Alex Katz Biography, Age, Height, Wife, Net Worth, Family

Age, Biography and Wiki

Alex Katz was born on 30 November, 1974 in Brooklyn, New York, NY, is an American artist. Discover Alex Katz's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 47 years old?

We recommend you to check the complete list of Famous People born on 30 November. He is a member of famous Producer with the age 49 years old group.

Alex Katz Height, Weight & Measurements

At 49 years old, Alex Katz height not available right now. We will update Alex Katz's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Who Is Alex Katz's Wife?

His wife is Ada Katz (m. 1958), Jean Cohen (m. ?–1956)

Alex Katz Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Alex Katz worth at the age of 49 years old? Alex Katz’s income source is mostly from being a successful Producer. He is from NY. We have estimated Alex Katz's net worth , money, salary, income, and assets.

Alex Katz Social Network

Timeline

Katz's work is in the collections of over 100 public institutions worldwide, including the Honolulu Museum of Art; the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; the Smithsonian Institution, Washington, D.C.; the Carnegie Museum of Art, Pittsburgh; the Art Institute of Chicago; the Cleveland Museum of Art; the Tate Gallery, London; the Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; the Metropolitan Museum of Art, Tokyo; the Nationalgalerie, Berlin; and the Museum Brandhorst, Munich. In 2010, Anthony d'Offay donated a group of works by Katz to the National Galleries of Scotland and the Tate; they are shown as part of the national touring programme, Artist Rooms. In 2011, Katz donated Rush (1971), a series of 37 painted life-size cutout heads on aluminum, to the Museum of Fine Arts, Boston; the piece is installed, frieze-like, in its own space.

Numerous publications outline Katz's career's many facets: from Alex Katz in Maine published by the Farnsworth Art Museum to the catalogue Alex Katz New York, published by the Irish Museum of Modern Art. Alex Katz Seeing Drawing, Making, published in 2008, describes Katz's multiple-stage process of first producing charcoal drawings, small oil studies, and large cartoons for placing the image on the canvas and the final painting of the canvas. In 2005, Phaidon Press published an illustrated survey, Alex Katz, by Carter Ratcliff, Robert Storr and Iwona Blazwick. In 1989, a special edition of Parkett was devoted to Katz, showing that he is now considered a major reference for younger painters and artists. Over the years, Francesco Clemente, Enzo Cucchi, Liam Gillick, Peter Halley, David Salle and Richard Prince have written essays about his work or conducted interviews with him.

In October 1996, the Colby College Museum of Art opened a 10,000-square-foot (930 m) wing dedicated to Katz that features more than 400 oil paintings, collages, and prints donated by the artist. In addition, he has purchased numerous pieces for the museum by artists such as Jennifer Bartlett, Chuck Close, Francesco Clemente, and Elizabeth Murray. In 2004, he curated a show at Colby of younger painters Elizabeth Peyton, Peter Doig and Merlin James, who work in the same figurative territory staked out by Katz.

Katz achieved great public prominence in the 1980s. He is well known for his large paintings, whose bold simplicity and heightened colors are now seen as precursors to Pop Art.

In 1977, Katz was asked to create a work to be produced in billboard format above Times Square, New York City. The work, which was located at 42nd Street and 7th Avenue, consisted of a frieze composed of 23 portrait heads of women. Each portrait measured 20 feet (6.1 m) high, and was based on a study Katz did from life. The billboard extended 247 feet (75 m) along two sides of the RKO General building and wrapped in three tiers above on a 60-foot (18 m) tower. Katz was commissioned in 1980 by the US General Services Administration's Art in Architecture Program to create an oil-on-canvas mural in the new United States Attorney's Building at Foley Square, New York City. The mural, inside the Silvio V. Mollo Building at Cardinal Hayes Place & Park Row, is 20 feet (6.1 m) high by 20 feet wide. In 2005, Katz participated in a public art project titled "Paint in the City", commissioned by United Technologies Corporation and organized by Creative Time. Katz' work, titled Give Me Tomorrow, reached 28 feet (8.5 m) tall and 53 feet (16 m) long on a billboard space above the Bowery Bar. Located on the corner of the Bowery and East Fourth Street in the East Village, the work was hand painted by sign painters and was installed during the summer of 2005.

After his Whitney exhibition in 1974, Katz focused on landscapes, stating, "I wanted to make an environmental landscape, where you were IN it." In the late 1980s, Katz took on a new subject in his work: fashion models in designer clothing, including Kate Moss and Christy Turlington. "I've always been interested in fashion because it's ephemeral," he said.

