Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
Most art enthusiasts first associate the name of American painter Alex Katz with the image of large-format, color-intense paintings from which an elegant, well-balanced, almost classical world of seemingly incidental events addresses us. What comes to mind are the formally simple, poster-style portraits, the group portraits of people at the seashore swimming or resting, the depictions of summerly garden parties and of ballet scenes with their film-still-like sequences of movements. At times, the enormous landscape paintings, in which lights plays a creative, structural role, proves just as memorable. Although rich in visual effects, Alex Katz's world is a gentle one; his work also demonstrates connections to American coolness, that reserved and emotionless, usually representational style of painting characterized mainly by clear forms and perfect style. Located outside Abstract Expressionism, Pop Art, and programmatic realism, Alex Katz's paintings occupy a peculiar, original position that oscillates between these poles, a position to which his paintings also owe their popularity. Zdenek Felix, excerpted from Style and Elegance in Alex Katz: Prints.
Edited with text by Katherine Brinson. Text by Levi Prombaum, David Breslin, Jennifer Y. Chuong, David Max Horowitz, Arthur Jafa, Katie Kitamura, Wayne Koestenbaum, Ewa Lajer-Burcharth, Kevin Lotery, Prudence Peiffer.
The evolution of Alex Katz: nearly 80 years of restless innovation in portraiture and landscape across painting, works on paper and sculpture
Hbk, 9.25 x 11.5 in. / 384 pgs / 360 color. | 12/13/2022 | In stock $69.95
Published by Hatje Cantz. Edited by Klaus Albrecht Schröder, Marietta Mautner Markhof, Gunhild Bauer. Text by Vivien Bittencourt, Marietta Mautner Markhof, Gunhild Bauer, Vincent Katz, Carter Ratcliff.
Before the rise of Pop art, American artist Alex Katz (born 1927) developed an iconic style of figurative painting in the early 1960s—influenced by film, television and billboard advertising. Katz created seemingly detached and incredibly stylish portraits of New York’s social and art scenes as well as idyllic landscapes. Printmaking plays an equally central role in Katz’s work; he uses lithographs, etchings, silkscreens, woodcuts and linocuts to reproduce, reflect and further reduce his bold aesthetic, while retaining the radiant color characteristic of his paintings. Since the first edition of this catalogue raisonné, published in 2011, Katz has almost doubled his output of prints. This timely new edition includes his complete prints, cutouts and artists’ books, in addition to his book illustrations and public art projects. New essays and interviews with the artist provide profound insights into the work of one of the foremost American artists today.
Ruminating on his long and extensive interactions with American poets, Alex Katz (born 1937) recently stated that the "poetry scene in New York turned out to be a big event" in the late 1950s and 1960s. This volume surveys his numerous collaborations with writers of the New York School and beyond. It reproduces covers and images from his book collaborations with Frank O’Hara, Michael Brownstein, John Ashbery, James Schuyler, Kenneth Koch, Bill Berkson, Kenward Elmslie, Vincent Katz, Alice Notley, Harry Mathews, Susie Timmons, Robert Creeley, Michael Lally, Carter Ratcliff and Ron Padgett. Also featured are his print collaborations with Kenneth Koch, William Dunas, Ted Berrigan, Kenward Elmslie, John Godfrey, Ted Greenwald, Michael Lally, Ann Lauterbach, Gerard Malanga, Alice Notley, John Perreault, Carter Ratcliff, Rene Ricard, Peter Schjeldahl, Tony Towle, Bill Zavatsky, Edwin Denby, Ron Padgett and Vincent Katz.
Published by Thaddaeus Ropac. Edited by Oona Doyle, Ailsa Mcdougall. Text by Éric de Chassey.
