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Alex Katz
Alex Katz is a towering figure in contemporary painting, a key New York-based artist since the early 1960s. Katz is best known for his distinct portraits of sophisticated, irresistible women, masterfully painted using precise, broad areas of colour Alex Katz is represented by Marlborough, 40 West 57th Street, New York, NY 10019, Tel: 212-541-4900; Fax: 212-541-4948, mny@marlboroughgallery.com , and Timothy Taylor Gallery, 24 Dering Street, London W1 1TT, tel 020 7409 3344, mail@timothytaylorgallery.com . www.alexkatz.com
Alex Katz
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Dictionary of Artists' Models
The first reference work devoted to their lives and roles, this book provides information on some 200 artists' models from the Renaissance to the present day. Most entries are illustrated and consist of a brief biography, selected works in which the model appears (with location), a list of further reading. This will prove an invaluable reference work for art historians, librarians, museum and gallery curators, as well as students and researchers.
Artist File
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Alex Katz
In this analysis of the themes of Katz's paintings, Beattie captures the artist's visual messages. The author's analysis covers Katz's portrayal of alienation, placidity, triviality, and meaninglessness, the disturbing realities of the 20th century. She compares Katz's work to contemporary artists such as Avendon, O'keeffe and Stieglitz, and analyzes his narrative themes. She also includes a chapter about Ada, Katz's wife and model. ISBN-0-8109-1212-0 : $27.50.
Alex Katz, New York
This text brings together some of Katz's most striking images of New York, the city of his birth and the locale with which he is most strongly identified.
Alex Katz
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Jewish American Identity and Erasure in Pop Art
This volume focuses on Jewish American identity within the context of Pop art in New York City during the sixties to reveal the multivalent identities and selves often ignored in Pop scholarship. Melissa L. Mednicov establishes her study within the context of prominent Jewish artists, dealers, institutions, and collectors in New York City in the Pop sixties. Mednicov incorporates the historiography of Jewish identity in Pop art—the ways by which identity is named or silenced—to better understand how Pop art made, or marked, different modes of identity in the sixties. By looking at a nexus of the art world in this period and the ways in which Jewish identity was registered or negated, Mednicov is able to further consider questions about the ways mass culture influenced Pop art and its participants—and, to a larger extent, formed further modes of identity. The book will be of interest to scholars working in art history, Jewish studies, and American studies.
Alex Katz
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