Alex Katz Books

Alex Katz malt Bilder, die von Aggression und Pathos frei sind. Seine Bilder strahlen eine sanfte Energie aus, die ihren Charme auf den Betrachter überträgt, ihn geradezu verführen kann. Er gehört zu den wenigen Malern des 20. Jahrhunderts, die sich die Suche nach der Schönheit zum Ziel gesetzt haben. Er findet sie in seiner alltäglichen Umgebung, bei seiner Familie und seinen Freunden, in der Stadt und auf dem Lande, bei Tag und hei Nacht. Seine Fähigkeit, kurze Momente in Dauer zu überführen, gibt seinen Bildern eine erstaunliche Lebensdauer. Die Malerei von Alex Katz ist gleichzeitig gegenwartsbezogen und zeitentrückt. Katalog zur Ausstellung in der Stadtgalerie Sundern 27. März bis 28. Mai 1998

"When Ishmael and his friend join the crew of the whaling ship the Pequod, they are unaware that its captain, the mysterious Ahab, is out for revenge. His plan is to pursue and kill the viscious white whale, Moby Dick, and no one can stop him!"--Back cover note.

Eine zugängliche Einführung in die Werke großer historischer und zeitgenössischer Künstler Geschrieben von Alex Katz, einem der berühmtesten und einflussreichsten Maler unserer Zeit Alphabetisch geordnet, wird der Eintrag jedes Künstlers von 1-2 Bildern und Katz' persönlichen Beobachtungen begleitet

The exhibtition catalogue brings together texts from artists, thinkers and poets, which offer personal responses to Katz's work. It opens with a previously unpublished conversation between Alex Katz and Hans Ulrich Obrist and a new poem written by John Godfrey. In her essay, Ingrid D. Rowland expands on Katz's unique approach to light and a conversation between artists Marlene Dumas and Jan Andriesse gives an insight into their engagement with Katz's work over time. Critic and writer Jan Verwoert's text explores Katz's understanding of depth and perception and the artist Merlin James focuses on a single painting. The publication also features archival reviews, which highlight the changing opinions of Katz's work throughout time and the influence of the cultural landscape on his practice.

In 1960, Alex Katz (born 1927) began to collaborate with the Paul Taylor Dance Company, commencing a relationship with dance that has spanned his entire career. Undertaken for the company’s performance of The Red Room (later known as Post Meridian ) at the legendary Festival of Two Worlds in Spoleto, Katz’s contribution consisted of three enormous red panels that defined the stage, and round wooden discs capable of holding two dancers, which floated down from the top of the theater rafters. During the collaboration, Katz also made numerous portraits of both dancers and dances. Katz and Taylor collaborated again in the 1980s, but the painter has only recently returned to the depiction of dance, with a new series of portraits of leading figures in the New York dance scene. Alex Face the Music surveys Katz’s career-long involvement with dance, reproducing canvases, cartoons, drawings and studies in oil.