13. Immigration Symposium: John Hospers, A Libertarian Argument Against Open Borders
Not everyone who wishes to come to the United States should be permitted to do so, says John Hospers.
I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May of 1994 which was the 10th anniversary of Francis Schaeffer’s passing and I promptly received a typed two page response from Dr. John Hospers. Dr. Hospers had both read my letter and all the inserts plus listened to the whole sermon and had some very angry responses. If you would like to hear the sermon from Adrian Rogers and read the transcript then refer to my earlier post at this link. Over the last few weeks I have posted portions of Dr. Hospers’ letter and portions of the cassette tape that he listened to back in 1994, but today I want to look at some other comments made on that cassette tape that John Hospers listened to and I will also post a few comments that Dr. Hospers made in that 2 page letter.
Here is a portion of Hospers’ June 2, 1994 letter to me:
“One would have to stop the speaker (Adrian Rogers) at every turn and say THIS DOESN’T FOLLOW FROM WHAT YOU SAID JUST BEFORE, and THIS WORD IS AMBIGIOUS, YOU ARE TRADING ON AN EQUIVOCATION and then sometimes he just shifts the ground entirely, like using passages from the Bible to prove that the Bible itself is true. Any intelligent person sees these dishonest strategies at once. I was onto most of them by the time I was 14.”
One of my favorite messages by Adrian Rogers is called “WHO IS JESUS?”and he goes through the Old Testament and looks at the scriptures that describe the Messiah. I want to encourage you to listen to this audio message which I will send to anyone anywhere anytime. I have given thousands of these CD’s away over the years that contain this message and they all contain the following story from Adrian Rogers (WHICH WAS INCLUDED ON THE CASSETTE TAPE I SENT TO DR. HOSPERS) . Here is how the story goes:
Years ago Adrian Rogers counseled with a NASA scientist and his severely depressed wife. The wife pointed to her husband and said, “My problem is him.” She went on to explain that her husband was a drinker, a liar, and an adulterer. Dr. Rogers asked the man if he were a Christian. “No!” the man laughed. “I’m an atheist.”
“Really?” Dr. Rogers replied. “That means you’re someone who knows that God does not exist.”
“That’s right,” said the man.
“Would it be fair to say that you don’t know all there is to know in the universe?”
“Would it be generous to say you know half of all there is to know?”
“Wouldn’t it be possible that God’s existence might be in the half you don’t know?”
“Okay, but I don’t think He exists.”
“Well then, you’re not an atheist; you’re an agnostic. You’re a doubter.”
“Yes, and I’m a big one.”
“It doesn’t matter what size you are. I want to know what kind you are.”
“What kinds are there?”
“There are honest doubters and dishonest doubters. An honest doubter is willing to search out the truth and live by the results; a dishonest doubter doesn’t want to know the truth. He can’t find God for the same reason a thief can’t find a policeman.”
“I want to know the truth.”
“Would you like to prove that God exists?”
“It can’t be done.”
“It can be done. You’ve just been in the wrong laboratory. Jesus said, ‘If any man’s will is to do His will, he will know whether my teaching is from God or whether I am speaking on my own authority’ (John 7:17). I suggest you read one chapter of the book of John each day, but before you do, pray something like this, ‘God, I don’t know if You’re there, I don’t know if the Bible is true, I don’t know if Jesus is Your Son. But if You show me that You are there, that the Bible is true, and that Jesus is Your Son, then I will follow You. My will is to do your will.”
The man agreed. About three weeks later he returned to Dr. Rogers’s office and invited Jesus Christ to be his Savior and Lord.
Adrian Rogers: Who is Jesus? [#2264]
What makes this one Man unique? Why does He stand out above all others? Adrian Rogers gives three reasons why Jesus deserves pre-eminence. To explain Jesus Christ is impossible. To ignore Him is disastrous. To reject Him is fatal. Understand who Jesus Christ is.
