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| | BOOK FORMAT
Hardcover, 6.25 x 10.5 in. / 96 pgs / 65 color PUBLISHING STATUS
Pub Date 7/2/2003
Out of print DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2003 PRODUCT DETAILS
ISBN 9783775713047 TRADE
List Price: $29.80 CDN $35.00 AVAILABILITY
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| | | Alex Katz: CutoutsEdited by Zdenek Felix. Essay by Carter Ratcliff.
One of the most important exponents of figurative realism, Alex Katz has been painting mainly portraits for more than 50 years. In his work, Katz records small incidents, momentary excerpts from reality. The people depicted seem melancholy, awash in an always flawless beauty which lends them a coolness verging on lifeless. Without ever cutting too deep, Katz's focus remains on the brilliance of surface--both his paintings' and his subjects'. Since the beginning of the 60s, Katz has been quoting the oversized formats of large-scale Pepsi and Lucky Strike advertisements and the dramatic compositions of film directors like Ingmar Bergman and Michelangelo Antonioni. Simultaneously, if somewhat less famously, he started to "cut out" his figure paintings in order to carry the surface quality of his depictions to the extreme--first in oil on wood, later in aluminum. The exquisite book at hand presents, for the first time, a broad selection of Katz's silhouette sculptures.
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FORMAT: Hardcover, 6.25 x 10.5 in. / 96 pgs / 65 color
LIST PRICE: U.S. $29.80
LIST PRICE: CANADA $35
ISBN: 9783775713047
PUBLISHER: Hatje Cantz
AVAILABLE: 7/2/2003
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
TERRITORY: NA LA | D.A.P. CATALOG: FALL 2003 | PRESS INQUIRIES
Tel: (212) 627-1999 ext 217
Fax: (212) 627-9484
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| Alex Katz: Cutouts Published by Hatje Cantz.
Edited by Zdenek Felix. Essay by Carter Ratcliff. One of the most important exponents of figurative realism, Alex Katz has been painting mainly portraits for more than 50 years. In his work, Katz records small incidents, momentary excerpts from reality. The people depicted seem melancholy, awash in an always flawless beauty which lends them a coolness verging on lifeless. Without ever cutting too deep, Katz's focus remains on the brilliance of surface--both his paintings' and his subjects'. Since the beginning of the 60s, Katz has been quoting the oversized formats of large-scale Pepsi and Lucky Strike advertisements and the dramatic compositions of film directors like Ingmar Bergman and Michelangelo Antonioni. Simultaneously, if somewhat less famously, he started to "cut out" his figure paintings in order to carry the surface quality of his depictions to the extreme--first in oil on wood, later in aluminum. The exquisite book at hand presents, for the first time, a broad selection of Katz's silhouette sculptures.
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