{"id":1703,"date":"2022-11-07T12:14:25","date_gmt":"2022-11-07T04:14:25","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1703"},"modified":"2022-11-07T12:14:25","modified_gmt":"2022-11-07T04:14:25","slug":"alex-katzs-massive-guggenheim-retrospective-is-the-seasons-biggest-disappointment","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/alex-katzs-massive-guggenheim-retrospective-is-the-seasons-biggest-disappointment\/","title":{"rendered":"Alex Katz\u2019s Massive Guggenheim Retrospective Is the Season\u2019s Biggest Disappointment"},"content":{"rendered":"

What would painting today look like without\u00a0Alex Katz<\/a>? Depending on who you ask, the answers will vary greatly, but chances are almost everyone in the New York art world has an opinion. You may not like Katz, who recently turned 95, but the fact that everyone can\u2019t stop talking about him and his work certainly counts for something.<\/p>\n

Katz\u2019s fans, of which there are many, will point to his paintings\u2019 reliable formula as a sign of his brilliance: stylish figures placed in vacant settings, where they stare out at the viewer, often with a chilly gaze that\u2019s tough to pin down. Katz\u2019s detractors\u2014I must admit to being one\u2014find his works formally audacious and conceptually vapid, ceaseless variations on a theme that has become humdrum.<\/p>\n

His buzzy show at the\u00a0Guggenheim Museum<\/a>\u00a0in New York did little to change my mind. It\u2019s Katz\u2019s second New York retrospective in three decades, and it\u2019s a smart-looking assembly of his greatest hits and some of his lesser-known later works.<\/p>\n

Walking up the Guggenheim\u2019s rotunda, I found myself witnessing a stream of similar-looking paintings: sleek portraits of art-world celebrities, loving homages to his wife and frequent model Ada Del Moro, highly abstract landscapes that come into focus when seen from afar. They all started to run together after a while. This show may just be the season\u2019s biggest disappointment.<\/p>\n

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\"Gallery<\/div>\n<\/div>
Installation view of \u201cAlex Katz: Gathering,\u201d 2022, at Guggenheim Museum, New York.<\/span>PHOTO ARIEL IONE WILLIAMS AND MIDGE WATTLES\/\u00a9SOLOMON R. GUGGENHEIM FOUNDATION, NEW YORK<\/cite><\/figcaption><\/figure>\n<\/div>\n

Part of the exhibition\u2019s problem is that the best works are located in the middle. These are the effortlessly cool paintings of the \u201960s, which remain Katz\u2019s most famous ones, and justly so.<\/p>\n

The Red Smile<\/em>\u00a0(1963), one of many paintings here featuring Ada, is emblematic of this era. At nine feet wide, it\u2019s sizable, like many of the paintings that Katz produced at this time, and it\u2019s stylish as hell, too. Ada is shown in close-up, almost like a movie star; so cinematic is its aesthetic, you\u2019re even tempted to say she\u2019s gazing offscreen. But this is a painting, of course, and you\u2019re reminded of this by its scarlet-colored background, which, in spite of the painting\u2019s title, is even redder than Ada\u2019s lipstick.<\/p>\n

How, then, do we end up, nearly 50 years later, with a painting like\u00a0Ada\u2019s Back 2<\/em>\u00a0(2021)? It\u2019s another view of Ada, this time from behind, with her grey hair represented by no more than long strokes with patches of white left amid them. Simple, yes. Banal, too. It has none of the visual punch that\u00a0The Red Smile<\/em>\u00a0does. Katz\u2019s practice has clearly evolved over the years, just not in the way you\u2019d hope.<\/p>\n

That the show sputters in its latter half isn\u2019t the fault of its curator, Katherine Brinson, who\u2019s deftly assembled a good primer to Katz\u2019s career.<\/p>\n

Brinson devotes a good amount of space to Katz\u2019s first mature works, which frequently took the form of minimalist images of people riding the subway. Done in the late \u201940s and early \u201950s, during and after the years when Katz was a student at Cooper Union, these early paintings and drawings are not very important works, but they do prefigure Katz\u2019s more mature style in interesting ways.<\/p>\n

Note how Katz depicts these scenes with just a few people, few details, and a lot of negative space. These pieces conjure a peaceful commute, not a subway car smashing through an underground passageway. Their serenity and their starkness would become a core component of his art in the years to come.<\/p>\n

Katz appears to have tried pushing that sparseness even further with a series of collages that conjure landscapes by way of a few jagged snips of colored paper. They are duds\u2014curious, inert images that call to mind Milton Avery\u2019s quaint seascapes without any of dazzling color plays that make Avery\u2019s paintings worthwhile.<\/p>\n

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\"Painting<\/div>\n<\/div>
Alex Katz,\u00a0Ada Ada<\/em>, 1959.<\/span>\u00a92022 ALEX KATZ\/LICENSED BY VAGA AT ARTIST RIGHTS SOCIETY (ARS), NEW YORK\/PHOTO COURTESY ALEX KATZ STUDIO\/GREY ART GALLERY<\/cite><\/figcaption><\/figure>\n<\/div>\n

But in the late \u201950s, Katz arrived at an artistic breakthrough, painting people he knew against expanses of uneven white paint. These portraits are plainspoken, but gazing at them for a while reveals just how unusual they are. Look closely at the brushwork on\u00a0Lois<\/em>\u00a0(1957), featuring the painter Lois Dodd, who Katz paints seated in a mustard-colored folded chair, one barely visible leg crossed over the other. All around are her smeary white strokes and partially visible pieces of Katz\u2019s original sketch, a Matisse-indebted gesture that seems more radical than it may first appear.<\/p>\n