Scripture References: Colossians 1:12-21
Series: The Mystery of History
This Message: https://www.lwf.org/products/2264DVD
This Series: https://www.lwf.org/products/CDA197
1. Who is Jesus? [#2264]
2. Jesus Christ: The Son of God and God the Son [#2265]
3. The Unfinished Story of Christmas [#2266]
4. Planning Your Future [#2268]
If you would like more information please visit these following websites:
Official Website: https: http://www.lwf.org/
Audio Messages: http://www.oneplace.com/ministries/lo…
Video Messages: http://www.lightsource.com/ministry/l…
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If you would like to contact LWF Ministries
Write to: PO Box 38300, Memphis, Tennessee 38183
Call: (901) 382-7900
Adrian Rogers: The Biography of the King [#2325]
How can I know the Bible is the Word of God? by Adrian Rogers
Is the Bible historically accurate? Here are some of the posts I have done in the past on the subject: 1. The Babylonian Chronicle, of Nebuchadnezzars Siege of Jerusalem, 2. Hezekiah’s Siloam Tunnel Inscription. 3. Taylor Prism (Sennacherib Hexagonal Prism), 4. Biblical Cities Attested Archaeologically. 5. The Discovery of the Hittites, 6.Shishak Smiting His Captives, 7. Moabite Stone, 8. Black Obelisk of Shalmaneser III, 9A Verification of places in Gospel of John and Book of Acts., 9B Discovery of Ebla Tablets. 10. Cyrus Cylinder, 11. Puru “The lot of Yahali” 9th Century B.C.E., 12. The Uzziah Tablet Inscription, 13. The Pilate Inscription, 14. Caiaphas Ossuary, 14 B Pontius Pilate Part 2, 14c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology.,
The Bible and Archaeology – Is the Bible from God? (Kyle Butt)
During the 1990′s I actually made it a practice to write famous atheists and scientists that were mentioned by Adrian Rogers and Francis Schaeffer and challenge them with the evidence for the Bible’s historicity and the claims of the gospel. Usually I would send them a cassette tape of Adrian Rogers’ messages “6 reasons I know the Bible is True,” “The Final Judgement,” “Who is Jesus?” and the message by Bill Elliff, “How to get a pure heart.” I would also send them printed material from the works of Francis Schaeffer and a personal apologetic letter from me addressing some of the issues in their work. My second cassette tape that I sent to both Antony Flew and George Wald was Adrian Rogers’ sermon on evolution and here below you can watch that very sermon on You Tube. Carl Sagan also took time to correspond with me about a year before he died.
(Francis Schaeffer pictured below)
Adrian Rogers pictured below
I have posted on Adrian Rogers’ messages on Evolution before but here is a complete message on it.
Evolution: Fact of Fiction? By Adrian Rogers
Featured artist is Alex Katz
One morning. That’s how long it takes Alex Katz to start—and finish—a painting.
This high-speed routine has repeated itself many mornings, for many years. Such remarkable productivity would be a feat for any artist, but especially an 87-year-old whose towering pictures demand exacting brushwork across canvases that span entire walls. Mr. Katz, a painter best known for his portraits, recently finished landscapes for two new exhibits: one opening Saturday at his New York gallery, Gavin Brown’s enterprise, the other coming in June to Atlanta’s High Museum of Art.
The artist can’t quite explain his drive, beyond saying that he loves to paint. Still, he suggests that even this late in his career, after hundreds of shows and every kind of review, he has something to prove.
“I just love putting it to people who didn’t like me,” said Mr. Katz, sounding more like a cocky art student than an art world elder statesman. Around his New York apartment, which connects to his sunlit studio, pretty young women in bathing suits—an enduring subject for him—stare impassively from their canvases. “There are people from 20, 30, 40 years ago that I love meeting on the street and saying hello. I don’t have to say anything, I just have to say hello, and my presence reminds them of their mistakes.”
The late career of Mr. Katz defies easy categorization. To some, this is a master at the height of his powers in a race against time. To others, his later work pales in comparison to the canvases that brought him to fame more than 40 years ago. For his part, Mr. Katz recently told a friend that at this moment in his life, all he does is paint and sleep.
Artists who work into their old age raise an uncomfortable question: They paint because they want to—or even need to. But how do they deal with demanding art audiences, who, like fans at a Rolling Stones concert, prefer the old stuff?
It can be difficult to judge the significance of late paintings right away. The early art is already many decades old, so its broader impact may be easier to determine than it is with canvases finished yesterday. Without careful editing, a flood of late work could potentially depress the artist’s overall market if it is not well received, said Gavin Brown, Mr. Katz’s dealer, who countered that he believes the artist is experiencing a “supernova” of creativity right now, leading to some of the finest paintings of his career. He added that concerns about supply and demand have never mattered much to Mr. Katz regardless: “He’s not a strategist in that way,” he said.
