new-york

Alex Katz

Fischbach Gallery

At Fischbach, Alex Katz showed two cutouts, Rush and Wedding. It may be that Katz is not as bad as I think he is; let’s just say that his work is very simple. And in the cutout he has found a medium that suits his perky, flat physiognomies much better than canvas, in that it accords very well with the absence of psychological depth that is their most striking characteristic. More especially, since turning to cutouts Katz has developed, very logically, a physical depth in its place: in Rush, rows of faces are aligned on all four walls of one of the galleries, that is, in a real space; in Wedding, they are placed on a kind of stage, into whose space they recede. This particular kind of concreteness, and of responsiveness only to a surface, are very common today—it’s just that the better people do things with these characteristics. After all, for several years even those of the original Pop

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