Alex Katz (born 1927) is celebrated for his up-close, Pop-style portraiture, but he has also produced a tremendous number of landscapes—or rather, “waterscapes.” These often-monumental paintings play with light and reflection to create delicate, immersive compositions. Unlike conventional landscapes, his paintings contain minimal recessive space: “you look at one, and you float inside of it,” says Katz. The artist gathers inspiration from the lakes and forests of Maine, where he works en plein air in the style of the French Impressionists. His work can be understood as an evolved Impressionism, pursuiing a flatter, more opaque form of immediacy. Published in conjunction with an exhibit curated by art historian Éric de Chassey, Floating Worlds spotlights these subtly exquisite landscape works from 1989 to 2020.
Published by Thaddaeus Ropac. Edited by Oona Doyle, Kyu Jin Hwang, Ailsa McDougall, Séverine Waelchli. Text by Jin Myung Lee.
Flowers are a favored subject in the recent paintings of American artist Alex Katz (born 1927). After noticing the dynamism that blooming flowers brought to his group portraits, the artist homed in on the flowers themselves, working in nature to directly capture the light and atmosphere that lend them their bright colors. His carefully executed signature strokes and planes of flat colors are manifest in his flower series, but Katz has also employed a subtler wet-on-wet technique, in which the last stroke of paint is applied before the first one has had time to dry, engendering a sense of immediacy. This volume accompanies the first exhibition of Katz’s flower paintings in Asia, held at Thaddaeus Ropac, Seoul, and features previously unseen works from the artist’s flower series as well as new portraits, whose subjects are depicted in botanical settings.
Published by Guggenheim Museum. Edited with text by Katherine Brinson. Text by Levi Prombaum, David Breslin, Jennifer Y. Chuong, David Max Horowitz, Arthur Jafa, Katie Kitamura, Wayne Koestenbaum, Ewa Lajer-Burcharth, Kevin Lotery, Prudence Peiffer.
Across decades of intense creative production, Alex Katz has sought to capture a state of “absolute awareness” in paint. Whether evoking a glancing exchange between friends or a shaft of light filtered through trees, he has aimed to create a record of “quick things passing,” compressing the flux of everyday life into a condensed burst of optical perception. Published on the occasion of the artist’s first US career retrospective in more than 30 years, Alex Katz: Gathering offers a definitive account of Katz’s artistic project, demonstrating both its marked coherence and restless evolution. Generously illustrated, the book features the full breadth of the artist’s work across mediums and formats, from intimate sketches of riders on the New York City subway in the late 1940s to the rapturous, monumentally scaled landscapes that have dominated his recent production. Essays by artists, writers and art historians offer fresh, authoritative overviews of the artist’s practice alongside more focused considerations of specific facets of his art, including his flower paintings, collages, prints, freestanding “cutouts” and set design collaborations with the Paul Taylor Dance Company. A sourcebook of historical reviews, essays and poems rounds out the volume, which offers an overdue reassessment of the artist’s oeuvre. Alex Katz (born 1927) is one of America’s most iconic and prolific artists. His work has been the subject of more than 250 solo exhibitions and 500 group exhibitions since 1951 and can be found in over 100 public collections worldwide.
Published for the artist’s 2021 show at Gray Chicago, Alex Katz: The White Coat debuts the latest series from Alex Katz (born 1927), titled Vivien in White Coat: 11 large-scale portraits depicting Vivien Bittencourt, the painter’s daughter-in-law, wearing a radiant white coat.
Using a palette dominated by white, black and pale blue, Katz radically crops and magnifies the figure from an array of dynamic perspectives within the picture plane. Balancing the specific and the abstract, the intimate and the remote, the geometric and the gestural, Katz positions the figure in space with deftness, brevity and sartorial elegance. Notwithstanding Katz’s seriality, the white coat appears mysterious and enigmatic within each composition.
Alex Katz: The White Coat features an essay by renowned curator and writer Jan Verwoert, 42 color illustrations and an artist’s biography.
Published by Karma Books, New York/Lococo Fine Art Publisher, St. Louis. Text by Carter Ratcliff, Jarrett Earnest.