These days, Mr. Katz said he rarely destroys a canvas and estimates that he keeps hundreds of his own works in storage. The basic framework of his art hasn’t changed: He paints in a flat style, over the years repeatedly gravitating to landscapes, flowers and portraits of those summery models—as well as art friends and, most enduringly, his wife of 57 years, Ada.
Despite his adherence to familiar themes, Mr. Katz’s admirers say the painter is as inventive as ever.
Robert Storr, dean of Yale University’s school of art, described visiting Mr. Katz recently and coming across a new painting—an image of a Manhattan building reflected on wet pavement that he said dazzled with its depth of observation. “It was a wonderful picture, and he has never made anything like it before,” he said. “He keeps going back to places he’s been with a new attack.”
Some art critics look at the paintings—including canvases of landscapes and flowers that have been a frequent sight at art fairs around the world over the years—and find less meaning. “The work has a tendency to look just pretty,” said Christian Viveros-Fauné, an art critic for the Village Voice and Artnet News. “The stuff I’m seeing around, the flower paintings, look awful easy and look like basically art-size decoration.”
Mr. Katz said the subject of his art is not the point. “Pretty girls and flowers? Come on. Trees? It’s not banal, but it’s pretty pedestrian,” he said. “The experience of it, the time and light, is the big thing.”
Famous artists with long careers are complex case studies. Spanish romantic painter Francisco Goya’s early years were a kind of warm-up act for what would come next: He was nearly 70 when in 1814 he completed “The Third of May 1808,” an iconic picture of an execution that many call the first modern painting. Pierre-Auguste Renoir is celebrated as a genius for his paintings into his midlife in the 1880s and 1890s, but now some critics call his late canvases low-brow. (They did back in the day, too: Impressionist painter Mary Cassatt once dismissed a group of them as pictures of “enormously fat red women with very small heads.”)
A popular exhibit about J.M.W. Turner now at the J. Paul Getty Museum in Los Angeles argues that in old age the British artist freed himself from academic constraints and displayed supreme technical proficiency as a painter. He tested new subjects and formats—painting on canvases shaped like circles and octagons, for instance—and fully grasped nuances in nature and atmosphere. Today, the late work also stands out because it is viewed through the lens of the Impressionist and Abstract Expressionist movements that it foreshadowed, said Julian Brooks, the show’s co-curator.
The art establishment has run hot and cold on Mr. Katz: On one hand, he is a commanding figure in the art scene, cited as an important influence on contemporary artists such as David Salle, Francesco Clemente and Elizabeth Peyton. “Alex is a wonderful artist and he casts a big shadow that younger painters have to deal with,” said the artist Eric Fischl.
That said, Mr. Katz hasn’t had a major retrospective in New York since 1986. Mr. Storr called him “A prophet without his own country.” Dealer Gavin Brown said Mr. Katz’s works sell for a fraction of the prices fetched by many of his contemporaries, with the new works priced at $350,000 to $1.1 million. Mr. Katz’s auction record was set in 2007 with the $690,600 sale of a 1967 painting of tulips.
Lately, the artist has started basing work on photographs, what he calls a first. He is drawn to the variety of gestures his iPhone can capture with his models, though he had to ask a stranger on the street how to work the camera.
While curators examine his earliest work—a show about the artist’s 1950s pieces opens this July at the Colby College Museum of Art in Waterville, Maine—Mr. Katz is testing new partnerships. In May, he will unveil window displays and an accompanying line of housewares for the luxury retailer Barneys New York.
The artist said he does most of his work himself, though once a week, two assistants come to his fifth-floor studio to set up his canvases. For a single artwork, he begins by painting a small picture on Masonite, sometimes following with another painted study and eventually transferring the outlines of that image to a large canvas. The actual painting of the monumental picture goes quickly as he applies wet paint on previous layers of wet paint, leaving little room for error.
Lanky and bald, zipped into a paint-splattered turquoise hoodie on a recent morning, he described an exercise regimen that can last up to three hours a day in the summers (“running, swimming, bike riding, calisthenics”). The idea of politics in painting (“idear,” in the lingering Queens accent of his childhood) never held much appeal, he said. Youth and beauty continue to serve as inspirations.
He recently completed a canvas with six versions of the same blond woman in a black swimsuit shifting back and forth in space against a bright orange background, a work he said took experimental leaps with size and movement. Soon, he’ll return to Maine, as he does every summer, looking like a Sunday painter outside with his easel as he works on landscape studies.
