  • Perl, Jed. “Jed Perl on Art, ‘Death and Realism.’” New Republic, April 20, 1998, pp. 25-30.
  • “Picks: Chuck Close,” The New York Press, February 25-March 3, 1998.
  • Prose, Francine. “The Gallery: Up Close to Close,” Wall Street Journal, March 4, 1998, p. A16.
  • Riddle, Mason. “Up Close and Personal.” Saint Paul Pioneer Press, March 16, 1998 Metro Final Edition Express Section, Showtime: A daily guide to what’s new in the arts and entertainment, p. 8D.
  • Rimanelli, David. “Preview Winter/Spring ‘98: Chuck Close,” Artforum, January 1998, p. 29.
  • Rockmore, Dan. “Mathematical Metaphors Abound in Art and Fiction,” New York Times, September 1, 1998, p. F4.
  • Roob, Rona. “From the Archives: Chuck Close and MoMA.” MoMA the magazine of The Museum of Modern Art, March/April 1998, p.34.
  • Rosoff, Patricia. “Close to Reality,” Hartford Advocate, February 12, 1998.
  • Schama, Simon. “Head Honcho,” New Yorker, March 23, 1998, pp. 91-93.
  • Schipprack, Annette. “Fine art painting is not just a fun game,” (translated from: Malerei ist kein Spiel, das nur Spaß macht.) Focus (German magazine) February 21, 1998, pp. 120-121.
  • Scott, Whitney. “Close Encounter,” New York Post, March 7, 1998.
  • Sheets, Hilarie M. “UP NOW: Chuck Close,” Art News, May 1998, p. 169.
  • Shiff, Richard. “All over You: The Art of Chuck Close,” Artforum, April 1998, pp. 92 - 98, 135, 138.
  • Span, Paula. “Chuck Close, the Big Picture: The Artist’s New Perspective After the ‘Event’ Of a Lifetime.” Washington Post, February 22, 1998, pp. G1, G8-
  • Solomon, Deborah. “The Persistence of the Portraitist,” New York Times Magazine, February 1, 1998, pp. 24 - 30, 52, 60, 66, 70 - 73.
  • Sozanski, Edward J. “Artist Chuck Close gets a lot of face time.” Philadelphia Inquirer, March 22, 1998, p. F14.
  • Stevens, Mark. “Machine Dreams.” New York Magazine, March 9, 1998, pp. 54 - 56.
  • Storr, Robert. “Chuck Close.” Museum of Modern Art, New York. (A 12 page publication accompanying the exhibition).
  • Sunward, Justin. “You Won’t Believe Your Eyes.” Gay Chicago Magazine, July 30 1998, p. 42.
  • Valeo, Tom. “Close: New Approach Coloring His Artwork.” Arlington Heights Daily Herald (Chicago), July 6, 1998, pp. 1, 6.
  • Vincent, Steven. “Portrait of the Artist: Chuck Close.” Art & Auction, February 1998, p. 60.
  • Vincent, Steven. “What’s the Hurry.” Art & Auction, November 16, 1998, pp. 44 - 49.
  • Weiner, Dorothy. “Up Close and Very Personal.” LN (Missouri), January 30, 1998, Design: Art Galleries, pp. 20-30.
  • Williams, Kevin M. “Portrait Artist Gets Intimate.” Chicago Sun-Times, June 19, 1998, p. 41.
  • Worth, Alexi. “The Close Web.” Art News, May 1998, p. 100.
  • Woulfe, Molly. “Mr. Big, Chuck Close: A Painter Whose Life is Bigger Than Art.” Herald News, July 5, 1998, p. B1, B4.
  • Yablonsky, Linda. “Close as Can Be.” Time Out New York, March 12–19, 1998, p. 59.
  • Zitelli, C. “Up Close on Chuck Close.” At Your Leisure, March 6–March 12, 1998.
  • Artner, Alan. “2 Chicago Museums Hit Art Jackpot,” Chicago Tribune, 26 February 1997, pp.C1 and 18
  • "Assignment: Times Square/A Special Photography Issue, REAL: Chuck Close, Never out of Character," New York Times Magazine, 18 May 1997, pp.81-85.
  • Decker, Andrew. “Conjuring Consensus.” Art News 96, No.1, January 1997, pp.58-59 and 64
  • The editors. "The New Season: Our Guide to What's Happening This Fall, Plus a Look at Things Coming Up Next Year." Art News96 No.8, September 1997, p.113.
  • Farr, Sheila. "A Portrait of the Portraitist. Art: Chuck Close overcomes problems and creates them." Seattle Weekly 22, No.25, 18 June 1997, p.36.
  • Gardner, Paul. “Who Will Be Remembered in the Year 2022?” Art News, November 1997, pp.200 - 203
  • Hackett, Regina. "A stroke has not diminished his stroke," Seattle Post-Intelligencer, Wednesday, 18 June 1997, sec.C pp.C1 and C3
  • Hogrefe, Jeffrey. "Sticking Close to Chuck..." New York Observer, p.27
  • Kimmelman, Michael. “At The Met with Chuck Close: Sought or Imposed, Limits Can Take Flight,” New York Times, July 25, 1997, pp C1, 23.
  • Kimmelman, Michael. “Hypnotized by Mug Shots That Stare Back: Are They Windows or Mirrors?” New York Times, August 27, 1997, pp. C9, 12.
  • Landi, Ann. “The 50 Most Powerful People in the Art World,” Art News 96, no.1, January 1997, pps. 90-97.
  • Lovelace, Carey. “Bartman, A.R.T. Man,” Art News, vol. 96, no 10, November 1997, p.52.
  • MacAdam, Barbara A. “Vasari Diary: Close to Bill.” Art News 9 (January 1997), p. 29.
  • McTaggart, Tom. "Dot Dot Dot," Stranger (Seattle) 6, no.40, June 26-July 2, 1997, p.23.
  • Marmor, Jon. “Close Call: The UW Alumnus Summa Laude Dignatus Was a Pioneer in Photorealism and Survived a Spinal Blood Clot to Paint Again,” Columns The University of Washington Alumni Magazine, 17, no. 2, pp. Cover, 18-23.
  • Murdock, Robert M. “Project Painting.” Review, 3, no.2, (October 1, 1997), pp. 20-21.
  • Riley II, Ph.D, Charles A. "Chuck Close: Is He America's Greatest Artist?" WE, June 1997, pp. 58-64
  • Sozanski, Edward F. “Close/Cadmus: A tiny show that does a great deal.” Philadelphia Inquirer, Sunday May 4, 1997, p. F11.
  • Smith, Roberta. “On the History of Cool, A Show Is Hip to America.” New York Times, August 17, 1997, p.35
  • Smith, Roberta. “Project Painting,” New York Times, 26 September 1997. p.E37
  • Timberlake FA’83, James. “Touring Italy with Trustee Chuck Close RV’95.” SOF News :The Society of Fellows of the American Academy in Rome, Fall/Winter, 1997. pp. 12-14.
  • Vogel, Carol. “A Night of Records for 8 Contemporary Artists,” New York Times, November 20, 1997, p. B12.
  • Weber, Ben. “Acclaimed American Artist Chuck Close Talks to Ben Weber,” Enable Magazine, Premiere Issue, August 1997, pp. 80 - 84.
  • Adams, Brooks, ‘Domestic Globalism at the Carnegie’, Art in America, February 1996, pp.32-37
  • Aletti, Vince. “Voice Choices: Photo Short List.” New York Village Voice, November 19, 1996, p. 11
  • Angell, Roger. “Life Work,” New Yorker LXXI, no. 44, January 15, 1996, pp. 48-49.
  • Artner, Alan G. “‘Affinities’ at Art Institute,” Chicago Tribune, April 21, 1996, Section 7, p. 4.
  • Artner, Alan G., “Work Ethic: Linking Chuck Close and Tom Friedman on the basis of effort.” Chicago Tribune, May 3, 1996, section 7, p. 58.
  • Atamian, Christopher, “Project Painting.” Review, Vol.3, No.2, 1 October 1997, pp.19-20.
  • Benezra, Neal. “Carnegie International.” Atelier, No.825, March 1996, pp.13-17.
  • Blair, Dike. “Chuck Close at PaceWildenstein,” Flash Art, No.187, March-April 1996, p.111.
  • Bloom, Amy. “A Face in the Crowd.” Vogue, December 1996, pp.293-297.
  • Brunskill, Joan. “Painter Close Tests Limits of his Medium.” Houston Chronicle, March 10, 1996, p.47A
  • Brunskill, Joan. “Painting outside the lines: Handicapped artist refuses to let accident get in the way of his work.” Rutland (Vermont) Herald and The Sunday Times Argus, Section E, March 10, 1997, pp.E1 & E4
  • Brunskill, Joan. “Artist Chuck Close is in top form,” Mobile Register, April 7, 1996.
  • Bryant, Eric. “Chuck Close: Life and Work, 1988-1995.” Library Journal, February 15, 1996.
  • Canton, Katia. “Revelacao norte-americana vira a Bienal.” Folha de S. Paulo, June 22, 1996, p. 3
  • Carrier, David. “Reviews, Carnegie International.” Artforum XXXIV, no. 5, January 1996, pp. 89-90
  • Cotter, Holland. “A Personal Portrait, Works and Papers,” New York Times, November 1, 1996, p. C32.
  • Crisafulli, Anthony and Paul Johnson. “Chuck Close: His Portraits Set the Pace,” Cover, Holidays 1996, pp. 16-19.
  • Decker, Andrew. “Conjuring Consensus: The art-world buzz is a critical factor in whether an artist gets noticed, shown, or even bought. But how is it formed? And by whom?” Art News, Special Issue: The Cutting Edge, October 1996, p. 60.
  • Fujio, Yasuhide. (interview) “Carnegie International Curator, Richard Armstrong.” Atelier, no. 825, March 1996, pp. 2-11
  • Gardner, Paul. “Pleasure, Pain & Protocol: Studio Visits,” Art News 95, no. 3, March 1996, pp. 106-109
  • Grabner, Michelle. “Chuck Close and Tom Friedman,” Frieze, (month ?) 1996, pp. 76-77.
  • Gruen, John. “Long Island Books: Chuck Close.” East Hampton Star, January 18, 1996, pp. III 1-3
  • Grynsztein, Madeleine. “Affinities: Chuck Close and Tom Friedman.” Art Institute of Chicago Members’ Magazine, March-April 1996, pp. 13-14.
  • Hall, Jacqueline. “Portraits Delve into Psyche.” Columbus Dispatch, March 3, 1996.
  • Halle, Howard. “Chuck Close, ‘Large-Scale Photographs’,” Time Out New York, November 14-21, 1996, p. 46.
  • Holg, Garrett. “Two of a Kind?” Chicago Sun-Times, June 2, 1996, p. 8.
  • Katz, Vincent. “Review of ‘Chuck Close: Life and Work, 1988 - 1995’ by John Guare.” Print Collectors’ Newsletter, May-June 1996, p. 71.
  • Kaufman, Jason Edward. “Bountiful Harvest for U.S. Museums.” Art Newsletter XXI, no. 10, January 9, 1996, pp. 1-2.
  • Kimmelmann, Michael. “In Los Angeles, The Makings of a Better Mood,” New York Times, January 14, 1996, p. H37.