Throughout his career, Katz has been the recipient of numerous awards, including the John Simon Guggenheim Memorial Fellowship for Painting in 1972, and in 1987, both Pratt Institute's Mary Buckley Award for Achievement and the Queens Museum of Art Award for Lifetime Achievement. The Chicago Bar Association honored Katz with the Award for Art in Public Places in 1985. In 1978, Katz received a U.S. government grant to participate in an educational and cultural exchange with the USSR. Katz was awarded the John Simon Guggenheim Fellowship for Painting in 1972. Katz was inducted by the American Academy of Arts and Letters in 1988, and recognized with honorary doctorates by Colby College, Maine (1984), and Colgate University, Hamilton, New York (2005). In 1990 he was elected into the National Academy of Design as an associate member, and became a full Academician in 1994. He was named the Philip Morris Distinguished Artist at the American Academy in Berlin in 2001 and received the Cooper Union Annual Artist of the City Award in 2000. In addition to this honor, in 1994 Cooper Union Art School created the Alex Katz Visiting Chair in Painting with an endowment provided by the sale of ten paintings donated by the artist, a position first held by the painter and art critic Merlin James. In 2005, Katz was the honored artist at the Chicago Humanities Festival's Inaugural Richard Gray Annual Visual Arts Series. In 2007, he was honored with a Lifetime Achievement Award from the National Academy of Design, New York.

In 1965, Katz also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut, producing over 400 print editions in his lifetime. The Albertina, Vienna, and the Museum of Fine Arts, Boston, hold complete collections of Katz' print oeuvre. A print catalogue raisonné is due for release by the Albertina in the fall of 2011.

After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. One Flight Up (1968) consists of more than 30 portraits of some of the leading lights of New York's intelligentsia during the late 1960s, such as the poet John Ashbery, the art critic Irving Sandler and the curator Henry Geldzahler, who championed Andy Warhol. Each portrait is painted using oils on both sides of a sliver of aluminum that has then been cut into the shape of the subject's head and shoulders. The silhouettes are arranged predominantly in four long rows on a plain metal table.

Katz's paintings are divided almost equally into the genres of portraiture and landscape. Since the 1960s he has painted views of New York (especially his immediate surroundings in Soho) and landscapes of Maine, where he spends several months every year, as well as portraits of family members, artists, writers and New York society protagonists. His paintings are defined by their flatness of colour and form, their economy of line, and their cool but seductive emotional detachment. A key source of inspiration is the woodcuts produced by Japanese artist Kitagawa Utamaro.

Since 1951, Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions throughout the United States and internationally. Katz' first one-person show was an exhibition of paintings at the Roko Gallery in New York in 1954. In 1974 the Whitney Museum of American Art showed Alex Katz Prints, followed by a traveling retrospective exhibition of paintings and cutouts titled Alex Katz in 1986. The subject of over 200 solo exhibitions and nearly 500 group shows internationally, Katz has since been honored with numerous retrospectives at museums including the Whitney Museum of American Art, New York; Brooklyn Museum, New York; the Jewish Museum, New York; the Irish Museum of Modern Art, Dublin; Colby College Museum of Art, Maine; Staatliche Kunsthalle, Baden-Baden; Fondazione Bevilacqua La Masa, Venice; Centro de Arte Contemporáneo de Málaga; and the Saatchi Gallery, London (1998). In 1998, a survey of Katz' landscape paintings was shown at the P.S. 1 Contemporary Art Center, featuring nearly 40 pared-down paintings of urban or pastoral motifs.

Katz has admitted to destroying a thousand paintings during his first ten years as a painter in order to find his style. Since the 1950s, he worked to create art more freely in the sense that he tried to paint "faster than [he] can think." His works seem simple, but according to Katz they are more reductive, which is fitting to his personality. "(The) one thing I don't want to do is things already done. As for particular subject matter, I don't like narratives, basically."

From 1946 to 1949 Katz studied at the Cooper Union in New York, and from 1949 to 1950 he studied at the Skowhegan School of Painting and Sculpture in Maine. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan's plein air painting gave him "a reason to devote my life to painting." Every year from early June to mid-September, Katz moves from his SoHo loft to a 19th-century clapboard farmhouse in Lincolnville, Maine. A summer resident of Lincolnville since 1954, he has developed a close relationship with local Colby College. From 1954 to 1960, he made a number of small collages of still lifes, Maine landscapes, and small figures. He met Ada Del Moro, who had studied biology at New York University, at a gallery opening in 1957. In 1960, Katz had his first (and only) son, Vincent Katz. Vincent Katz had two sons, Isaac and Oliver, who have been the subjects of Katz's paintings.

Alex Katz (born July 24, 1927), is an American figurative artist known for his paintings, sculptures, and prints.

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