The artist said he’s not confronting his mortality head-on in his work: “I’ve come to terms with that. I think it’s here and now. Eternity is in total consciousness.” Such complete awareness comes to him while painting, he said, comparing the feeling to running the 440-yard dash in high school. “There’s always the end, where there’s an enormous push,” he said. “I like the resistance of the painting. When you’re getting to the end of it, you’re pushing it and you don’t know whether you’re going to get it or not.”
Write to Ellen Gamerman at firstname.lastname@example.org
|Born||July 24, 1927
Brooklyn, New York
|Education||The Cooper Union, Skowhegan School of Painting and Sculpture|
|Known for||Sculpture, Painting, Printmaking|
|Movement||East Coast Figurative painting, New Realism, Pop Art|
Early life and career
Alex Katz was born to a Jewish family in Brooklyn, New York, as the son of an émigré who had lost a factory he owned in Russia to the Soviet revolution. In 1928 the family moved to St. Albans, Queens, where Katz grew up.
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 Skowhegan, 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.
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.”
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), the 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.
In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. Ada Katz, whom he married in 1958, has been the subject of over 250 portraits throughout his career.To make one of his large works, Katz paints a small oil sketch of a subject on a masonite board; the sitting might take an hour and a half. He then makes a small, detailed drawing in pencil or charcoal, with the subject returning, perhaps, for the artist to make corrections. Katz next blows up the drawing into a “cartoon,” sometimes using an overhead projector, and transfers it to an enormous canvas via “pouncing”—a technique used by Renaissance artists, involving powdered pigment pushed through tiny perforations pricked into the cartoon to recreate the composition on the surface to be painted. Katz pre-mixes all his colors and gets his brushes ready. Then he dives in and paints the canvas—12 feet wide by 7 feet high or even larger—in a session of six or seven hours.
Beginning in the late 1950s, Katz developed a technique of painting on cut panels, first of wood, then aluminum, calling them “cutouts”. These works would occupy space like sculptures, but their physicality is compressed into planes, as with paintings. In later works, the cutouts are attached to wide, U-shaped aluminum stands, with a flickering, cinematic presence enhanced by warm spotlights. Most are close-ups, showing either front-and-back views of the same figure’s head or figures who regard each other from opposite edges of the stand.
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 aluminium 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.
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.
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.
In 1977, Alex 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 twenty feet high, and was based on a study Katz did from life. The billboard extended 247 feet long along two sides of the RKO General building and wrapped in thee tiers above on a 60-foot tower. Katz was commissioned in 1980 by the US General Service 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, located inside the Silvio V. Mollo Building at Cardinal Hayes Place & Park Row, is 20 feet high by 20 feet wide. In 2005, Katz participated in a public art project Paint in the City commissioned by United Technologies Corporation and organized by Creative Time. The work, titled Give Me Tomorrow, reached 28 feet tall and 53 feet 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.
Katz has collaborated with poets and writers since the 1960s, producing several notable editions such as “Face of the Poet” combining his images with poetry from his circle, such as Ted Berrigan, Ann Lauterbach, Carter Ratcliff, and Gerard Malanga. He has worked with the poet John Ashbery, creating publications entitled “Fragment” in 1966 and “Coma Berenices”. in 2005. He has worked with Vincent Katz on “A Tremor in the Morning” and “Swimming Home”. Katz also made 25 etchings for the Arion Press edition of Gloria with 28 poems by Bill Berkson. Other collaborators include Robert Creeley, with whom he produced “Edges” and “Legeia: A Libretto”. and Kenneth Koch, producing “Interlocking Lives”. In 1962, Harper’s Bazaar incorporated numerous wooden cutouts by Katz for a four-page summer fashion spread.
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.
Since 1951, Alex 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 honoured 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; Staaliche 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 is represented by Gavin Brown’s Enterprise in New York, Timothy Taylor Gallery in London, and Galerie Thaddaeus Ropac in Paris/Salzburg. Before showing with Brown, he had been represented by Pace Gallery for 10 years and by Marlborough Gallery for 30 years.
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, NY; Whitney Museum of American Art, NY; the Smithsonian Institution, Washington, D.C.; Carnegie Museum of Art; the Art Institute of Chicago; Cleveland Museum of Art; the Tate Gallery, London; the Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; 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 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.