The eyes have it in these \u201950s works. Dodd\u2019s pupils are like daggers, and that seems to tell a lot about her spiky persona. Now compare them to the soft, caring look given by the critic Irving Sandler in a 1958 painting where he wraps an arm around his wife Lucy. There\u2019s a world of difference between these two portraits.<\/p>\n

At the time, this shaggy figuration looked quite unlike the abstract art being upheld by members of the New York establishment, including Sandler. (Add to this the fact that his paintings are done wet on wet, meaning that he applies new layers before old ones dry\u2014a technique that lends itself toward speed rather than precision.) And so it must have been even more shocking when, during the \u201960s, Katz pushed his style even further, slickening his strokes and toughening his concepts.<\/p>\n

He painted downright strange works in which people appeared to multiply, filling rooms with themselves. He\u2019d tried his hand before at this, with works such as the beguiling\u00a0Ada Ada<\/em>\u00a0(1959), featuring two images of Katz\u2019s wife side by side, but he perfected the style with\u00a0The Black Dress<\/em>\u00a0(1960), in which six Adas appear to pose as if for a camera. Some stand; one sits cross-legged on a chair that seems to melt into the floor, icily peering out with a faint smile. None of the Adas\u2019 psychologies are easily legible.<\/p>\n

Something truly odd is afoot in works like\u00a0The Cocktail Party<\/em>\u00a0(1965), in which a group of loft party attendees seem engaged in conversation. Careful observation reveals that these people are actually talking across one another\u2014no one is very engaged by what anyone else is saying. That\u2019s because Katz made the work by drawing real revelers, then rearranged their images to form this deliberately flat composition.<\/p>\n

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\"Painting<\/div>\n<\/div>
Alex Katz,\u00a0Blue Umbrella 2<\/em>, 1972.<\/span>\u00a92022 ALEX KATZ\/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NEW YORK\/PRIVATE COLLECTION<\/cite><\/figcaption><\/figure>\n<\/div>\n

The Cocktail Party<\/em>\u00a0is not the picture of bourgeois conviviality that it may first seem to be\u2014it\u2019s a sneaky painting that\u2019s actually about total detachment. Everyone in it is interchangeable. Any sense of disillusionment then fades away once you get into the Guggenheim show\u2019s second half, when sun-splashed scenes take center stage.<\/p>\n

Suddenly, Katz\u2019s cast of art types is transported from pallid expanses of nothing to light-filled living rooms and bayside shores. The mood is much more pleasant now. It feels as though a weight has been lifted, even though his figures are often just as stony as they were before.<\/p>\n

Truth be told, cold Katz is better than warm Katz, which isn\u2019t even all that warm.\u00a0Round Hill<\/em><\/a>\u00a0(1977), featuring an assortment of bathers reclining on a sandy hill by the sea, would seem joyous were it not for the flinty gazes of its sitters. There\u2019s a woman in the painting wearing a nice blue bathing suit, and a lithe mustachioed man beside her, too, yet there\u2019s not a shred of sensuality in this scene at all. Lighten up a little!<\/p>\n

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\"Painting<\/div>\n<\/div>
Alex Katz,\u00a0Round Hill<\/em>, 1977.<\/span>\u00a92022 ALEX KATZ\/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NEW YORK\/ PHOTO \u00a9MUSEUM ASSOCIATES, LACMA\/LOS ANGELES COUNTY MUSEUM OF ART<\/cite><\/figcaption><\/figure>\n<\/div>\n

Images of middle-class bonhomie like this one quickly grow tiresome, and it does not help that this quaint sensibility seems to have infiltrated Katz\u2019s landscapes. There are a few paintings here from the late \u201980s that depict New York at night by way of lit-up windows amid a field of black. It\u2019s easy to fall for the brushwork here\u2014there\u2019s a certain wit in portraying this illumination via a few mere\u00a0<\/strong>gentle white strokes and little more. It\u2019s also worth remembering that, at this time, New York was not the hyper-gentrified city it has now become. Amid the darkness, there was the pervasive threat of violence. None of that is represented here.<\/p>\n

Occasionally, in this later part of his career, Katz has delivered some pleasant surprises, like one work in which an image of the poet Allen Ginsberg splinters into six paintings, so that his lips hang across from a segment of his bearded mouth in one gallery. Yet for the most part, anything that once made Katz\u2019s art feel edgy has calcified and grown stale. This is an artist resting on his laurels.<\/p>\n

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\"Abstract<\/div>\n<\/div>
Alex Katz,\u00a0Crosslight<\/em>, 2019.<\/span>\u00a92022 ALEX KATZ\/LICENSED BY VAGA AT ARTIST RIGHTS SOCIETY (ARS), NEW YORK\/PHOTO \u00a92022 PAUL TAKEUCHI\/DALLAS MUSEUM OF ART<\/cite><\/figcaption><\/figure>\n<\/div>\n

Witness the case of his recent landscapes, which are awarded the airy galleries of the Guggenheim\u2019s<\/a> uppermost level. One of them,\u00a0Blue Night<\/em>\u00a0(2018), is mainly composed of a hulking black mass that is disturbed only by a swatch of navy blue in one corner. The canvas aspires toward transcendence, \u00e0 la Caspar David Friedrich\u2019s masterpiece,\u00a0Monk by the Sea<\/em>\u00a0(1808\/10), another landscape that enacts a contrast between dark, abstract tones. Katz\u2019s painting has the sad consequence of feeling dashed off, even in spite of its epic proportions, at more than 14 feet wide. Friedrich would never.<\/p>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n

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What would painting today look like without\u00a0Alex Katz? Depending on who you ask, the answers will vary greatly, but chances are almost everyone in the New York art world has an opinion. 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