  • Kino, Carol. “Realism: The New Hip?” Art News, vol. 96, no. 2, pp.96-99.
  • Kissick, John. “You’re Looking at Me. I Know You’re Looking At Me. The 1995 Carnegie International Looks Back.” New Art Examiner, vol. 23, no. 5, January 1996, pp. 16-21.
  • Kuczynski, Alex. “The Eight-Day Week.” New York Observer, January 8, 1996.
  • Leddy, Kim. “Real Folk.” Columbus Alive, March 3, 1996, p. 26.
  • MacAdam, Barbara A. “Vasari diary: Urban Dreamers,”Art News vol. 95, no. 4, April 1996, pp. 39-40.
  • “Magnificent Obsessions,” Chicago Magazine, April 1996
  • Moos, Davis. “Architecture of the Mind, Machine Intelligence and Abstract Painting.” Art & Design 11, May-June 1996, pp. 54-63
  • Muchnic, Suzanne. “Chuck Close at PaceWildenstein, Beverly Hills,”Art News 95, no. 1, January, 1996, pp. 130-131
  • O’Hara, Delia. “Unique Artists Find Common Ground,” Chicago Sun-Times, April 26, 1996, p. 9
  • Pacheco, Patrick. “America’s Best, Corporate Art Collections.” Art & Antiques XIX, no. 1, January 1996, pp. 32-41
  • “Portrat mit Pickel.” Spiegel, no. 12, 1996, p. 10
  • Schjeldahl, Peter. “At Close Quarters,” New York Village Voice, January 9, 1996, p. 67.
  • Schwartzman, Allan. “Beverly Hills - And Beyond,” Art & Auction
  • XVIII, no. 7, February 1996, pp. 86-89, 112-113.
  • Schwartzman, Allan. “Clueless.” Art & Auction 18, November 1996, pp. 116-119, 152-153.
  • Shiff, Richard. “Realism of Low Resolution.” Apollo (London) 144, November 1996, pp. 3-8.
  • Simpson, Rebecca. “Flirting With Reality.” Sun Post, December 26, 1996, p. 19.
  • Span, Paula. “To Be a New York Art World Player, You Have to Know the Rules.” Washington Post, February 18, 1996, p. G6.
  • Tully, Judd. “To MoMA from Met.” Art & Auction 18, no. 8, March 1996, pp. 25-26.
  • Tully, Judd. “Around the Block. New York. Close Encounters.” Art & Auction18, no. 7, pp. 18-20.
  • Turner, Elisa. “MoCA Exhibit Blurs Line Between Real, Reproduction.” Miami Herald, December 22, 1996.
  • Vogel, Carol. “Chuck Close to Get a Show at the Modern.” New York Times, January 31, 1996, p. C11.
  • Wallis, Stephen. “Close to Home.” Art & Antiques 19, no. 1, January 1996, pp. 80-81.
  • Weiss, Marion Wolberg. “Review: Chuck Close by John Guare.” Dan’s Papers, February 9, 1996.
  • Wilk, Deborah. “Chuck Close, Tom Friedman,” New Art Examiner 24, September 1996, pp. 37-38.
  • “Academicians Give Out Prizes.” Art Newspaper, June 1995, p.2
  • Aletti, Vince. "Photo," New York Village Voice, July 25, 1995, p. 10
  • Anderton, Frances. “Letter from Los Angeles,” Art Newspaper, November 1995, p. 13
  • Auer, James. “Art Museum Exhibit Embraces Pluralism,” Milwaukee Journal Sentinel, September 10, 1995, pp.1, 12
  • Baker, Kenneth. “Chuck Close: The Crisis That Changed His Art,” San Francisco Examiner & Chronicle, December 10, 1995
  • “Buzz Bets, New Kid in Town.” Buzz, September 1995, p. 24
  • Christy, George. “The Great Life.” Hollywood Reporter, October 5, 1995, p. 23
  • “Chuck Close: Working with Portraits.” Scholastic Art 25, no. 4, February 1995, pp. 1-9
  • Close, Chuck. “Returned to Sender, Remembering Ray Johnson, Golf War.” Artforum 33, no. 8, April 1995, pp. 73 and 111
  • Close, Chuck. “Critical Reflections, Adam Gopnik,” Artforum, April 1995, p. 76
  • "Chuck Close: Working with Portraits," Scholsatic Art, February 1995
  • Dellinger, Jade R. “Chuck Close.” Printmaking Today, Spring 1995 4, pt. 1, pp. 13-14
  • Donohue, Marlena. “Los Angeles Gallery Dynamic Changes with Bicoastal Art Merger.” Christian Science Monitor, November 15, 1995, p. 13
  • Fellman, Bruce. “The Arts Amid Academe.” Yale Alumni Magazine, February 1995, pp. 46-49
  • “Forecasts: Chuck Close Life and Work 1988-1995.” Publishers Weekly, November 20, 1995, p. 64
  • Gebroe, Erin. “PaceWildenstein’s New Canvas.” Beverly Hills News, September 28, 1995
  • Goodwin, Betty. “Gallery Party Leaves ‘Em All Out on the Streets,” Los Angeles Times, October 2, 1995
  • Greene, David A. “Chuck Close at PaceWildenstein,” Art Issues, November-December 1995, p. 43
  • Guare, John. “Close Encounters of an Incredible Kind,” Interview, November 1995, pp. 80-83
  • Guequierre, Nathan. “Slavishly Hip, Strangely satisfying, Painting in the ‘90s stresses content over form.” Shepherd Express, October 12, 1995
  • Haden-Guest, Anthony. “Of Dealers and Players,” New Yorker, October 2, 1995, pp. 36-37
  • Hagen, Charles. "Art in Review: 'Large Bodies'," New York Times, July 28, 1995, p. C21
  • Halle, Howard. “Close to You,” Time Out New York, December 13-20, 1995, p. 22
  • Halpert, Peter Hay. “Stealing a March on New York in LA,” The Art Newspaper, October 1995, p. 36
  • Hamann, Brad. “Bridled Passions.” Barron’s, April 24, 1995, pp. 27-31
  • Isikoff, Michael. “To Be or Not to Be.” Newsweek, January 23, 1995, pp. 64-67
  • Karmel, Pepe. “Art in Review: ‘Me’” New York Times, April 28, 1995, p. C34
  • Kaufman, Jason Edward. “‘Furniture’ and Architecture Invade the Art,” The Art Newspaper, no. 53, November 1995, p. 12
  • Keiser, Ellen. “‘Face Value’: Parrish Show Asks ‘What is a Portrait?” Southampton Press, July 20, 1995, pp. B1, 9
  • Kimmelman, Michael. “Art in Review: Chuck Close’s Big Change,” New York Times, December 8, 1995, p. C28
  • Knight, Christopher. “A Blue-Chip Gallery Sees Blue Skies in L.A.,” Los Angeles Times, August 13, 1995, pp. 53 and 56
  • “Korea Launches New Biennale,” Art in America, September 1995, p. 31
  • Kramer, Hilton. “Abolish the Carnegie, That Warhol Hellhole,” New York Observer, November 20, 1995, pp. 1, 25
  • Landi, Ann. "The 50 Most Powerful People in the Art World," Art News Special Issue, July 1995, pp. 52-62
  • Lawrence, Thomas. “Chuck Close: ‘Recent Paintings at PaceWildenstein,” Manhattan Arts, Winter 1995, pp. 6-7
  • Levin, Kim. “Art Short List: Chuck Close.” New York Village Voice, December 12, 1995
  • Liebmann, Lisa. “Book Forum, Insider Editions.” Artforum 34, no. 3, November 1995, pp. 9, 31, 34
  • McGee, Celia. “Portraiture Is Back, But, My, It’s Changed.” New York Times, January 1, 1995, section 2, pp. 1, 35
  • Muchnic, Suzanne. “New Galleries to Brighten Los Angeles Scene,” Art Newsletter XXI, no. 1, September 5, 1995
  • Muchnic, Suzanne. “Freeway Frenzy,” Art News, November 1995, pp. 69-70
  • Napack, Jonathan. “A Carnegie Catastrophe.” New York Observer, December 11, 1995, p. 43
  • Newhall, Edith. “A Question of Taste,” Art News, September 1995, p. 30
  • Pagel, David. “Chuck Close at PaceWildenstein,” Art & Auction, September 1995, pp. 64, 66
  • “Portraits of the Artists,” New York, December 11, 1995, p. 107
  • Raabe, Nancy. “Is Painting Dead?” Milwaukee Magazine, November 1995, p. 96
  • “Redefining Portraiture.” Sag Harbor Express, July 13, 1995, p. 10
  • Rimanelli, David. “Art Previews: New Ventures,” Bazaar, September 1995, p. 31
  • Sansegundo, Sheridan. “A Focus on Faces.” East Hampton Star, July 20, 1995, p. III-6
  • Schloske, Werner. “Chuck Close malt Phil Glass.” Dabei (Stuttgart) 26, 1/2 1995, pp. 63-65
  • Schultz, Helmut G. “Zum Bei spiel: Chuck Close.” Kunst & Unterricht, no. 190, March 1995, pp. 10-11
  • Schwartzman, Allan; interview of Richard Armstrong. “All-Star Casts,” Artforum 34, no. 3, November 1995, pp. 23-24.
  • Albertini, Rosanna and Gary Simmons. “Lannan Foundation.” Art Press, January 1995, no. 208, p. 76
  • Slonim, Jeffrey. “In With The Out Crowd.” Artforum, March 1995, pp. 12-14
  • Solomon, Deborah. “Christmas Books: On Art and Everything Else.” Wall Street Journal, December 7, 1995, p. A12
  • Vogel, Carol. "Inside Art: More Contemporary Art," New York Times, June 23, 1995, p. C26.
  • Vogel, Carol. "Art in the Hamptons: More is Clearly More," New York Times, August 8, 1995, pp. C13, C 15
  • Vogel, Carol. “Inside Art: Wrong Galleries.” New York Times, December 1, 1995, p. C28.
  • Waxman, Sharon. “Big Galleries Give Los Angeles a Higher Profile,” International Herald Tribune, December 14, 1995, p. 24.
  • Wilson, William. “A New Dealer Bets On the Blue Chips.” Los Angeles Times, October 3, 1995, pp. F1, F8.
  • Yuskavage, Lisa. "Chuck Close," Bomb, no. 52, Summer 1995, pp. 30-35
  • Bode, Peter. “Im Gesicht die Wahrheit Suchen.” Abendzeitung, July 13, 1994, p. 9.
  • Breyer, Heinrich. “Folgenreiche Kleinodien, Mittelalterliche Buchmalerei aus dem Kloster Seeon.” Feuilleton, no. 160, July 14, 1994, p. 12.
  • “‘Chuck Close’ Retrospektive.” Karlsruhe, April 1994.
  • Close, Chuck. “Lucas woodcut (1992-93).” Art News 93, December 94, cover.
  • Close, Chuck. Interview with Kiki Smith, Bomb, Fall 1994, pp. 38-45.
  • Donovan, Molly. "Minimal to Conceptual: The Dorothy and Herbert Vogel Collection," American Art Review VI, no. 5, October-November, 1994, pp. 150-155.
  • Erdman, Ziegler, Ulf. “Modell in Arbeit. Chuck Close im Kunstbau des Lenbachhauses.” die tageszeitung, July 27, 1994, pp. 12-13.
