{"content":[{"text":"ART REVIEW: A Strong “Close-Up” Look \n at Portraiture at Southampton Arts \n Center","bbox":{"left":0.071429,"top":0.103806,"width":0.8570900000000001,"height":0.11256200000000001}},{"text":"August 31, 2014 \n by James Croak","bbox":{"left":0.071429,"top":0.236163,"width":0.140573,"height":0.03559899999999999}},{"text":"“I paint myself because I am so often alone and because I am the subject I know best,” mused the \n Mexican artist Frida Kahlo of the 55 self-portraits she painted. “I am looking for a deeper likeness \n than obtained by a photographer,” wrote Vincent Van Gogh of his 43 self-portraits.","bbox":{"left":0.071429,"top":0.289614,"width":0.8569690000000001,"height":0.05564400000000003}},{"text":"Indeed, one of the most consistent themes running through the past 400 years of art history, in \n some ways perhaps the only constant, is that of the self-portrait performed by artists as dissimilar \n as the renaissance Leonardo de Vinci and the 20th century conceptualist Marcel Duchamp. And it \n was with that thought in mind that I surveyed the strong show “Close-Up: Contemporary \n Portraiture,” on view through September 7 at the Southampton Arts Center.","bbox":{"left":0.071429,"top":0.36311,"width":0.857126,"height":0.09573199999999998}},{"text":"The show, curated by Leila Heller with Kelly Behun, is about portraiture in general and includes \n portraits in every possible style and medium of individuals in every social strata rendered in the \n style of the individual artists. The show is presented jointly by the Leila Heller Gallery of New York \n City and the Southampton Arts Center, which occupies the former Parrish Art Museum building on \n Jobs Lane in Southampton.","bbox":{"left":0.071429,"top":0.476694,"width":0.857114,"height":0.09573099999999996}},{"text":"The portrait has always provided the bread and butter income of artists whose developed style \n attracts customers seeking to have their likeness memorialized in a unique way. Julian Schnabel’s \n Portrait of Geoffrey Bradfield, rendered in the artist’s early signature style of broken-plate painting, \n is one example of this kind of portraiture that is included in this show.","bbox":{"left":0.071429,"top":0.590277,"width":0.857,"height":0.07568799999999998}},{"text":".","bbox":{"left":0.071429,"top":0.683817,"width":0.005398,"height":0.015554999999999986}},{"text":"“Portrait of Geoﬀrey Bradﬁeld” by Julian \n Schnabel, 2009. Plates, Bondo on wood, 60 x 48 \n inches.","bbox":{"left":0.288335,"top":0.753749,"width":0.42333599999999993,"height":0.055643}},{"text":".","bbox":{"left":0.071429,"top":0.83348,"width":0.005398,"height":0.015554999999999986}},{"text":"Another example of signature-style representation is the staged portrait photography of Annie \n Leibovitz, whose Alice in Wonderland tableau of a ghoulish Donatella Versace and others is smartly \n included.","bbox":{"left":0.071429,"top":0.866887,"width":0.857042,"height":0.055643}}],"images_bbox":[{"left":0.075208,"top":0.058326,"width":0.017639,"height":0.014254},{"left":0.300934,"top":0.732799,"width":0.017639,"height":0.014254}],"images_bbox_not_text_overlap":[{"left":0.075208,"top":0.058326,"width":0.017639,"height":0.014254},{"left":0.300934,"top":0.732799,"width":0.017639,"height":0.014254}]}