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characteristics, units of consciousness and processes of projection, introjection, and transference. 3. Freedom: the fixed limits of nature, the shifting limits of society, the free exchange of ideas, and the boundless imagination. 4. Creation: the process of nature as a metaphor for thought and action and the correlation of form and content to establish the symbolic realm. 5. Truth: the limits of nature, the nature of belief, and the interpretation of the ambiguous. 6. Utopia: progress or a timeless ideal, perfect moments or a state of grace. 7. Nothingness: death, oblivion, the absolute, the infinite and/or the unimaginable."
347:, Clough has written of the period following his commitment to art that: "my examination of impulses, desires, and intentions finally began to coalesce in my journal-like Studio Notes with which I have developed the themes and procedures which articulate my meanings to this day. At that point I had abandoned illustrational strategies for paint-as-material processes, generally, as established by Pollock and his progeny. My wood carving gave way to making maquettes for Tony Smith-like sculptures. My photographs reflected Walker Evans on the one hand and Jan Dibbets on the other."
368:(New York City) began collecting Clough's art and since then acquired over four hundred works, many of which were distributed to a museum in each of the fifty (United) States through a project implemented by the National Gallery of Art (Washington). Clough has been awarded grants by National Endowment for the Arts (1982, 1989), New York State Council on the Arts (1983) and the Pollock-Krasner Foundation (2009). His work was included in The Metropolitan Museum of Art's
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Utopias 12. C-notes 13. Display Models 14. The
Airbrush Detour 15. The Big Finger 16. The Vortices 17. Sun Wei 18. Arena Painting 19. The Stereos 20. Sticks and Stones 21. The Polychromes 22. Tinnitus and the Movies 23. Caesura 24. The Zodiac Conclusion 25. The Zodiac Macros 26. The Terminal Painting 27. Stream 28. The Tributaries 29. The Westerly Sculpture 30. The Books 31. The Segue 32. Pepfog.
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Clough has said, of his artwork, "What I like most about painting, all kinds of painting, is that it ain't what it looks like. Not that it's simply an illusion. I like the contradiction, that my things can have an old master look, the look of
Abstract Expressionism and a look of shiny smoothness. I
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includes the following categories of works: 1. The Arrow 2. The
Composites 3. Flung, Stroked, Squeegeed, and Ground 4. The Studio Notes 5. The Photo Reveals and the Paint Conceals 6. Clouds 7. Paint Creatures 8. Male and Female 9. Group Portraits 10.The History of Foolish Hope 11. Old Masters and
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magazine to him. Clough dropped out and on
January 5, 1971, decided that he would devote his life to art. He traded his sculptor's assistant services for studio space with artist Larry W. Griffis Jr., at the Ashford Hollow Foundation's 30 Essex Street former ice-house facility. From 1971-1972 he
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and was introduced to the artists and galleries of
Toronto, Ontario, Canada. He observed closely the organization of A-Space, a not-for-profit gallery which exhibited emerging artists. This model along with that of Artists Space in New York provided the example that Clough followed in forming
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includes "Chance and Choice," Clough's statement of concerns, excerpted here: "My subject is a web of metaphysical categories including: 1. Unity: wholeness, integrity, fragmentation, connectedness, and cosmic parameters. 2. Identity: similarities and differences, sums of distinguishing
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painter. His art has been exhibited in over 70 solo and over 150 group exhibitions throughout North
America and Europe and is included in the permanent collections of over 70 museums, including the
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like those paradoxes—flatness and its opposite, the way the photo reveals and the paint conceals. Shuffling and reshuffling, then adding another deck and reshuffling that."
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in 1974. Larry W. Griffis Jr. and the
Ashford Hollow Foundation shared its space and its Internal Revenue Service's 501 c3 status to seek and be awarded grants by the
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Charles Clough is married to book designer Liz
Trovato, and they are the parents of Edward George Clough (b. 1980) and Nicolas Henry Clough (b. 1982).
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Consider the
Alternatives, 20 Years of Contemporary Art at Hallwalls, Edited by Ronald Ehmke with Elizabeth Licata, 1996, Hallwalls, Inc.
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and introduced him to Clough, which resulted in the program of exhibitions and artists' visits which became
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in Brooklyn from 1969 to 1970 where the two-dimensional design teacher Joseph Phillips, introduced
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The Pictures Generation, 1974-84, Douglas Eklund, 2009, The Metropolitan Museum of Art,
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As of July, 2015 Clough established his studio, and the Clufffalo Institute, on the
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405:"John Simon Guggenheim Foundation | Charles Sidney Clough"
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in East Aurora, New York, outside of Buffalo, New York.
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155:. Clough has received fellowships and grants from the
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536:Charles Clough, Pepfog Clufff, 2007, Lulu.com,
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519:Ratcliff, Carter (1982). "Art in America".
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521:Expressionism Today: An Artists' Symposium
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372:, 1974–84, from April 21-August 2, 2009.
120:Learn how and when to remove this message
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343:In his autobiographical book of images,
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544:(free PDF for download: www.clufff.com)
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149:National Gallery of Art
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133:Charles Sidney Clough
212:By 1973 many of the
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364:Beginning in 1978
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391:References
298:Sol LeWitt
290:Dan Graham
171:, and the
110:April 2010
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