This handsome clothbound catalog gathers Alex Katz’s recent titular print portfolio. The series of 25 prints features close-up, black-and-white portraits that remove the subjects from any contextual backdrop, emphasizing instead subtle shifts in expression. Rendered in bold lineation and tightly framed, the women depicted recall the models and celebrities featured in mid-20th-century fashion imagery, underscoring Katz’s ongoing fascination with perceptions of beauty and glamour that permeate the public sphere. The portraits are bookended by a pair of meditations on beauty: Carter Ratcliff imagines a comedically philosophical dialogue between himself and beauty, and Jarrett Earnest shares 31 encounters with beauty in art and life. Alex Katz (born 1927) is one of America’s most iconic and prolific artists. His work has been the subject of more than 250 solo exhibitions and 500 group exhibitions since 1951 and can be found in over 100 public collections worldwide. Katz is best known for his large-scale canvases of flatly rendered figures cast against a monochrome background.
Published by NERO. Edited by Enzo Cucchi. Text by Vincent Katz.
Alex Katz: Katz Katz is a collaboration between three artists. Edited by Italian painter Enzo Cucchi (born 1949), it gathers drawings by Alex Katz (born 1927) and pairs them words by the artist’s son, the poet, curator and critic Vincent Katz (born 1960).
All the drawings included in this volume are risograph prints of original exercises and preparatory sketches for paintings, revealing the processes by which Alex Katz arrives at his paintings. These drawings are bookended by Cucchi’s woodcuts showing the two artists, father and son; at the back are two poems by Vincent Katz, one of which is dedicated to Cucchi.
Gorgeously produced and intimate in design, Katz Katz celebrates the affectionate conversations between the two artists.
BOOK FORMAT Hardcover, 7.5 x 11 in. / 92 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 4/23/2019 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018 p. 118
PRODUCT DETAILS ISBN 9788897503811TRADE List Price: $30.00 CDN $40.00
Published by Koenig Books. Edited by Julia Peyton Jones, Hans Ulrich Obrist. Text by John Godfrey, Ingrid D. Rowland, Marlene Dumas & Jan Andriesse, Jan Verwoert, Merlin James.
This volume, published for New York and Maine-based painter Alex Katz’s (born 1927) 2016 exhibition at the Serpentine Gallery in London, takes landscape as its focus, bringing together Katz’s extraordinarily productive output of recent years alongside select works from the past two decades.
The book includes texts from artists, thinkers and poets. It opens with a previously unpublished conversation between Alex Katz and Hans Ulrich Obrist and a new poem by John Godfrey. In her essay, Ingrid D. Rowland expands on Katz’s unique approach to light; 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.
Published by Charta/Colby College Museum of Art. By Alex Katz. Edited by Vincent Katz. Foreword by Sharon Corwin.
Invented Symbols is Alex Katz’s memoir of his education in art. Katz’s story begins with his parents, Russian emigrés involved in theater, and discusses everything from his finding a high school that offered the possibility of drawing from antique casts, to his acceptance at the Cooper Union, his decision to become a fine artist and beyond. Katz has always steeped himself in the literature of his time, having often painted and collaborated with poets, and it is no surprise that his take on autobiography should be particularly considered and original in its composition: the entire text of Invented Symbols is in fact a transcription of the artist recounting his memories aloud, typed up by his son, poet Vincent Katz. This book revises and expands upon the 1997 Hatje Cantz edition, long out of print.
PUBLISHER Charta/Colby College Museum of Art
BOOK FORMAT Paperback, 5.75 x 8.5 in. / 173 pgs / 108 bw.
PUBLISHING STATUS Pub Date 9/30/2012 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 63
PRODUCT DETAILS ISBN 9788881588404TRADE List Price: $29.95 CDN $35.00
Published by Charta / Colby College Museum of Art. Text by Carter Ratcliff. Interview by Sharon Corwin.