  • “Exporama.” Art Press, no. 187, January 1994, p.72
  • Gardner, Paul. "Who Are the Most Underrated and Overrated Artists?," Art News, February 1994, pp. 110-115.
  • Gardner, Paul. “Deep Dishing.” Art News, November 1994, p. 103.
  • Gardner, Paul. “Light, Canvas, Action! When Artists Go to the Movies.” Art News 93, no. 10, December 1994, pp. 124-129 and cover.
  • Gassert, Siegmar. “Triumph Der Malerei.” Ausstellungen, May 13, 1994, p. 14.
  • Gookin, Kirby. "Reviews: Chuck Close," Artforum 32, no. 7, March 1994, pp. 84-85.
  • Grant, Daniel. "Art on the Walls or Underfoot," Art & Antiques 26, no. 4 April 1994, p. 20.
  • “Großer Akt der Freheit. Chuck Close Retrospektive.” Badische Heneste Hachrichten, Germany, April 11, 1994.
  • Haendle, Rainer. “Transport von kunstschatzen aus Amerika kostet ein Vermogen.” Badische Neueste Nachrichten, Germany, May 7, 1994.
  • Heybrock, Christel. “Zersprengte Giesichter, Malerei mit Giefuhl...” Mannheimer Morgen, Germany, April 16, 1994.
  • “Hin zum inneren Gesicht der Malerei.” Badisches Tagblatt, Germany, April 11, 1994.
  • Holert, Tom. “Die Portratmaschine. Vom Fotorealismus zu leuchtenden Farbfeldeon: Chuck Close.” Vogue (Germany) April 1994.
  • Lacher, Irene. “New York’s Pacific Rim Shot.” Los Angeles Times, Calendar, November 27, 1994, pp. 3, 86, 88, 90.
  • Lingeman, Susanne. “Chuck Close: Porträits sind seine Romane.” Arte das Kunstmagazin, no. 4, Germany, April 1994, pp. 54-63.
  • McGee, Celia. “The Resurgence of Portraiture.” International Herald Tribune, December 31, 1994, p. 6.
  • Meier-Grolman, Burkhard. “Zahnburste im Raum, eine Eule, Giesichter zum Spazierengehem...” Kulturspiegel, April 12, 1994.
  • Meinhardt, Johannes. “Chuck Close.” Kunstforum International, Germany 127, July - September 1994, pp. 328-329.
  • Muller, Hans-Joachim. “Die Lackhaut und der Pickel...” Die Zeit, no. 16, Germany, April 15, 1994.
  • "News: Two New Museums Open," Flash Art, October 1994, p. 33.
  • Padon, Thomas. "Reviews in Brief: Chuck Close," New York Review of Art, February 1994, p. 15.
  • Pagel, David. “Facts and Figures: When Metaphors Replace Objectivity.” Los Angeles Times, December 29, 1994, p. F14
  • Parisch, Susanna. “Die Reproduktion einer Reproduktion...zur Chuck Close - Retrospektive in Munchen.” Neue Zurcher Zeitung, Germany, July 30, 1994
  • “Portrait Kolorist Chuck Close.” Kunstmarkt (Germany), May 94, p. 9
  • Rainer, Wolfgang. “Wie die Lupe Higen Kahn...” Stuttgarter Zeitung, Germany, April 16, 1994
  • "Retrospective Chuck Close," Artis, April/May 1994, p. 60
  • Rosenblatt, Roger. "A Painter in a Wheelchair," Men's Journal 3, no. 2, March 1994, pp. 23-24
  • Saltz, Jerry. “A Year in the Life: Tropic of Painting.” Art in America, vol. 82, no. 10, October 1994, pp. 90-101
  • Sewera, Katharina. “Chuck Close: Die Nahe des rechtigen Moments.” Kleine Zeitlung (Graz, Austria), July 1994
  • Smith, Roberta. "Art in Review: 'A Floor in a Building in Brooklyn'," New York Times, July 22, 1994, p. C24
  • Sonna, Birgit. "Chuck Close: Oszillation des Realen," Kritik, no. 3, March, 1994, pp. 42-47
  • Stein, Deidre. "Chuck Close: 'It's Always Nice to Have Resistance'," Art News 93, no. 1, January 1994, pp. 95-96
  • Stein, Deidre. "Reviews: Chuck Close - Pace," Art News 93, February 1994, pp. 135-136
  • “The Marie Walsh Sharpe Foundation.” American Artist 58, June 1994, p. 41
  • Tully, Judd. "Les Vieux Artistes sont-ils Bons à Jeter?" Beaux Arts, May 1994, pp. 98-104
  • “Two New Museums Open,” Flash Art, October 1994, p. 33
  • Valentin, Beate. “Amerikanische Postionen.” Handelsblatt, April 29-30, 1994
  • Van Wyck, Bronson. “Interview: Chuck Close.” The Yale Literary Magazine 5, nos. 2 & 3, Autumn & Spring 1993-94, pp. 44-49
  • Vogele, Christoph. “Giesichter-hautnah und schonungslos...” Schaffhauser Nachrichten, Germany, April 12, 1994, p. 9
  • Voigt, Kirsten. “Vibration und Standpunktsuche.” Badisches Tagblatt, Germnay, April 9, 1994
  • Von Kageneck, Christian. “Vorn Finger-bis zum Seelenabatuck...” Hessiche/Niedersachsische Allegemeine, no. 87, Germany, April 15, 1994, p.12
  • “Zeitgenossicscher Maler in Baden-Baden.” Pharmazeutische Zeitung, Germany, March 10, 1994
  • Zerbst, Rainer. “Punktuelles Malen.” Eblinger Zeitung, Germany, April 25, 1994
  • Auping, Michael. “Face to Face: Portraits from the Collection of the Metropolitan Museum of Art.” Artforum 32, October 1993, pp. 66, 71
  • Bandler, Michael. "Chuck Close," Trends (Japan), January/February 1993, pp. 36- 40
  • Barringer, Felicity. "Matisse: 'He's Kind of Cast a Spell on Me'," Art News 92, no. 4, April 1993, p. 150
  • Birke, Judy. “Famous Graduates Paper Walls with Talent in ‘Yale Collects Yale.” New Haven Register, May 23, 1993, pp. D1, 4
  • "Charting New Worlds, Camera in Hand," New York Times, July 11, 1993, p. 29
  • Close, Chuck. "He Called Me Chuck," Artforum 32, no. 1, September 1993, pp. 122-123
  • Close, Chuck and Michael Auping. "Face to Face: Portraits from the Collection of the Metropolitan Museum of Art," Artforum 32, no. 2, October 1993, pp. 66-71
  • Danto, Arthur C. "Close Quarters," Elle Decor 4, no. 1, February/ March 1993, pp.98-107
  • De Ferrari, Gabriella. "Close Encountered," Mirabella, no. 54, November 1993, pp. 78-80
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  • Gardner, Paul. "Picasso: 'You Can Never Write ‘The End'," Art News 92, no. 4, April 1993, pp. 116-119
  • Glueck, Grace. "Habit-Forming Close-ups; Playpen-Style Post-structuralism," The New York Observer, November 22, 1993, p. 24
  • "Goings On About Town: Art," The New Yorker, May 31, 1993, p. 18
  • "Goings On About Town: Art," The New Yorker, September 20, 1993, p. 22
  • Greeven, Cristina. “Chuck Close Up.” Hamptons, Memorial Day, 1993, pp. 74-75
  • “Hanging Offence, David Sylvester at the Royal Academy.” London Review of Books, October 21, 1993, pp. 10-11
  • Herndon, David. “Shooting One-on-One.” New York New York Newsday, March 24, 1993, pp. 47, 50-51
  • Joyner, Will. “Is It Art? Just Ask Any Child.” New York Times, November 12, 1993, pp. C1, 3
  • Kimmelman, Michael. "Art in Review: Chuck Close," New York Times, November 5, 1993, p. C31
  • Kohen, Helen. “Photo Show Entices and Amazes.” Miami Herald, January 17, 1993, pp. I1, 4
  • Laberge, Fred. “The Art of the Blues.” Yale Alumni Magazine LVI, no. 7, May 1993, pp. 36-43
  • Laberge, Fred. “University Collectors Come Close To Creative Brilliance in Show at Yale Art Gallery.” New Haven Register, May 2, 1993, pp. D1, 4
  • MacAdam, Barbara. "The Strength of a Lion," Art News 92, no. 3, March 1993, p. 19
  • MacAdam, Barbara. "The Mind and the Fingertips," Art News 92, no. 5, May 1993, p. 28
  • Malcolm, Daniel R. “Pring Project by Chuck Close.” The Print Collector’s Newsletter, November - December 1993 24, p. 178.
  • Newhall, Edith. "Close to the Edge," Creativity Magazine, 1993, pp. 38-41
  • Noda, Masaaki. “Artist of Wheelchair.” Chugoku Shinbun (Japan), November 9, 1993, p. 12
  • Peers, Alexandra. “Unlikely Alliance Creates Largest Art Dealership.” Wall Street Journal, October 28, 1993, pp. C1, 24
  • Perl, Jed. “Code name: painting.” New Criterion, December 1993, pp. 46-51
  • Rosen, Steven. “First Sightings and Second Takes.” The Denver Post, April 4, 1993, pp. E1, 11
  • Saltz, Jerry. “Let Us Now Praise Artist’s Artists.” Art & Auction 15, no. 9, April 1993, pp. 74-79, 115
  • Schwartzman, Allan. “Can I Interest You in a Schnabel, Mr. Ovitz?” New York Times Magazine, October 3, 1993, pp. 30-33, 42, 44, 50
  • Slonim, Jeffrey. “A Thousand Words.” Artforum, December 1993, vol. 31, no. 4, pp. 7-8
  • Smith, Roberta. "A Remembrance of Whitney Biennials Past," New York Times, February 28, 1993, section 2, pp. 1, 31
  • Tallmer, Jerry. "Going Places with Faces," New York Post, August 13, 1993, p. 32
  • Tanaka, Hiroko. "Chuck Close: An Artist of Wonder," Asahi Shimbun Weekly AERA (Japan), December 20, 1993, p. 46
  • Vogel, Carol. "Finding the Specialists Upstairs in SoHo," New York Times, April 16, 1993, pp. C1, C26
  • Wallach, Amei. “Close Builds to a Dazzling Solution.” New York New York Newsday, October 29, 1993, part 2, page 87
  • Zimmer, William. “Yale Celebrates Its Artists and Its Collectors Since 1950.” New York Times, June 27, 1993, p. 14
  • “A Century of Changes in Photography Explored in Exhibition at the Museum of Fine Art, Houston.” Photique Magazine, Camera Shopper, no. 25, February 1992, p. 37
  • Abraham, Bryin. “The Making of Men: Persona at the Museum of Photographic Arts.” Artweek, March 26, 1992, pp. 12-13
  • Ament, Deloris Tarzan. "He Lost his Hands, but not his Art," Seattle Times/Seattle Post-Intelligencer, October 4, 1992, p. L8
  • Armstrong, Richard. “American Life in American Art, 1950-1990,” Atelier, March, 1992, pp. 43-55
  • Auping, Michael. "Chuck Close: The Ironies of Janet," Albright-Knox Art Gallery (Buffalo) Calender, December 1992, New York, pp. 1, 3
  • Barcott, Bruce. “Close to Home.” Seattle Weekly, October 14, 1992, p. 29
  • Brozan, Nadine. “Chronicle: Of the Many Called to Arts and Letters, a Few are Chosen.” New York Times, April 3, 1992
  • Brozan, Nadine. “Chronicle.” New York Times, October 26, 1992, p. B9
  • Close, Chuck. “Janet.” American Art 6, part 2, Spring 1992, pp. 58-59
  • Close, Chuck. “Chuck Close.” Aperture, no. 129, Fall 1992, pp. 24-25
  • Decter, Joshua. “New York in Review.” Arts Magazine 66, no. 6, February 1992, pp. 78-80
  • Gardner, Paul. "'Making the Impossible Possible'," Art News, May 1992 91, no. 5, pp. 94-99
  • Gopnik, Adam. "Close-Up," The New Yorker, February 24, 1992, pp. 76-78
  • Gopnik, Adam. “The Art World, What Comes Naturally.” The New Yorker, July 20, 1992, pp. 66-68
  • Graham-Dixon, Andrew. “Facial disfigurement.” Independent, July 21, 1992, p. 14
  • Kaufman, Jason Edward. “Radical New Curatorial Studies Program Christened at Bard College.” Atelier, July 1992
  • Kiraly, Philippa. “Home is Where the Art Is.” Eastside Week, June 10, 1992, p. 27
  • Morgan, Robert C. “Psycho.” Tema Celeste, Summer 1992, p. 79
  • Neal, Bill. "Chuck Close," Q: A Journal of Art, Cornell University, May 1992, pp. 4-6
  • Princenthal, Nancy. "Chuck Close at Pace," Art in America 80, no. 3, March 1992, pp. 114-115
  • Raynor, Vivien. "Differences Can Outweigh Similarities in Photo-Realism," New York Times, Connecticut Section, January 5, 1992
  • Sacharow, Anya. "Spectrum," Art News 91, no. 6, Summer 1992, p. 27
  • Saltz, Jerry. “The Ten Commandments of Taste.” Art & Auction, vol. XV, no. 4, November 1992, pp. 104-109
  • Sansegundo, Sheridan. "At The Galleries," East Hampton Star, April 9, 1992, section II, p. 7
  • Schjeldahl, Peter. "On View: Chuck Close," Flash Art, no. 162, January/February 1992, p. 164
  • Schwartzman, Allan. "Don't Turn Back: Chuck Close," Interview, vol. XXII, no. 1, January 1992, pp. 56-57
  • Seward, Keith. “Psycho.” Artforum, September 1992, p. 97.
