"Art Now and Then" does not mean art occasionally. It means art NOW as opposed to art THEN. It means art in 2017 as compared to art many years ago...sometimes many, many, MANY years ago. It is an attempt to make that art relevant now, letting artists back then speak to us now in the hope that we may better understand them, and in so doing, better understand ourselves and the art produced today.
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Wednesday, January 25, 2012
In the latter half of the twentieth century, since the advent of Abstract Expressionism, the tendency in the art world and among the general public has been to divide all artists into two camps--Realists and Abstractionists. Even people who ought to know better fall back on this dichotomy of oversimplification. And the art world especially hates those artists who straddle the fence, sometimes painting realistically, sometimes painting abstractly, as if they were somehow schizophrenic in doing so. Some artists even manage to "straddle the fence" in the same painting. Of course the labeling critics will look at the work and cast it one direction or the other, either Realism or Abstraction, based sometimes, I think, on pure whim. One of the artists whom they love to do this to is Alex Katz.
Varick, 1988, Alex Katz
Katz was born in 1927, in Brooklyn, later moving to Queens--New York born and bred--still lives there, in fact. His parents were Russian-Polish immigrants, steeped in the arts. He studied at the legendary Cooper Union, practically in his backyard, coming of age in the art world almost precisely at the dawn of the Abstract Expressionist era. By all rights he should have become an abstractionist. He was a contemporary of Pollock, Rothko, Hoffman, Johns, Motherwell, and all the others, but amazingly, any abstract tendencies in his work are strictly formalistic. Perhaps it was because he won a scholarship to study at the Skowhegan (Maine) School of Painting and Sculpture, taking him away from the boiling pot of the New York School right when it was bubbling at its hottest. Not surprisingly, given the environment, he picked up a love of landscape painting, very nearly the antithesis of Abstract Expressionism at the time.
Ada and Alex, 1980, Alex Katz
Katz's first one-man show was in 1954 at the Roko Gallery in New York. The headlines might have read: "Hometown boy returns and makes good." Except it wasn't at all like that. His landscapes and poster-like, flattened portraits were quite out of step with the mainstream. It took the passing of the Abstract era and the 1950s before the advent of figural painting and Pop allowed Katz's work hit its stride. It fell neatly into both categories, even though it displayed a number of quite abstract elements. In the 70's and 80's, he capitalized on this blending. His Varick (above) from 1988 is a prime example, or his Ada and Alex from 1980 (left, a double portrait of himself and his wife). Both are excellent examples of his mature work. In the portrait, an exquisite, design realism dominates. In Varick the five by twelve-foot black canvas seems the ultimate minimal statement, until one begins to inspect the bank of twelve small rectangles in the upper left corner--lighted windows of what appears to be a second story office or lab. Suddenly, the mind flip-flops, making a futile effort to discern the rest of the structure amid the impossibly inky night.
Piers 6, 1998, Alex Katz
The poster-like quality of many of Katz's paintings has led him into the printing field, creating, in collaboration with master print makers, same-size screen prints of his favorite works, all intended to dominate walls just as his enormous paintings do. Unlike many painters who find themselves at the mercy of publishing houses, Katz takes an active, hands-on role in the printing of his works, usually is editions of less than fifty. He has even found occasions when he likes the print better than the original painting. And recently, just to confound the damnable critics, he sometimes goes so far as to veer off into purely abstractionist images such as his Piers 6 from 1998. Excuse me for playing favorites, but I love an artists who can (and will) do that. In my own work, I consider the most successful, those paintings that straddle the proverbial fence--Realism which, in its sometimes highly abstract qualities, appeals to those who can appreciate such things, and in its illusional, subjective content, those who can't.