Maine/New York surveys three decades of paintings by Alex Katz (born 1927). A quintessential New York artist, Katz is also a part-time resident of rural Maine, and the subject matter of his paintings accordingly shifts from landscape to cityscape, from rural vignette to Manhattan interior. In this volume, published for an exhibition at Colby College Museum of Art--where the largest public collection of Katz’s resides--the pleasant haze of city afternoons is juxtaposed with the flickering greens of a rural path; the buzz of a fashionable social occasion with the dusk as it descends on a pond in the Maine woods. Along the way, we encounter the family members and friends who populate Katz’s paintings, cast in his distinctive treatments of light and atmosphere.
PUBLISHER Charta / Colby College Museum of Art
BOOK FORMAT Hardcover, 8.5 x 10.75 in. / 128 pgs / 60 color.
PUBLISHING STATUS Pub Date 6/30/2012 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 84
PRODUCT DETAILS ISBN 9788881588305TRADE List Price: $45.00 CDN $55.00
Published by Galerie Thaddaeus Ropac. Edited by Arne Ehmann. Introduction by Charles L. Reinhart. Text by Mark Rappolt.
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 Katz: Face the Music surveys Katz’s career-long involvement with dance, reproducing canvases, cartoons, drawings and studies in oil.
Alex Katz's clear planes of color and simplicity of line are famously well suited to printmaking. For Katz himself, the medium also holds the appeal of distributing his work in greater quantity. His embrace of printmaking was consolidated in the mid-1960s, and led to a voracious exploration of print technologies, including the latest state-of-the-art reproduction processes. Each of these elicits different qualities from Katz's artistic vocabulary: woodcut, for example, yields an emotional tenor not commonly seen elsewhere in his oeuvre, as the traces left by chisel and burn are left legible and accepted by the artist. However, the primary effect of Katz's prints is to enhance his art as a coolly Baudelairean “painting of modern life.” Though he frequently works with professional printing companies, Katz often undertakes the full run of manual labor himself. This volume assesses Katz's history with printmaking and editions, including collaborations with writers.
Published by Kerber. Text by Roland Mönig, Guy Tosatto, Timo Valjakka, Eric de Chassey.
Alex Katz (born 1927) has become a leading chronicler of modern life in America, a model and forerunner to several schools of painting that came after him. Portraying in deadpan style the faces of New York and its environs since the 1950s, when he was a part of the later Cedar Tavern scene, Katz makes everyday enigmas of people, at once emptying them of meaning and bestowing upon them specific character and specific roles in life. Some of these faces may be familiar (poets Allen Ginsberg and Ted Berrigan), others equally striking simply add to Katz's sense of modern life as a parade or a pageant. An American Way of Seeing surveys work from 1968 onwards, from paintings to cutouts and multi-panel works. The more recent paintings reproduced herein convey new hints of lyricism, in their depiction of reflections in water and mute night-time scenes.
Published by Hatje Cantz. Edited by Klaus Albrecht Schröder. Text by Felix Zdenek, Marietta Mautner Markhof, Werner Spies.
Alex Katz (born 1927) is best known as a painter--specifically, as a painter of his family and his distinguished circle of friends, including poets, writers and artists. In the early 1950s, he began experimenting with printmaking, but it was not until the mid 1960s that he intensified his interest and production in the medium. Pushing at the limits of various printing techniques, Katz tested out pictorial ideas first conceived for his paintings, retaining planes of matte color but further simplifying his forms and dramatically cropping his images. These reduced compositions were wonderfully compatible with the graphic clarity of printmaking, and by effectively translating his paintings into prints, the artist achieved what he called the "final synthesis of painting." This publication provides insight into an often-neglected yet vital aspect of Katz's work, from the early 1950s to the present day.
Published by Windsor Press. Text by David A. Moos.