  • Smallwood, Lynn. "Goings On: Close Encounter," Seattle Weekly, October 7, 1992, p. 41.
  • Tully, Judd. "The 'M' Word," Art & Auction XIV, no. 10, May 1992, pp. 108-113, 152-153.
  • Walls, Jeannette. "Intelligencer," New York, September 14, 1992, p. 25.
  • Yazaki, Yukiko. “New York Life Style.” Oggi (Japan), no. 3, March 1992, pp. 52-53
  • “A Close Look at Portraits.” MoMA Members Quarterly, Spring 1991, p. 26
  • “Access for Artists with Disabilities: Interview with Chuck Close.” FYI 7, no. 1, spring 1991, p. 1
  • Anderson, Susan Heller. "Chronicle." New York Times, March 11, 1991, p. B11
  • Bard, Ellin A. "Fischl and Close at Guild Hall." Dan's Papers (East Hampton, New York), June 28, 1991, p.49
  • Braff, Phyllis. “Fischl and Close’s Highly Potent Images.” New York Times (Long Island Edition), June 23, 1991, p. 19
  • Chadwick, Susan. “MFA Show Contrasts Photographic Works of the Past, Present.” Houston, December 13, 1991, pp. E1, E5
  • Close, Chuck and Kirk Varnedoe. Artist’s Choice—Chuck Close: Head On, The Modern Portrait, New York, The Museum of Modern Art, 1991
  • Cummings, Mary. “Close, Fischl Attract Flock.” Southampton Press, June 20, 1991, pp. B1, B6
  • Decter, Joshua. "Reviews." Arts Magazine, April 1991, p. 102
  • Duggan, Laura. “Face it; this is Chuck’s Choice.” Daily News, March 8, 1991, p. 40
  • Flam, Jack. “Pluralistic and Perky.” Wall Street Journal, May 22, 1991, p. A12
  • Gardner, Paul. "What Artists Like About the Art They Like When They Don't Know Why." Art News 90, no. 8, October 1991, pp. 116-121
  • Glueck, Grace. "In the Art World, As in Baseball, Free Agents Abound." New York Times, January 14, 1991, pp. C11, C15
  • "Goings On About Town." The New Yorker, December 2, 1991, p. 20
  • Grundberg, Andy. "The Modern's Blending of Mediums Is a Mixed Bag." New York Times, March 31, 1991, pp. 29, 31
  • Gubernick, Lisa. “Art Tutor for the Stars.” Forbes, December 9, 1991, pp. 322-325
  • Harrison, Helen A. "Focusing In on Super-Realism." New York Times, April 28, 1991
  • Hayt-Atkins, Elizabeth. "Telegrams: USA." Galeries Magazine, February/March 1991, p. 23
  • Hayt-Atkins, Elizabeth. "Telegrams: USA." Galeries Magazine, April/May 1991, p. 23
  • Heartney, Eleanor. "Whitney Biennial." Art News 90, no. 6, Summer 1991, pp. 143-144
  • Hess, Elizabeth. “Upstairs, Downstairs.” New York Village Voice, April 30, 1991, pp. 93-94
  • Hoban, Phoebe. "Artists on the Beach." New York, July 1-8, 1991, pp. 38-42, 44
  • Honan, William H. “In Brooklyn, Congress Hears from Artists.” New York Times, October 29, 1991, p. C18
  • Honan, William H. “Through Loophole in Tax Law, Art Gifts Pour Into Museums.” New York Times, December 12, 1991, pp. C15, 19
  • Hugo, Joan. "'Head-On/The Modern Portrait'." Art Issues, No. 19, September/October 1991
  • Johnson, Ken. "Chuck Close at MOMA." Art in America 79, no. 5, May 1991, pp. 167-168
  • Johnson, Ken. "The Whitney’s Generational Saga." Art in America, vol. 79, no. 6, June 1991, pp. 44-49, 51
  • Kagan, Ellen. "I Ritratti di Chuck Close," Aste & Mercati, October 1991
  • Levin, Kim. "Choices: Art." New York Village Voice, February 12, 1991, p. 96
  • Kimmelman, Michael. "Chuck Close Browses and Assembles an Exhibition." New York Times, January 18, 1991, p. C32
  • Kimmelman, Michael. “An Antidote to the Blockbluster Syndrome.” New York Times, March 10, 1991, p. 33
  • Kimmelman, Michael. "At the Whitney, a Biennial That's Eager to Please." New York Times, April 19, 1991
  • Kimmelman, Michael. "The Year in the Arts: Art & Photography/1991." New York Times, December 29, 1991, p. H31
  • Knight, Christopher. "Face to Face With Faces in 'Head-On'." Los Angeles Times, June 26, 1991, pp. F1, 5
  • Larson, Kay. "Spectator Sport." New York 24, no. 29, July 29, 1991, p. 50
  • Larson, Kay. "Whitney Biennial." Galleries Magazine, July 1991, pp. 68-71
  • Larson, Kay. "Close Encounter." New York 24, no. 47, December 2, 1991, p. 148
  • Leigh, Christian. "The 1991 Whitney Biennial." Flash Art, September 1991, p. 161
  • Levin, Kim. "Voice Choices: Art." New York Village Voice 36, no. 48, November 26, 1991
  • Lipson, Karin. "It's Not Real, It's Super-Realism!" New York Newsday, Nassau Edition, April 26, 1991
  • Long, Robert. "Perspectives: Eric Fischl's Provocative Images Lack Substance." Southampton Press, July 18, 1991, p. B6
  • McEvilley, Thomas. "Two Big Shows: Post-Modernism and Its Discontents/New York: The Whitney Biennial." Artforum 29 no. 10, Summer 1991, pp. 98-101
  • McQuaid, Cate. “Near and Dear? An Artist Who Truly Gets Up Close and Personal.” Boston Phoenix, November 15, 1991
  • Muchnic, Suzanne. "A Portrait of the Artist as Curator." Los Angeles Times, June 26, 1991, pp. F1, 4
  • Nathan, Jean. "Le jour où les premiers missiles ont atteint Israël." Voir, 8th year, no. 79, May 1991, pp. 31-33
  • Newhall, Edith. "Close to the edge." New York 24, no. 15, April 15, 1991, pp. 38-46
  • Niesyn, Karin. "Super-Real," Fairfield County Advocate, December 19-25, 1991, p. 8
  • Pacheo, Patrick. "Point Counterpoint." Art & Antiques 8, October 1991, pp. 71-75
  • Parks, Steve. "The Grand Museum Tour." New York Newsday, May 3, 1991, pp. 84-85, 100
  • Ratcliff, Carter. “Collapsing Hierarchies: Photography and Contemporary Art.” Aperture, no. 125, Fall 1991, pp. 36-41
  • Robinson, Walter and Anastasia Wilkes. "Art World: Awards." Art in America 79, no. 3, March 1991, pp. 166-168
  • Rosenthal, Lynne. "Monumental Photos." Southampton Press, June 13, 1991, p.B1
  • Ross, Carolee. “Painting a controversy.” The Advocate and Greenwich Time, Section D, December 15, 1991, pp. D1 & D4
  • Schjeldahl, Peter. “Past Perfect.” New York Village Voice, January 22, 1991
  • Schjeldahl, Peter. "Those Eyes..." New York Village Voice, February 5, 1991, p. 85
  • Slivka, Rose C.S. "From The Studio." East Hampton Star, June 27, 1991, p. II-9
  • Smith, Roberta. "In Portraits on a Grand Scale, Chuck Close Moves On." New York Times, November 8, 1991, p. C24
  • Tallman, Susan. "Whose Art Is It, Anyway?" Art in America, June 1991, pp. 59, 61, 63
  • Wallach, Amei. “A Reflection of the ‘Me’ and ‘We’ Decades.” New York New York Newsday, April 19, 1991, pp. 86, 89
  • Wallach, Amei. "The Will To Paint." New York New York Newsday, April 21, 1991, part II, pp. 4-5, 18
  • Wallach, Amei. "How Can You Tell A Franz Gertsch From A Chuck Close?" Parkett, no. 28, June 1991, pp. 44-46
  • Ward, Frazer. “Chuck Close and Clint Eastwood’s Mona Lisa Smile.” Binocular, 1991, pp. 47-56
  • Watson, Simon. “A Conversation between Simon Watson, Dennis Kardon, and Chuck Close.” Balcon, 1991, pp. 156-160
  • Williams, Gilda (ed.) "Post-High and Low: New Exhibitions at the MOMA." Flash Art, March/April 1991, p. 154
  • Wise, Kelly. “Vibrant Selection of Close’s Work.” Boston Globe, December 4, 1991
  • Woodward, Richard B. “Snapping Up Photos.” Art News, March 1991, p. 26
  • Aziz, Anthony. “Reality Interrogated, Chuck Close Polaroids at Adams Center.” Artweek 21, no. 1, January 11, 1990, p. 13
  • Close, Chuck. "Transcending Prejudice; An Inside Look at Peer Review." Vantage Point, Spring 1990, pp. 14-15; reprinted fall/winter 1990, p. 29
  • Decker, Andrew. “What’s He Done?” New York Village Voice, October 16, 1990, pp. 41-42
  • Deitcher, David. "When Worlds Collide." Art in America 78, no. 2, February 1990, pp. 120-127, 189, 191
  • Ledbetter, James. “Media Blitz: Spin Art.” New York Village Voice, May 29, 1990, p. 9
  • "Pace Prints." The Journal of Art, December 1990
  • Speiser, Irene. “Gesprach mit Chuck Close: Eine Welt intimer Einzelheiten.” Photographie, no. 9, September 1990, pp. 50-52
  • Taranfino, Michael. "The Machine and the Wheels." Bulletin, May 24, 1990
  • “The Media Landscape, Image World: Art and Media Culture." Lapiz, February 1990, pp. 76-83
  • Twardy, Chuck. "An Eye for Art." Orlando Sentinel, February 25, 1990, pp. F1, F12
  • Armstrong, Elizabeth. “First Impressions.” The Print Collector’s Newsletter, May - June 1989 20, pp. 41-46
  • “Close Gets Frantic About Nudes, Flowers.” Chicago Magazine, February 1989, p. 24
  • Daxland, John. “Art Against the Deal.” Daily News, December 2, 1989, p. 13
  • Finch, Christopher. "Color Close-Ups." Art in America 77, no. 3, March 1989 77, no. 3, pp. 112-119, 161, and cover
  • Finch, Christopher. “Portfolio of Color Close Ups.” Trends, no. 12, 1989, pp. 16-25
  • Fishman, Ted. C. “Up Close and Impersonal.” New City News, February 16, 1989, p. 14
  • Foerstner, Abigail. “Photography: Three Exhibits Transform Flowers, Nudes, and the Human Face.” Chicago Tribune, February 3, 1989, p. 14
  • Glueck, Grace. “Border Skirmist: Art and Politics.” New York Times, November 19, 1989, pp. C1, C25
  • Goldring, Nancy. "Identity; Representations of the Self." Arts Magazine, March 1989, p.85
  • Hixson, Kathryn. "Chicago in Review." Arts Magazine 63, May 1989, p. 115
  • Lerner, Ralph and Judith Bresler. “Obscenity: What the Supreme Court Says.” Art News, October 1989, pp. 144-145