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 the 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 honoured with a Lifetime Achievement Award from the National Academy of Design, New York.
In October 1996, the Colby College Museum of Art opened a 10,000-square-foot 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, 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.
In 1996, Vincent Katz and Vivien Bittencourt produced a video titled Alex Katz: Five Hours, documenting the production of his painting January 3. and in 2008 he was the subject of a documentary directed by Heinz Peter Schwerfel, entitled What About Style? Alex Katz: a Painter’s Painter.
Katz’ work is said to have influenced many following painters, such as David Salle, Peter Halley and Richard Prince, as well as younger artists like Peter Doig, Julian Opie, Liam Gillick, Elizabeth Peyton, Barb Januszkiewicz, Johan Andersson, and Brian Alfred. Furthermore, it has become ubiquitous in advertising and graphic design.
Notes and references
- Snider, Suzanne, “Why do Alex Katz’s elegant canvases strike critics as the ultimate in WASP art?”, Tablet, A New Read on Jewish Life, November 21, 2006
- Cathleen McGuigan (August 2009), Alex Katz Is Cooler Than Ever Smithsonian Magazine.
- ALEX KATZ: Selections from the Whitney Museum of American Art, June 29 – October 13, 2013 Nassau County Museum of Art, Roslyn Harbor.
- Alex Katz. “Alex Katz”. Phaidon, 2005. p. 210.
- Grace Glueck (September 9, 2005), Clever Collages and Quiet Maine Scenes: Two Sides of Alex Katz New York Times.
- “Alex Katz in Conversation with Phong Bui”. Brooklyn Rail. May 2009.
- Shama, Simon, Dave Hickey, Alanna Heiss. “Alex Katz Under the Stars: American Landscapes 1951–1995” (exh. cat.). New York: The Institute for Contemporary Art/ P. S. 1 Museum, 1996.
- Robert Ayers (January 18, 2006), National Alex Katz, ARTINFO, retrieved 2008-04-16
- David Salle (March 4, 2013), In Conversation, The Brooklyn Rail, retrieved 2013-07-22
- Alex Katz Museum of Modern Art, New York.
- Alex Katz, Lilies Against Yellow House (1983) National Galleries of Scotland.
- Alex Katz: FACE THE MUSIC, October 20 – November 19, 20119 Galerie Thaddaeus Ropac, Paris.
- Alex Katz, 19 May – 23 September 2012 Tate St Ives.
- Alex Katz: Fashion and Studies, January 14 – February 14, 2009 Galerie Thaddaeus Ropac, Paris.
- Martha Schwendener (August 29, 2013), Overcoming the Orthodoxy of AbstractionNew York Times.
- Lawrence Alloway, “Alex Katz Paints Ada” Yale University Press, 2006. p. 93.
- Carter Ratcliff, “Alex Katz, Cutouts” Hatje Cantz Publishers, 2003, p. 26
- Karen Rosenberg (February 13, 2014), Alex Katz / Dara Friedman New York Times.
- Alastair Sooke (May 17, 2010), Alex Katz at the National Portrait Gallery The Daily Telegraph.
- Alex Katz, “Invented Symbols”, Cantz Verlag, 1997, p. 87
- Cathleen McGuigan (200), National Alex Katz, Smithsonian Magazine, retrieved 2011-01-25
- “Alex Katz – Public Art”.
- “Alex Katz – Public Art”.
- Berrigan, Ted et al. (Kenward Elmslie, John Godfrey, Ted Greenwald, Michael Lally, Ann Lauterbach, Gerard Malanga, Alice Notley, John Perreault, Carter Ratcliff, Rene Ricard, Peter Schjeldahl, Tony Towle, Bill Zavatsky) and Alex Katz “Face of the Poet”, New York: Brooke Alexander, Inc., NY and Marlborough Graphics, 1978.
- Ashbery, John and Alex Katz, “Fragment” Los Angeles: Black Sparrow Press, 1966
- Ashbery, John and Alex Katz, “Coma Berenices”. Photogravure images by Alex Katz; with text by John Ashbery. Tampa: Graphicstudio, Institute for Research in Art, 2005.]
- Katz, Vincent and Alex Katz, “A Tremor In The Morning”, New York: Peter Blum Edition, 1986.]