Featuring a selection of 80 figurative works and landscapes in a wide range of materials and media including pencil, ink, oil stick and charcoal, drawings, prints and paintings, Alex Katz: Seeing, Drawing, Making demonstrates how the artist explores and elaborates the same image through diverse media. The volume reveals how Katz's repetitive method of working results in the distillation of form for which he is famous. Whether portraying a dancer at full stride or a secluded landscape seen at sunset, Katz's iconic stylization is the result of careful preparation, beginning with intuitive sketches, continuing with pencil drawings and large-format charcoal cartoons and concluding with completed canvases. A series of works from the mid-1980s entitled Last Look, after choreographer Paul Taylor's eponymous piece, evidences Katz's nuanced approach to human form and gesture. This volume offers a fascinating glimpse into the hard work that goes into making a Katz painting look effortless.
PUBLISHER Windsor Press
BOOK FORMAT Hardback, 8.5 x 10.5 in. / 112 pgs / 75 color.
PUBLISHING STATUS Pub Date 12/1/2008 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2008 p. 85
PRODUCT DETAILS ISBN 9780974611648TRADE List Price: $45.00 CDN $55.00
Alex Katz is one of the most influential American painters of the twentieth century. Though he perversely pursued figurative work in the era of Abstract Expressionism, the influence of his stylized portraits of New York’s artworld demimonde, as well as his unmistakable Maine landscapes, can now be seen in the work of countless younger artists. This concise and affordable publication, which showcases Katz’s work from the Banca della Svizzera Italiana (BSI) collection, contains images from throughout his career. What makes this volume notable is not only the opportunity to consider these rarely-seen pieces and commissions, but also the technical and anecdotal commentary that Katz has provided for each work.
Published by Charta / Irish Museum of Modern Art. Foreword by Enrique Juncosa. Text by Juan Manuel Bonet. Interview by Rachael Thomas.
New York brings together painter Alex Katz's most striking images of his hometown and the dear friends with which he made it his own. Coming of age during the triumph of the New York School of painting, Katz synthesized its influences with wide-ranging interests shared by many of the New York School poets. Of the more than 40 paintings and aquatints gathered here, many depict that distinguished circle, as well as the iconic skyline where they changed the world. Katz is best known as a painter of people, and the wide cross-section of portraits here demonstrates the variety he brings to the genre, along with dramatic variations in scale, abrupt cropping and subtle artifices such as luxuriant backdrops that turn out to be earlier Katz paintings. Along with an essay and interview, New York includes an extraordinary selection of poems from friends of the artist, including some of the most important American poets of the late twentieth century, among them Frank O'Hara, Kenneth Koch, John Ashbery and Robert Creeley. Katz was born in Brooklyn in 1927 and studied at the Cooper Union and Skowhegan School of Painting and Sculpture. His work has been the subject of nearly 200 international solo exhibitions.
PUBLISHER Charta / Irish Museum of Modern Art
BOOK FORMAT Hardcover, 9.5 x 12 in. / 88 pgs / 43 color / 18 bw.
PUBLISHING STATUS Pub Date 8/1/2007 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2007 p. 78
PRODUCT DETAILS ISBN 9788881586349TRADE List Price: $45.00 CDN $55.00
Alex Katz: The Sixties offers readers a selection of works by the pioneering painter who redefined portraiture and landscape in the 1960s. Bridging Pop and Minimalist sensibilities, these prints, paintings and other works are quintessential examples of style as content: Katz intimates the familiar rather than describe it, and prods the viewer's perception past preconceived ideas. Katz's work catalyzes an immediate response, both pictorially and emotionally, to the human condition. His work is included in collections at The Museum of Modern Art, the Hirschhorn, The Art Institute of Chicago, the Saatchi Collection and the Metropolitan Museum of Art in Tokyo.
BOOK FORMAT Paperback, 9.5 x 11 in. / 96 pgs / 36 color.
PUBLISHING STATUS Pub Date 9/15/2006 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2006 p. 112
PRODUCT DETAILS ISBN 9788881585939TRADE List Price: $34.95 CDN $40.00
Published by Colby College Museum of Art. Essay by David Cohen. Foreword by Sharon Corwin.