  • Nesbitt, Lois. "Chuck Close at Pace Gallery and Pace Prints." Artforum 27, January 1989, p. 110
  • Schjeldahl, Peter. “Tomorrowland.” 7 Days 2, no. 46, November 29, 1989, p. 63
  • Tully, Judd. “A Cavalcade of Corporate Art.” Art & Auction, October 1989, pp. 226-230
  • Westfall, Stephen. "Chuck Close." Flash Art, no. 144, January/February 1989, p. 119
  • Woodward, Richard B. "Documenting an Outbreak of Self-Presentation." New York Times, January 22, 1989, p.H31
  • "Assemblage-Collage Exhibition by 28 US Artists Presented." Korea Times, September 15, 1988, p. 8
  • Coleman, A.D. “‘Altered Images’: Collaboration Celebrating Status.” TheNew York Observer, December 5, 1988, p. 12
  • Daxland, John. "Up Close and Personal." Daily News, October 1, 1988, p. 15.
  • Delatiner, Barbara. “The Spotlight Shines on Drawings.” New York Times, September 11, 1988
  • Flam, Jack. "Who's News in the Early Fall Art Season." Wall Street Journal, September 28, 1988, p. 22
  • Gardner, Colin. “Reviews, Los Angeles, ‘Artschwager: His Peers and Persuasion, 1963-1988’.” Artforum, September 1988, p. 150
  • Grundberg, Andy. "Blurring the Lines-Dots? Between Camera and Brush." New York Times, October 16, 1988, pp. 35, 43
  • Hackett, Regina. “We Knew Them When...Expatriates’ Art Returns Home for COCA Show.” Seattle Weekly, October 5, 1988, pp. C1, C3
  • Kimmelman, Michael. "Chuck Close at Pace Gallery." New York Times, October 7, 1988, p. C30
  • Lewis, Jo Ann. “Chuck Close’s True Grid.” Washington Post, November 5, 1988, p. C2
  • Lyon, Christopher. "Chuck Close at Pace and Pace/MacGill." Art News 87, no. 10, December 1988, pp. 143, 145
  • Newhall, Edith. “The Art of the Dealer: Keeping Pace with Arne Glimcher.” New York, October 10, 1988, pp. 56-62
  • "POP to NEO GEO and beyond." Bijutsu Techo (Japan) 40, no. 600, October 1988, pp. 198-199
  • Raynor, Vivien. “‘Self as Subject’ Examined in Several Mediums in Katonah.” New York Times, February 7, 1988, p. 36
  • Rose, Matthew. “Portraits of the Artists.” New York, November 21, 1988, p. 32
  • Yarrow, Andrew. "The Whitney Returns to Downtown." New York Times, April 16, 1988, p. 12
  • Close, Chuck. “Calamita per talenti di tutto il mondo.” Il Giornale dell’Arte , Vernissage, April 1987, n.p
  • Close, Chuck. "New York Studio Events." (excerpts from 1982 studio talk by the artist). Independent Curators Incorporated Newsletter 2, no. 3, fall 1987, p. 2
  • Close, Chuck. “Leslie.” Art in America 75, February 1987, p. 55
  • Cunningham, Anne. “‘Portrayals’ Seeks Measure of Truth by Revealing Little Lies.” The Indianapolis Star, December 6, 1987, p. E12
  • Grundberg, Andy. “Where Blurred Focus Makes Sharp Statements.” New York Times, December 20, 1987, pp. 39, 42
  • Johnson, Ken. "Photographs by Chuck Close." Arts Magazine 61, no. 9, May 1987, pp. 20-23
  • Kohen, Helen L. “FIU Exhibition Comes Face to Face with the Portrait.” The Miami Herald, May 10, 1987, p. 4K
  • McGill, Douglas C. "Art People: A Life Saving Métier." New York Times, October 23, 1987, p. C40.Pradel, Jean-Louis. "Jean-Olivier Hucleux, Chuck Close, les réalités improbables." Art Press, no. 120, December 1987, pp. 34-37
  • Smecchia, Muni de. "artisti nel loro studio: Chuck Close." Vogue Italia, no. 446, April 1987, pp. 144-147, 201, 204
  • Squiers, Carol. "The Monopoly of Appearances." Flash Art, February/March 1987, pp. 98-100
  • Steiner, Wendy. “Postmodernist Portraits.” Art Journal 46, no. 3, fall 1987, pp. 173-177
  • Varnedoe, Kirk. "An interview with Chuck Close." World Art, 1987, no.1, pp.32-37
  • Box, Michiel. “Hayden Gallery Exhibition Provocative.” The Tech, January 29, 1986, pp.11, 14
  • Close, Chuck. "New York in the Eighties: A Symposium." New Criterion 4, summer 1986, pp.12-14
  • Davis, Douglas. "The Return of the Nude." Newsweek, September 1, 1986, pp. 78-79
  • Fischl, Eric. “Sketchbook with Voices.” Vanity Fair, August 1986, p. 24
  • Grundberg, Andy. "A Big Show That's About Something Larger Than Size." New York Times, February 23, 1986, p. 35
  • Poirier, Maurice. "Chuck Close at Pace." Art News 85, no. 5, May 1986, p. 127
  • Raynor, Vivien. "Chuck Close at Pace." New York Times, February 28, 1986, p. C21
  • Taylor, Robert. “Unclothed Figures Stripped of Meaning.” Boston Globe, January 12, 1986, p. B2
  • Bonetti, David. “Nude dissenting...” Boston Phoenix, December 24, 1985, section 3
  • Everingham, Carol. J. “Chuck, up Close.” The Houston Post , March 1, 1985, p. 3E
  • Gibson, Eric. "Thinking About the Seventies." New Criterion,vol. 3, no. 9, May 1985, pp. 45, 48
  • Grundberg, Andy. "Chuck Close at Pace/MacGill." Art in America, vol. 73, no. 5, May 1985, pp. 174-175
  • Hagen, Charles. "Chuck Close/Pace/Macgill." Artforum 23, No.8, April 1985, pp. 96-7
  • Hartman, Rose. "Close Encounters." American Photographer 14, no. 4, April 1985, p. 8
  • Johnson, Patricia C. “Artist’s Imagery of Dots is Message in Itself.” Houston Chronicle, March 8, 1985
  • Jordan, Jim. "A Question of Scale." Artweek 16, no. 25, July 13, 1985, p. 10
  • Matsumura, Toshio. “New Type of Portrait with Great Versatility of Technique: The Chuck Close Exhibition.” Sankei Shimbun, March ?22, 1985
  • Obigane, Shoro. “Chuck Close.” Pia (Japan), March 8, 1985
  • Tanaka, Kojin. “The Correct Chuck Close Exhibition: Mysterious Powerful Portrait out of Pains-taking System.” Mainichi Shimbun, March 15, 1985
  • Trebay, Guy. “An Opinionated Survey of the Weeks Events.” New York Village Voice, January 29, 1985, pp. 63-64
  • Close, Chuck, Amy Baker Sandback and Ingrid Sischy. “A Progression by Chuck Close: Who’s Afraid of Photography.” Artforum 22, no. 9, May 1984, pp. 50-55
  • Forgey, Benjamin. “The Hirshhorn’s Big Draw.” Washington Post, March 15, 1984, pp. D1, D13
  • Kelly, Jeff. “American Art Since 1970: A Shaky Transition.” Artweek 15, no. 14, April 7, 1984, p. 1
  • Levin, Kim. “We Remember MOMA.” New York Village Voice, May 22, 1984, pp. 88-89
  • McDarrah, Timothy. “East Hampton Painter, Chuck Close.” Hamptons Newspaper/Magazine, August 16, 1984, pp. 8-9
  • Sager, Peter. “Mehr Als Die Augen Sehen.” Zeit Magazin, no. 5, January 27, 1984, pp. 62-64, 66
  • Steele, Mike. “Exhibit opens new facilities at Walker.” Minneapolis Star and Tribune, September 23, 1984, pp. 1G, 6GX
  • Thurler, Peg. "Viewpoint: Artist as Photographer." Summit Herald, December 15, 1984, p.5
  • Wallach, Amei. “Black-tie Welcome for the Expanded MoMA.” New York Newsday, May 9, 1984, part II, p. 49
  • Baker, Kenneth. "Leaving His Fingerprints." Christian Science Monitor, August 12, 1983, p. 20
  • Cottingham, Jane. "An Interview with Chuck Close." American Artist, Vol. 47, No.490, May 1983, pp.62-67 and 102-105
  • Danoff, I. Michael. "Chuck Close's Linda." Arts Magazine 57, No.5, January 1983, pp. 110-111
  • Larson, Kay. “Chuck Close at Pace.” New York 16, no. 12, 21 March 1983, pp.59-60
  • Moritz, Charles (ed.), “Chuck Close.” Current Biography 44, No.7, July 1983, pp.9-12
  • Peters, Lisa. "Reviews: Chuck Close at Pace." Arts Magazine 57, No.9, May 1983, p.52
  • Raynor, Vivien. “Art: Chuck Close With Friends as Models.” New York Times, March 4, 1983
  • “Self Portraits.” New York 16, No.21, 23 May 1983, pp.30-35
  • Tully, Judd. “Old Masters, New Masters.” Horizon 26, No.6, September 1983, pp.54-63
  • Tully, Judd. “Paper Chase.” Portfolio 5, No.3, May-June 1983, pp. 78-85
  • Ackerman, Jennifer. “Agressive image, painterly gestures: Looking at some Close-ups.” Yale Alumni Magazine , June 1982, pp. 42, 44-45
  • Allen, Jane Addams. “25 Artists: A Show of Quality by 20th Century Masters.” Washington Times, December 31, 1982, pp. 1B, 2B
  • Baker, Kenneth. “Drawing Conclusions.” Boston Phoenix, April 20, 1982, section 3, pp. 10-11
  • Baldwin, Roger. “Close Up.” New Haven Advocate, February 3, 1982, cover and pp. 13-15
  • Carr, Genie. “He Takes Art to New Heights: Artist Extends Himself with 9-Foot High Works.” Sentinel (Winston-Salem, NC), May 7, 1982, p. 28
  • Cebulski, Frank. "Close to Photography." Artweek 13, no. 15, April 17, 1982, p. 11
  • Cohen, Ronny. "New Editions: Chuck Close." Art News 81, no. 4, April 1982. p. 102
  • Daulte, Francois. "La Pace Gallery et l'Art vivant aux U.S.A." L'Oeil, No.326, September 1982, pp. 48-55
  • DeLoach, Douglass. “UP CLOSE: An Interview with Chuck Close.” Art Papers 6, no. 2, March - April 1982, pp. 2-3
  • Fox, Catherine. “Artist Finds 9-Foot Portraits Can Cause Trauma For Subject.” Atlanta Constiution, 25 January 1982, pp. B1, B3
  • Jensen, Nina, ed. “Children, Teenagers and Adults in Museums: A Developmental Perspective.” Museum News 60, no. 5, May/June 1982, pp. 25-30
  • Lewallen, Constance. “Close Up Close.” University Museum Berkeley Bulletin, February 1982, p. 11
  • Lewallen, Constance. “Billboard-Scale Photos by Close.” University Art Museum Berkeley Bulletin, March 1982, p. 2
  • Lewis, Jo Ann. “Portraits of the Artist.” Washington Post, December 16, 1982