- Katz, Vincent and Alex Katz, “Swimming Home”, Photogravure images by Alex Katz with poem by Vincent Katz. Tampa: Graphicstudio/University of South Florida, 2011.
- Creeley, Robert and Alex Katz, “Edges” New York: Peter Blum Edition, 1998.]
- Creeley, Robert, “Ligeia: A Libretto” Set design sketch by Alex Katz. New York and Minneapolis: Granary Books; Hermetic Press, 1996.
- Koch, Kenneth and Alex Katz, “Interlocking Lives” New York: Kulchur Press, 1970.
- Schwartz, Sanford and Vincent Katz. “Alex Katz in Maine”. Milan, Italy and Rockland, Maine: Charta; The Farnsworth Art Museum, 2005.
- Bonet, Juan Manuel. New York. Dublin, Ireland: Irish Museum of Modern art and Charta, 2007.
- Moos, David and Kadee Robbins, “Alex Katz Seeing Drawing Making”, WIndsor Press, 2008.
-  http://www.parkettart.com
- Alex Katz: An American Way of Seeing”. Sara Hilden Art Museum, Musee de Grenoble, Museum Kurhaus Kleve, 2009. p. 130.
- Alex Katz Timothy Taylor Gallery, London.
- Roberta Smith (May 1, 1998), A 2d Look Reveals Surprises New York Times.
- Sarah Douglas (September 13, 2011), (When Gavin Brown Met Alex Katz: An Artist’s New Show Is At An Unexpected Venue New York Observer.
- Alex Katz, September 10 – October 08, 2011 Gavin Brown’s enterprise, New York.
- Alex Katz, 4 March – 9 April 2010 Timothy Taylor Gallery, London.
- “ARTIST ROOMS: Alex Katz – Tate”.
- Alex Katz Prints, April 28, 2012 – July 29, 2012 Museum of Fine Arts, Boston.
- Sara Hilden Art Museum “Alex Katz: An American Way of Seeing”. Sara Hilden Art Museum, Musee de Grenoble, Museum Kurhaus Kleve, 2009. p. 130.
- James, Merlin. “Painting per se” lecture delivered at Cooper Union Great Hall, New York, 28th February 2002.
- colby.edu, accessed September 21, 2007.
-  http://www.alexkatz.com
- Carter Ratcliff, Robert Storr, Iwona Blazwick, Barry Schwabsky, ALEX KATZ, Phaidon Press, 2014, ISBN 978-0-7148-6740-3
- Mark Rappolt, ALEX KATZ: FACE THE MUSIC, Galerie Thaddaeus Ropac, 2011, ISBN 978-3-901935-44-2
- Klaus Albrecht Schröde, ALEX KATZ: PRINTS, Hatje Cantz, 2010, ISBN 978-3-7757-2585-9
- Roland Mönig, Guy Tosatto, Timo Valjakka, Eric de Chassey, ALEX KATZ: AN AMERICAN WAY OF SEEING, 2010, ISBN 978-3-86678-263-1
- David A. Moos, ALEX KATZ: SEEING, DRAWING, MAKING, Windsor Press, 2008, ISBN 978-0-9746116-4-8
- Luca Cerizza, ALEX KATZ: FACES AND NAMES, JRP|Ringier, 2008, ISBN 978-3-905770-79-7
- Enrique Juncosa, Juan Manuel Bonet, Rachael Thomas, ALEX KATZ: NEW YORK, Charta / Irish Museum of Modern Art, 2007, ISBN 978-88-8158-634-9
- Barry Schwabsky, ALEX KATZ: THE SIXTIES, Charta, 2006, ISBN 978-88-8158-593-9
- David Cohen, Sharon Corwin, ALEX KATZ: COLLAGES, Colby College Museum of Art, Waterville, Maine, 2006, ISBN 978-0-9728484-5-9
- Carter Ratcliff, Robert Storr, Iwona Blazwick, ALEX KATZ, Phaidon, 2006, ISBN 978-0-7148-4407-7
- Official website
- Alex Katz interviewed by Richard Prince
- Alex Katz Collection at the Colby College Museum of Art
- Alex Katz Collection at the Albertina
- Biography on Magical-Secrets.com
- Artist Alex Katz Featured in J.Crew Catalog
- “Ada with Sunglasses” tapestry by Alex Katz
- Alex Katz in Conversation with Phong Bui (May 2009)
- Alex Katz in Conversation with David Salle(March 2013)