Alex Katz
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Alex Katz is an American painter, sculptor and printmaker. Born in Brooklyn, New York on July 24, 1927, he studied in New York and in Skowhegan, Maine between 1946 and 1950. In the early 1950s he was influenced by the work of Jackson Pollock and other Abstract Expressionists, and he produced swiftly executed pictures of trees and various works based on photographs. In the mid 1950s, working from life, Katz painted spare, brightly coloured landscapes, interiors, and figures. Soon afterward he also produced simplified images in collage. These early works emphasized the flatness of the picture plane while remaining representational, and this insistence on figuration placed him outside the contemporary avant-garde mainstream, in which abstraction and chance were key qualities. Katz developed his style in the portrait works of ordinary people from the late 1950s, such as Ada with White Dress (1958). This resolution of the demands of formalism and representation looked forward to the Pop Art of the following decade. "[Katz] has always had his own direction, which has not been the direction of mainstream art in any of the last seven decades. In a Katz painting, style-the way it's painted-is the primary element. His confident, crisply articulated technique makes us see the world the way he sees it, clear and up close, with all but the most essential details pared away." Katz's works are held in the permanent collections of the Art Institute of Chicago, MoMA, the Centre Georges Pompidou, the Detroit Institute of Art, The Tate Gallery, The Brooklyn Museum, Museo Rufino Tamayo, The Guggenheim Bilbao, The Metropolitan Museum of Art, The Whitney Museum, The National Gallery of Art, and the Smithsonian Institute, among others.
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Works
Alex Katz
Coca-Cola Girl, 2019Cutout from shaped powder-coated aluminum, printed the same on each side with UV cured archival inks, clear coated and mounted to a 3/8 inch polished aluminum base21 x 19 x 3 in.
53.3 x 48.3 x 7.6 cm.Edition of 60Series: Coca-Cola GirlsSignature etched on base plate, numbered on bottomFurther images
“There were Coca Cola porcelain signs in the 1930s and 1940s, with ladies in bathing suits. And the idea was “everything’s alright”. Like that American optimism. The ads inspired this...“There were Coca Cola porcelain signs in the 1930s and 1940s, with ladies in bathing suits. And the idea was “everything’s alright”. Like that American optimism. The ads inspired this series” -Alex Katz
In Alex Katz’s Coca-Cola Girl (cutout), a woman wearing a white swimsuit confidently strolls forward. Her blonde hair is blown back by the wind and her arms sway. Although visually a body in motion, mimicking the confident stride of Umberto Boccioni’s Unique Forms of Continuity in Space (1913), Katz’s Coca-Cola Girl is nonetheless static and compressed into a flat plane. Nameless and without identifying features, this Coca-Cola Girl is one of the many anonymous women that populated 1950s American advertising. There is a tension between the traditional intimacy of the portraiture genre and the impersonality of this unknown figure – she is both instantly recognizable and eternally unknowable. This work is part of Katz’s wider series entitled Coca-Cola Girl, in which he obsessively depicts different iterations of the iconic Coca-Cola advertisement models. Unlike the rest of the works in the series, this Coca-Cola Girl is not constrained to a flat piece of paper – she is printed on aluminium and stands upright, physically asserting her presence in our space. Katz is known for using economy of line to forcefully distil his subjects into simplistic and compressed forms. In 1959, frustrated with the limitations of a painting, he began to cut out the figures from his canvases. From this initial experiment he developed his pioneering ‘cutouts’; a new technique that allowed him to make even more concentrated investigations into flat surfaces and the problems of visual perception. The ‘cutouts’, such as Coca-Cola Girl, occupy our space like sculptures but are frustratingly two dimensional. Speaking about his ‘cutouts’ in 1968, Katz said “people ask me why I don’t do them in 3-D. Well, I’m an illusionist, and the minute you put them in 3-D, you ruin the illusion”. This illusion forces us to consider both the mechanics of viewing and the act of spectatorship. Contact the gallery or visit our website for learn more about Alex Katz.Publications