  • Morch, Al. “Polaroid’s ‘Transfiguration.’” San Francisco Examiner, 22 March 1982, p.E5
  • Muchnic, Suzanne. “Chuck Close Keeps his Distance.” Los Angeles Times, 15 June 1982
  • “Paper Turns into Art in Itself at Cleveland Institute.” YoungstownVindicator (Ohio), 23 December 1982
  • Perreault, John. "Paperworks." American Craft 42, no. 4, August/September 1982, pp. 2-7
  • Perreault, John. “The Year in Pictures (Among Other Things).” Soho Weekly News, 12 January 1982, p.42
  • Perreault, John. "Realisms." Art Xpress 2, No.2, March-April 1982, pp.34-38
  • Ratcliff, Carter. "New York Letter." Art International 25, No.1-2, January 1982, pp. 114-121
  • Shinn, Doroth. “A Close Look At Linda.” Akron Beacon Journal, 8 August 1982, pp. 8-10
  • Shinn, Dorothy. “Akron Aquired Major Artwork.” Akron Beacon Journal, 6 August 1982, p.A1
  • Taylor, Robert. “Great Big Drawings: ‘Sometimes they work’.” Boston Globe, 18 April 1982
  • Tmko, Allan. “Transfiguration of a Masterpiece.” Review, March 28, 1982, pp. 13-14
  • Appelo, Tim. “Too Close for Comfort.” Pacific Northwest 15, No.9, December 1981, pp. 32-34
  • Artner, Alan. “Close Encounters at the MCA: No Longer Radical or Realistic.” Chicago Tribune, February 15, 1981, section 6, p. 13
  • Bass, Ruth. "Close Portraits (The Whitney Museum of American Art)." Art News 80, no. 9, November 1981, p. 189
  • Bourdon, David. “Art, Chuck Close: Portraits.” Vogue, January 1981, pp. 27, 30
  • Canaday, John. "Painters Who Put the World into Sharp Focus." Smithsonian 12, no. 7, October 1981, pp. 68-77
  • Casademont, Joan. "‘Close Portraits’ Whitney Museum of American Art." Artforum 20, no. 2, October 1981, p. 74
  • “Close up Close (St. Louis Art Museum.” Connaisance des Arts, January 1981, no. 347, p. 12
  • Diamonstein, Barbaralee and Thomas B. Hess. “Latent Images: For the Love of Debased Art.” American Photographer 5, no. 2, February 1981, p. 33
  • Elliott, David. “Chuck Close Moves Beyond Photo-Perfect.” Sun-Times, February 15, 1981, pp. 22-23
  • Farnon, Patrick. “The Man Who Measures Fame.” Vision, June 1981, pp. 41-44
  • Gardner, Paul. "Confessions of a Plaintain Chip Eater or Artists Are Just Like the Rest of Us." Art News 80, no. 1, January 1981, pp. 136-138
  • Glueck, Grace. "Artist Chuck Close: ‘I Wanted to Make Images That Knock Your Socks Off!’" New York Times, June 10, 1981, p. C26
  • Goodyear, Jr., Frank H. "American Realism Since 1960: Beyond the 'Perfect Green Pea.'" Portfolio III, no. 6, November/December 1981, pp. 72- 81
  • Hoelterhoff, Manuela. "Close-Ups By Close." Wall Street Journal, April 17, 1981, p. 21
  • Hughes, Robert. "Close, Closer, Closest." Time 117, no. 17, April 27, 1981, p. 60
  • Kramer, Hilton. "Chuck Close's Break with Photography." New York Times, April 19, 1981. pp. D29, D32
  • Kramer, Hilton. “Portraiture: The Living Art.” Bazaar, no. 3232, March 1981, pp. 14, 26, 28
  • Larson, Kay. “Dead End Realism.” New York 14, no. 42, October 26, 1981, pp. 94-95
  • Larson, Kay. “Art: Chuck Close.” New York 14, no. 19, May 11, 1981, pp. 74-75
  • Levin, Kim and McDarrah. “Close-Ups.” New York Village Voice, April 22-28, 1981, pp. 64-65
  • Levine, Joan. “Reality, Abstract Converge: Close Art Begs a Closer Look.” The San Diego Union, June 18, 1981, pp. C1, C4
  • “Long Island Where New York’s ‘Reigning Artists’ Live.” ART: Das Kunstmagazin, January 1981, pp. 20-37
  • Mann, Maybelle. “On Art: Whitney Has Variety.” Times Herald Record, May 23, 1981, p. 34
  • Marzorait, Gerald. “Art Picks.” The Soho News, April 22, 1981
  • McClain, Matthew. "Realist Blockbuster Stirs Controversy: Interview with Curator Frank Goodyear." New Art Examiner 9, No.3, December 1981, pp. 7-27
  • Perreault, John. "Encounters of the Close Kind." Soho Weekly News, April 29, 1981, p. 45
  • Perreault, John. "Photorealing in the Years." Soho Weekly News, October 20, 1981, p. 64
  • Russell, John. “Art: New Gallery for Old Masters.” New York Times, October 9, 1981, p. C23
  • Schjeldahl, Peter. "Realism on the Comeback Trail." New York Village Voice, November 11-17, 1981, p. 77
  • Shaman, Sanford Sivitz. “An Interview with Philip Pearlstein.” Art in America 69, no. 7, September 1981, pp. 120-126
  • Turner, Richard A. “Instant Masterpieces: Raphael, Polaroid, and the Holy Ghost.” Art Jounal 41, no. 4, winter 1981, pp.367-370
  • Wallach, Amei. "Looking Closer at Chuck Close." New York Newsday, April 19, 1981, part II, pp. 17-18
  • Wilson, William. "The Chilly Charms of Close." Los Angeles Times, June 8, 1981, part VI, pp. 1, 5
  • Wolff, Theodore F. "Huge, Photographically Exact Paintings of Faces That ?Signify What?" Christian Science Monitor, April 29, 1981
  • Anderson, Alexandra, Carrie Rickey and Guy Trebay. “Up Against Wall Street: An Investor’s Guide to Galleries.” New York Village Voice, October 15-21, 1980, pp. 67-69, 76
  • Andreae, Christopher. "Taking a Look." Christian Science Monitor, March 19, 1980, p. 20
  • Blau, Douglas. "Artists by Artists." Arts Magazine 54, no. 6, February 1980, p. 12
  • Bourdon, David. "Chuck Close: Portraits." Vogue, January 1980, p. 27
  • Bredahl, Noel. “A Close First at the Walker.” St. Paul Dispatch, Extra/Entertainment, September 25, 1980, pp. C1, C18
  • Cavaliere, Barbara. "Art Reviews: Chuck Close." Arts Magazine 54, no. 6, February 1980, p. 33
  • Diamonstein, Barbaralee. "Chuck Close: ‘I'm Some Kind of a Slow Motion Cornball’." Art News 79, no. 6, summer 1980, pp. 112-116, cover
  • Donker, Peter P. “School of Realism Runs to (Top) Class at the Danforth.” Sunday Telegram (Worcester), May 25, 1980, pp. 20A, 22A
  • Forgey, Benjamin. “Why Artist Persist in Self-Portraits.” Washington Star, 1980, pp. D1, D4
  • Glueck, Grace. “How Picasso’s Vision Affects American Artists.” New York Times, June 22, 1980, section 2, pp. 1, 25
  • Grundberg, Andy. "20 x 24 at Light." Art in America 68, no. 2, February 1980, pp. 134-135
  • Hegeman, William. “Huge Faces are the Heady Trademark of ‘Slow-Motion Cornball’ Chuck Close.” Minneapolis Tribune Picture, October 26, 1980, pp. 10-18
  • Kertess, Klaus. "Figuring It Out." Artforum 19, no. 3, November 1980, pp. 30-35
  • King, Mary. “Intimate and Cool Too.” St. Louis Post-Dispatch, December 14, 1980, p. 5C
  • Kramer, Hilton. "Today's Avant-Garde Artists Have Lost the Power to Shock." New York Times, November 16, 1980, section 2, pp. 1, 27
  • Meisel, Louis K. "Fifteen Years of Photo-Realism." Horizon 23, No.11, November 1980, pp. 52-59
  • Raddatz, Fritz J. “Amerika auf der Suche nach seinen Wurzeln.” Die Zeit, December 26, 1980, p. 29
  • Salgado, Robert J. “Polaroid Big Shots.” Bulletin, May 2, 1980, p. A37
  • Schwartz, Ellen. "New York Reviews: Chuck Close at Pace." Art News 79, no. 1, January 1980, p. 157
  • Shepherd, Michael. "Corkers and Pace-setters," What's On In London, June 27, 1980, p. 48
  • Shepherd, Michael. "I've Got A Little List." Sunday Telegraph, June 29, 1980
  • Simon, Joan. "Close Encounters." Art in America 68, no. 2, February 1980, pp. 81-83
  • Spalding, Frances. "Ten American Artists." Arts Review, July 4, 1980
  • Taylor, John Russell. "The Arts: Ten Americans from Pace." Times, June 24, 1980
  • Vaizey, Marina. "The Name of the Game." Sunday Times (London), June 29, 1980 and Daily Telegraph, June 28, 198
  • Wierzbicki, James. “Artist’s Hand Rivals Camera’s Eye in His Portraits of Friends.” St. Louis Globe-Democrat, December 12, 1980, pp. B1, B3
  • Arthur, John. “Kinds of Realism.” Allan Frumkin Gallery Newsletter. no. 7, Winter 1979, p. 3
  • Carr, Carolyn. “Grids: Format and Image in 20th Century Art.” Dialogue (Akron Art Institute), March/April 1979, pp. 4-5
  • Close, Chuck. "Phil: Six Images.” The Paris Review 21, no. 75, spring 1979, pp. 107-114
  • DeKay, Ormonde Jr. “Portraits ‘The Hard Way’ Shikler, Grausman, Close.” Art/World 4, no. 2, October 20 - November 17, 1979, p. 4
  • Gliewe, Gert. “Münchner Kunstsommer ist besser als sein Ruf.” TZ, July 7, 1979, p. 6
  • Glueck, Grace. “Art Dealers Revel in Boom From Amulets to Photographs.” New York Times, December 6, 1979, p. 17
  • Harshman, Barbara. "Grids." Arts Magazine 53, no. 6, February 1979, p. 4
  • Harshman, Barbara. “Photo-realist Printmaking.” Arts Magazine 53, no. 6, February 1979, p. 17
  • Jadwin, Diane Levine. “Painting From the Photograph: A Modern American Realism.” The Barat Review, A Journal of Literature and the Arts 7, no. 1, spring 1979, pp. 39-45
  • Joaido, Phillip and Gilles Neret. "Les Americains: toujours le plus forts?" Connaissance des Arts, no. 333, November 1979, pp. 102-109
  • Kramer, Hilton. "Chuck Close - In Flight from the Realist Impulse." New York Times, November 4, 1979, pp. 33, 36
  • Kramer, Hilton. "Back to Beaubourg: A Modern Exposition Palace." New York Times, July 1, 1979, pp.1, 25
  • Le Brun, Fred. “‘Faculty Choice’ A Top Art Show.” Times Union (Albany), January 28, 1979, pp.E1-2
  • Paine, Stephen D. “Interview: Stephan D. Paine Talks with Paul Cummings.” Drawing 1, no.2, July - August 1979, pp. 32-36