Alex Katz: Collages is the catalogue raisonnª of Katz's early collages, spanning the period from 1954 to 1960. It presents 85 color plates with complete catalogue entries and an essay by Katz scholar David Cohen, critic for the New York Sun, publisher and editor of artcritical.com and curator at the New York Studio School. Cohen's essay argues that the collages are critical to an understanding of Katz's mature work and occupy a significant place within a history of Modernism. In these seminal works, Katz was already developing his unique artistic voice--a vocabulary of elemental forms, aesthetic efficiency and flat color.
PUBLISHER Colby College Museum of Art
BOOK FORMAT Hardcover, 9.5 x 8.25 in. / 180 pgs / 85 color.
PUBLISHING STATUS Pub Date 2/1/2006 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2006 p. 105
PRODUCT DETAILS ISBN 9780972848459TRADE List Price: $45.00 CDN $55.00
Published by Charta/Farnsworth Art Museum. Essay by Sanford Schwartz.
Alex Katz is one of the most important painters of our era. Having come of age in the 1950s, alongside the New York School of painters and poets, he still continues to influence generations of artists with his iconic figurative work. Best known for his emotionally ambivalent and psychologically complex portraits of cosmopolitan friends and colleagues from the New York art world, he is also revered for his bold, transcendent landscape paintings and his coolly intimate portraits of friends and family--oftentimes painted in Maine, where Katz has habitually summered for the past 50 years. Many of Katz's most poetic, melancholy, and slyly humorous works have been made in or about the state of Maine, and they are reproduced here in conjunction with the Farnsworth Museum of Art's Summer, 2005 exhibition. The Maine paintings capture friends and family relaxing in off moments, seasonal changes in light and other momentary excerpts from reality.
PUBLISHER Charta/Farnsworth Art Museum
BOOK FORMAT Hardcover, 11 x 9.5 in. / 96 pgs / 71 color.
PUBLISHING STATUS Pub Date 7/15/2005 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 113
PRODUCT DETAILS ISBN 9788881585083TRADE List Price: $45.00 CDN $55.00
Published by Galerie Thaddaeus Ropac. Essays by Lena Maculan and Nikolaus Ruzicska.
This group of classic works by the American painter Alex Katz from the 1980s shows how he kept the ideals of figurative painting alive during a time when abstraction was at the forefront of the discipline.
Published by Peter Blum Edition, New York. Essay by Jean-Christophe Ammann.
In the more than 500 working drawings by Alex Katz reproduced here, we are able to look over the artist's shoulder at works in their nascent state--a rare experience essential to any understanding of the artist's oeuvre. Like a sculptor's preparatory drawings, these are the sketches of a painter who is not a draftsman but a painter; they are the raw material, revealing Katz's methods of looking and recording. Contours, overlappings, movements and attitudes are put to paper ever so quickly, with observation given top priority. Subject development, composition and memory are all elements that come about afterwards, when the artist takes up the paintbrush and moves to the canvas. First Sight contains a vast array of previously unpublished sketches and drawings, printed here in facsimile, at a scale of 1:1, and spanning the entire career of the artist, from 1950 to the present. The book is a limited edition of 1000 copies.
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.
Published by Peter Blum Edition, New York. Essay by Merlin James. Foreword by Peter Blum.
Alex Katz's very first prints included wood- and linocuts, but it was not until 1986 that he finally returned to the technique he had used 30 years earlier. This book celebrates and reproduces in detail all of the woodcuts and linocuts that Katz has made since 1951, works that bring out the angular, awkward articulations, emotional ambivalence, and psychological complexity of his best work. All 78 prints are also reproduced in an informative color fold-out insert at the back of the catalogue.
Published by Peter Blum Edition, New York. By Robert Creeley. Artwork by Alex Katz. Text by Merlin James.
Continuing Alex Katz's practice of collaborations with poets, Edges features reproductions of 13 etchings by Katz alongside the poem “Edges” by the great American poet Robert Creeley. In addition, the volume includes a tipped-in color plate, two full-color spreads, a black-and-white photograph of the artist and poet and an essay by the artist and author Merlin James.