"No work of art was ever made without a process," Close has said, and Robert/104,072 was made by a painstaking process indeed: it is composed of tiny black dots, each set inside a single square of a 104,072-square grid. The sense of shape and texture—of the distinction between metal and skin, between knitted sweater and bushy mustache—depends on the density of the paint, which Close applied with a spray gun, revisiting each square an average of ten times. Not surprisingly, the work took fourteen months to make.
When Close began to paint portraits, in 1967-68, figurative painting was widely considered exhausted. The figures in Pop art were coolly ironic; and other artists were painting abstractions, or were abandoning painting altogether for more conceptual systems of art-making. Close preferred to apply a conceptual system to a traditional mode of painting. The aggressive scale makes the system clear—close up, the gridded dots in Robert/104,072 are quite apparent—and the black-and-white palette reflects the image's source in a photograph.
Robert/104,072 announces itself as less illusion than code. For Close, a picture like this one is not "a painting of a person as much as it is the distribution of paint on a flat surface. . . . You really have to understand the artificiality of what you are doing to make the reality."
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 274.