  • Paris, Jeanne. “Art Review Exhibits for Everyone.” New York Newsday (Nassau), November 2, 1979, part II, p. 17
  • Perreault, John. "Post-Photorealism." Soho Weekly News, November 22, 1979, p. 19
  • Preston, Malcolm. “Art Review: ‘Realist Space’ at C.W. Post.” New York Newsday, December 12, 1979
  • Rice, Shelley. "Image Making." Soho Weekly News, May 24, 1979, p. 50
  • Shirley, David. “Looking Back at the Future.” New York Times, November 11, 1979, p. 25
  • Stevens, Nancy. “In Camera: Artists KO Camera Color.” American Photographer 2, no. 5, May 1979, p. 8
  • Tallmer, Jerry. "All Equal on the Grid." The New York Post, October 27, 1979, p. 15
  • Thornton, Gene. "A Curator’s Curiosity." New York Times, June 3, 1979, pp. 27, 30
  • Whelan, Richard. “Discerning Trends at the Whitney.” Art News, vol.78, no.4, April 1979, pp. 84, 86-87
  • Zimmer, William. “Barefoot Cheek.” Soho Weekly News, February 1, 1979, p. 51
  • Zimmer, William. “Everything You Always Wanted to Know About Grids.” Soho Weekly News, December 28, 1979
  • Braff, Phyllis. “From the Studio.” East Hampton Star, August 3, 1978, section II, p. 9
  • Cahill, Janet. “It’s Art’s New Face.” The Sun (Melbourne), July 21, 1978, p. 15
  • Harshman, Barbara. "An Interview with Chuck Close." Arts Magazine 52, no. 10, June 1978, pp. 142-145 and cover
  • Heinrichs, Paul. “Genesis of a Great Ambition.” The Age (Melbourne), July 19, 1978, p. 2
  • Kline, Katy. “‘Painting of ‘70s’ Exhibit Has Variety.” Courier-Express, December 9, 1978
  • Kramer, Hilton. “A Brave Attempt to Encapsulate a Decade.” New York Times, December 17, 1978, pp. 39, 55
  • Levin, Kim. "Chuck Close: Decoding the Image." Arts Magazine 52, no. 10, June 1978, pp. 146-149 and cover
  • Lifson, Ben. “Approaching Avedon.” New York Village Voice, October 16, 1978, p. 127
  • Mackie, Alwynne. “New Realism and The Photographic Look.” American Art Review IV, no. 6, November 1978, pp. 72-79, 132-134
  • O’Conor, Mary. “Eight Artists.” East Hampton Star, July 17, 1978, p. 14
  • Perreault, John. "Photo-Realist Principles." American Art Review IV, no. 6, November 1978, pp. 108-111, 141
  • Ratcliff, Carter. "Making it in the Art World: A Climber's Guide." New York II, no. 48, November 27, 1978, pp. 61-67
  • Shapiro, Michael. “Changing Variables: Chuck Close & His Prints.” The Print Collector’s Newsletter IX, no. 3, July - August 1978, pp. 69-73
  • Shirley, David L. "More Real Than Real." New York Times (Long Island Edition), August 6, 1978, p. 14
  • Wilson, Bruce. “Memo Mr. Mollison.” The Sun (Melbourne), July 22, 1978, pp. 34-35
  • Bourdon, David. “Time Means Nothing to a Realist.” New York Village Voice XXI, no. 3, May 16, 1977, p. C19
  • Bourdon, David. “Redrawing the Lines of Drawing.” New York Village Voice XXI, no. 3, January 17, 1977, p. 77
  • Cavaliere, Barbara. "Arts Reviews: Chuck Close." Arts Magazine 52, no. 1, September 1977, p. 22
  • “Chuck Close (M & D).” Flash Art, no. 76/77, July/August 1977, p. 25
  • French-Frazier, Nina. "New York Reviews: Chuck Close." Art News, vol. 76, no. 8, October 1977, p. 130
  • Glueck, Grace. "The 20th Century Artists Most Admired By Other Artists." Art News 76, no. 9, November 1977, pp. 78-103
  • Goldenthal, Jolene. “Close’s Purged Portraits.” Hartford Courant, November 20, 1977, p. 2G
  • Hanson, Bernard. “Chuck Close: The Artist for People Who Are Tired of Everything Else.” West Hartford News, December 29, 1977, p. 7
  • Hess, Thomas B. "Americans in Paris." New York, July 18, 1977, pp. 50-52
  • Hess, Thomas B. “Up Close with Richard and Philip and Nancy and Klaus.” New York 10, no. 22, May 30, 1977, pp. 95-97
  • Hughes, Robert. "Blowing Up the Closeup." Time, May 23, 1977, p. 92
  • Hughes, Robert. “The Botch of an Epic Theme.” Time, July 11, 1977, pp. 74-75
  • Makin, Jeffrey. “Realism from the Squad.” Sun. (Melbourne), October 19, 1977, p. 43
  • Perreault, John. "Abstract Heads." Soho Weekly News, May 19, 1977, p. 18
  • Ratcliff, Carter. "New York Letter." Art International XXI, no. 4, July/August 1977, pp. 78-79
  • Richard, Paul. “Big Name Artists and ‘New Etchers’” Washington Post, February 2, 1977, p. C9
  • Russell, John. "Big Heads By Chuck Close." New York Times, May 6, 1977, p. C19
  • Sondheim, Alan. “Dots, Brackets, Salt and Other Questions.” Hartford Advocate, December 14, 1977, pp. 50-51
  • Steinbach, Alice. “A Clean, Well-Lighted Space.” Cultural Post, no. 12, July - August 1977, pp. 6-7
  • Stevens, Mark. "Close Up Close." Newsweek, May 23, 1977, p. 68
  • Wilson, William. "Documenta 6: More Moving Than Good." Los Angeles Times, July 3, 1977, pp. 1, 72
  • Adrian, Dennis. "Art Imitating Life in a Great Big Way." Chicago Daily News, October 16-17, 1976
  • Alloway, Lawrence. "Art." The Nation 222, no. 17, May 1, 1976
  • Artner, Alan. “Mirroring the Merits of a Showing of Photorealism.”, Chicago Tribune, October 24, 1976
  • Beamguard, Bud. "Close, Zucker, Artschwager." Artweek 7, no. 33, October 2, 1976, pp. 1, 23-24
  • Chase, Linda. "Photo-Realism; Post-Modernist Illusionism." Art International XX, no. 3-4, March/April 1976, pp. 14-27
  • Close, Chuck. "The Art of Portraiture in the Words of Four New York Artists." New York Times, October 31, 1976, p. 29
  • Gold, Barbara. "Art Notes: New Technique Enough?" Baltimore Sun, April 11, 1976
  • Gorney, J. “Reviews: Drawing Today in New York.” Art Journal, winter 1976-77 36, no. 2, p. 143
  • Greenwood, Michael. “Towards a Definition of Realism: Reflections on the Rothmans Show.” Artscanada XXXIII, no. 4, December 1976-January 1977, pp. 6-22
  • Hoelterhoff, Manuela. “Strawberry Tarts 3 Feet High.” Wall Street Journal, April 21, 1976
  • Johnson, F. H. "American Art of 20th Century: Allen Memorial Art Museum." Apollo 103, no. 168, February 1976, p. 135
  • Johnson, Lincoln F. “Artist is Surrogate for the Machine.” Baltimore Sun, April 15, 1976, pp. B1, B14
  • Kramer, Hilton. "Art: the Fascination of Portraits." New York Times, October 22, 1976, p. C15
  • Kutner, Janet. "The Visceral Aesthetic of a New Decade's Art." Arts Magazine 51, no. 4, December 1976, pp. 100-103
  • Miotke, Anne E. "Close Dot Drawings." Mid-West Art 3, no. 1, March 1976, pp. 11, 20
  • Patton, Phil. "Superrealism: The Critical Anthology." Artforum, January 1976 XIV, no. 5, pp. 52-54
  • Russell, John. “Gallery View: The Artist Before the Camera.” New York Times
  • Seldis, Henry J. "Appearance and Beyond." Los Angeles Times, January 12, 1976, pp. 1, 9
  • Smith, Roberta. “Drawing Now (and Then).” Artforum XIV, no. 8, April 1976, pp. 52-59
  • Bourdon, David. "Beuys will be Beuys, Beckmann is Beckmann." New York Village Voice, April 28, 1975, pp. 98-99, 102
  • Bourdon, David. "American Painting Regains Its Vital Signs." New York Village Voice XX, no. 11, March 17, 1975, p. 88
  • Bourdon, David. "Tetrahedrons in the Sky.” New York Village Voice, January 27, 1975, pp. 98-102
  • Crossley, Mimi. “Art: The Face of Reality.” Houston Post, August 14, 1975, p. 8B
  • deAk, Edit. "Photographic Realism." Art-Rite/Painting, no. 9, spring 1975, p. 14-15
  • Derfner, Phyllis. "New York: Chuck Close." Art International: The Art Spectrum XIX, no. 6, June 15, 1975, p. 67
  • Ellenzwieg, Allan. "Portrait Painting 1970-75." Arts Magazine 49, no. 7, March 1975, p. 13-14
  • Fagan, Beth “Dot Clusters Add Up to ‘Real’ Experience for New Yorker.” Sunday Oregonian, October 5, 1975, p. 14
  • Forgey, Benjamin. “Corcoran Show is Mostly Big.” Washington Star, February 21, 1975, pp. B1, B2
  • Henry, Gerrit. "Artist and the Face; A Modern American Sampling." Art in America 63, no. 1, January/February 1975, pp. 34-41
  • Hudson, Andrew. "Washington Letter." Art International: The Art Spectrum, June 15, 1975, pp. 92-99
  • Johnson, Lincoln. “Corcoran Biennial is Spare, Cerebral and Flamboyant.” Baltimore Sun, March 13, 1975, pp. B1-B2
  • Kramer, Hilton. "Reviews: Chuck Close." New York Times, April 26, 1975, p. 20
  • Lascault, Gilbert. "Auteurs de quelques portraits." XXeme Siécle XLIV, no. 44, June 1975, pp. 123-131
  • Lucie-Smith, Edward. "The Neutral Style." Art and Artists 10, no. 5, August 1975, pp. 6-15
  • Moser, Charlotte. “Bigger Art has Never Meant Better Art.” Houston Chronicle, August 3, 1975, pp. 12-13
  • “Realismus Konkrete Kunst und der IntermediÑre Aktonismus: Chuck Close.” der Lîwe, no. 5, July 31, 1975, pp. 2-6
  • Richard, Paul. “Whatever you call it, Super Realism Comes on with a Flash.” Washington Post, November 25, 1975, p. B1
  • Robbins, Daniel. “Daniel Robbins on Art.” The New Republic, May 1975
  • Russell, John. "Art: Portraiture by 31 Painters." New York Times, January 25, 1975
  • Smith, Roberta. "Reviews: 34th Biennial of Contemporary American Painting." Artforum XIII, no. 9, May 1975, pp. 70-73
  • Sutinen, Paul. “A Close Look at Painting.” Williamette Week, October 13, 1975, p. 14
  • Wallach, Amei. “Portrait Painting is Alive and Well.” New York Newsday, January 26, 1975, Part II, pp. 16-17.
  • Walsh, Mike E. "Chuck Close: Realist or Minimalist?" Artweek 6, no. 35, October 18, 1975, p. 13
  • Witt, Linda. “The Lemons of Landfall Press: They’ll Sacrifice Anything for Art but their Family.” People 4, no. 17, October 27, 1975, pp. 66-69
  • Zimmer, William. "Art Reviews: Chuck Close." Arts Magazine 49, no. 10, June 1975, pp. 8-9
  • Berkman, Florence. “‘Three Realists’: A Cold, Plastic World.” Hartford Times, March 10, 1974, pp. 51, 53
  • Berkman, Florence. “‘Big City’ art jurors took Hartford too lightly.”Hartford Times, June 17, 1973, p. 15A
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  • Coleman, A. D. "From Today Painting is Dead." Camera 35, July 1974, pp.34, 36-37, 78
  • Dyckes, William. "The Photo as Subject: The Paintings and Drawings of Chuck Close." Arts Magazine 48, no. 5, February 1974, pp. 28-33. (Reprinted in Battcock, Gregory, ed., Super Realism: A Critical Anthology, New York: 1975
  • Feaver, William. "ARS '74/Helsinki." Art International The Lugano Riview XVIII, no. 5, May 1974, pp. 38-39
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  • Hughes, Robert. "An Omnivorous and Literal Dependence." Arts Magazine 48, no. 9, June 1974, pp. 24-29
  • Hughes, Robert. "Last Salon: Biannual Exhibition at New York's Whitney Museum." Arts, June 1974, pp. 25-29
  • Kelley, Mary Lou. "Pop-Art Inspired Objective Realism." Christian Science Monitor, April 1, 1974
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  • Peppiatt, Michael. "Photographic Illusionist Prints." Art International The Lugano Review, April 20, 1974, pp. 52, 74-75
  • “Realist Painting Exhibition to Open on Wednesday.” Evening News (Southbridge, MA), February 25, 1974
  • Russell, John. "Portrait Show at Whitney Downtown." New York Times, November 30, 1974
  • Schneckenburger, Martin. “Kunstbleibt Kunst.” Projekt ‘74, Series I-IV, 1973, p. 162-165
  • Spear, Marilyn W. “Three Realists Showing at Museum.” Worcester Telegram, February 27, 1974, p.12
  • Spear, Marilyn W. “An Art Show that is for Real.” Worcester Telegram, February 24, 1974, pp. 1E, 4E
  • Spector, Stephen. "The Super Realists." Architectural Digest 31, No.3, November/December 1974, pp. 84-89
  • Teyssedre, Bernard. “Plus vrai que Nature.” Le Nouvel Observateur, February 25 - March 3, 1974, p.59
  • "Three Realists: Close, Estes, Raffael." Connoisseur 186, June 1974, pp. 142-143
  • “Worcester Art Museum Hosts Major Painting Exhibition.” Enterprise-Sun (Marlboro, MA), February 20, 1974
  • Baldwin, Carl. "Le penchant des peintres americains pour le realisme." Connaissance des Arts (Paris), No. 254, April 1973, p. 120
  • Baldwin, Carl. “Realism: The American Mainstream.” Realites, no. 276, November 1973, pp. 42-51
  • Berkman, Florence. “‘Big City’ art jurors took Hartford too lightly.”Hartford Times, June 17, 1973, p. 15A
  • Borden, Lizzie. "Reviews." Artforum 12, no. 2, October 1973
  • Brunelle, Al. "Reviews: Chuck Close." Art News 72, no. 4, April 1973, p. 73
  • “Building a Collection: Specialize and Buy the Best.” Business Week, October 27, 1973, pp. 107-108
  • “Bykert Gallery, New York exhibit.” Arts Magazine 48, December 1973, p. 60
  • Canaday, John. "Art: Miro's Joy and Verve/Chuck Close." New York Times, October 27, 1973, p. 27
  • Chase, Linda and Ted McBurnett. "Fiches: Chuck Close." Opus International, no. 44-45, June 1973, pp. 40-41
  • Chase, Linda. “Recycling Reality.” Art Gallery Magazine XVII, no. 1, October 1973, pp. 75-82
  • Davis, Douglas. "Art Without Limits." Newsweek, December 24, 1973 LXXXII, no. 26, pp. 68-74
  • Dyckes, William. "A One-Print Show by Chuck Close at MoMA." Arts Magazine 47, no. 3, December 1972/January 1973, p. 73
  • “Foto-Realismus.” IWZ Illustrierte Wochenzeitung, no. 14, June 2-8, 1973, pp. 8-10
  • Gilmour, Pat. "Photo-Realism." Arts Review 25, April 21, 1973, p. 249
  • Guercio, Antonio del. “Iperrealismo tra ‘pop’ e informale.” Rinascita (Rome), no. 8, February 23, 1973, p. 34
  • Henry, Gerrit. "A Realist Twin Bill." Art News 72, no. 1, January 1973, pp. 26-28
  • Hughes, Robert. "Last Salon: Biannual Exhibition at New York's Whitney Museum." Time, February 12, 1973, p. 46
  • Kipphoff, Petra. “Recovering from Documenta.” Art News 72, no. 4, April 1973, pp. 43-44
  • Levin, Kim. "The Newest Realism: A Synthetic Slice of Life." Opus International, June 1973, No. 44-45, pp. 28-37
  • “Maîtres de Hyperréalisme.” Pariscop, no. 265, May 24-30, 1973, p. 79
  • Mellow, James. R. “‘Largest’ Mezzotint by Close Shown.” New York Times, January 13, 1973, p. 25
  • Melville, Robert. "The Photograph as Subject." Architectural Review CLIII, no. 915, May 1973, pp. 329-333
  • Michel, Jacques. “Le ‘Super-Réalisme’ ou la Peinture d’aprés Photographie.” Le Monde (Paris), February 6, 1973, p. 23
  • “Minnesota, A State that Works.” Time, August 13, 1973, p. 28
  • Moulin, Raoul-Jean. “Hyperréalistes Américains.” L’Humanité (Paris), January 16, 1973
  • Nemser, Cindy. "Fotografiet som Sandhed." Louisiana Revy (Humlebæk) 13, no. 3, February 1973, pp. 30-33
  • Nochlin, Linda. "The Realist Criminal and the Abstract Law." Art in America 61, September/October 1973, pp. 54-61
  • “Painting Realistic Images.” Professional Photographer 100, no. 1939, December 1973, p. 56
  • Perreault, John. "A New Turn of the Screw: Drawings by Chuck Close." New York Village Voice XVIII, no. 44, November 1, 1973, p. 34
  • Restany, Pierre. “Sharp Focus: La Continuité realiste d’une vision Américaine.” Domus, no. 525, August 1973, pp. 9-13
  • Rose, Barbara. "Two Women: Real and More Real." Vogue, May 1973, pp. 82, 94
  • Amman, Jean-Christophe. "Realismus." Flash Art, no. 32-33-34, May-July 1972, pp. 50-52
  • Baker, Ken. "New York Commentary." Studio International 183, no. 944, May 1972, pp. 225-228
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  • Borden, Lizzie. "Cosmologies." Artforum 11, no. 2, October 1972, pp. 45-50
  • Interview by Chase, Linda and Ted McBurnett. “Photorealists: 12 Interviews.” Art in America 60, no.6, November - December 1972, pp. 76-77
  • "Kunst: Asket mit Pistole." Der Spiegel, no. 50, December 4, 1972, pp. 162-163
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  • Davis, Douglas. “Nosing Out Reality.” Newsweek LXXX, no.7, August 14, 1972, p. 58
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  • "Flashback su Kassel." Flash Art, no. 35-36, September-October 1972, p. 16
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  • Glauber, Robert. “Museum of Contemporary Art Exhibit: Too Much of A Good Thing.” Skyline , March 1, 1972, section 1, p. 4
  • Haydon, Harold. “An Exhibit of Realism and Its Amazing Forms.” Chicago Sun Times, February 13, 1972
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  • “L’ l’hyperréalisme ou le retour aux origines.” Nouvelles Litteraires (Paris), October 6, 1972
  • “Les malheurs de L’Amerique.” Nouvel Observateur (Paris), November 6, 1972
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  • Nemser, Cindy. "The Close Up Vision - Representational Art - Part II." Arts Magazine 46, no. 7, May 1972, pp. 44-48
  • “Now!” Chicago Today, February 13, 1972, p. 61
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  • Perreault, John. "A Lollapallozza of a Mishmash." New York Village Voice, February 10, 1972, p. 23
  • Perreault, John. “Realistically speaking...” New York Village Voice, December 14, 1972, p. 36
  • Perreault, John. “Reports, Forecasts, Surprises and Prizes.” New York Village Voice, January 6, 1972, pp. 21 and 24
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