{"id":165172,"date":"2023-08-15T11:43:36","date_gmt":"2023-08-15T15:43:36","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=165172"},"modified":"2023-08-15T11:43:36","modified_gmt":"2023-08-15T15:43:36","slug":"alex-katzs-collaborations-with-poets","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/08\/15\/alex-katzs-collaborations-with-poets\/","title":{"rendered":"Alex Katz\u2019s Collaborations with Poets"},"content":{"rendered":"<div id=\"attachment_165174\" style=\"width: 1034px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-165174\" class=\"wp-image-165174 size-large\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/3-ashbery-fragment-1968-interior-copy-1024x683.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/3-ashbery-fragment-1968-interior-copy-1024x683.jpg 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/3-ashbery-fragment-1968-interior-copy-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/3-ashbery-fragment-1968-interior-copy-768x512.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/3-ashbery-fragment-1968-interior-copy-1536x1024.jpg 1536w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><p id=\"caption-attachment-165174\" class=\"wp-caption-text\">John Ashbery and Alex Katz, <em>Fragment<\/em>, 1969. Photograph by Paul Takeuchi, courtesy of Alex Katz Studio and GRAY, Chicago\/New York.<\/p><\/div>\n<p><span style=\"font-weight: 400;\">The painter Alex Katz is best known for his portraits\u2014colorful, flat, rich, and realistic, in a style that has become immediately recognizable as his own. Katz has always been fascinated by poetry, and especially by the work that came out of the New York School in the fifties and sixties. \u201cWhat Katz found so compelling about this scene was its complete disregard for aesthetic precedent, irreverence for an academy of poetry, and gravitation toward vernacular expression, where words were less pondered and possessed an immediacy that spoke of nowness,\u201d writes the art historian Debra Bricker Balken in the forthcoming book <\/span><i><span style=\"font-weight: 400;\">Alex Katz: Collaborations with Poets<\/span><\/i><span style=\"font-weight: 400;\">. These qualities have something in common with Katz\u2019s own work, which might help to explain why he has been so drawn to collaborations with poets\u2014among them illustrations, prints, and covers for books by Ted Berrigan, John Ashbery, Alice Notley, and Ron Padgett. Katz has also painted portraits of a number of poets, including his personal favorite, Frank O\u2019Hara, who was himself interested in the crossover between painting and poetry, and occasionally jealous of painters themselves. (\u201cI am not a painter, I am a poet,\u201d one O\u2019Hara poem begins. \u201cWhy? I think I would rather be \/ a painter, but I am not.&#8221;) Below are several of Katz\u2019s literary collaborations, including a cover he made for this very magazine in 1985.<\/span><!--more--><\/p>\n<div id=\"attachment_165175\" style=\"width: 1034px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-165175\" class=\"wp-image-165175 size-large\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/8a-koch-interlocking-lives-1970-copy-1024x946.jpg\" alt=\"\" width=\"1024\" height=\"946\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/8a-koch-interlocking-lives-1970-copy-1024x946.jpg 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/8a-koch-interlocking-lives-1970-copy-300x277.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/8a-koch-interlocking-lives-1970-copy-768x710.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/8a-koch-interlocking-lives-1970-copy-1536x1420.jpg 1536w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/8a-koch-interlocking-lives-1970-copy-2048x1893.jpg 2048w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><p id=\"caption-attachment-165175\" class=\"wp-caption-text\">Alex Katz and Kenneth Koch, <em>Interlocking Lives<\/em>, 1970. Photograph courtesy of Alex Katz Studio and GRAY, Chicago\/New York.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_165176\" style=\"width: 701px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-165176\" class=\"wp-image-165176 size-large\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/12-notley-phoebe-light-1973-copy-691x1024.jpg\" alt=\"\" width=\"691\" height=\"1024\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/12-notley-phoebe-light-1973-copy-691x1024.jpg 691w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/12-notley-phoebe-light-1973-copy-203x300.jpg 203w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/12-notley-phoebe-light-1973-copy-768x1138.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/12-notley-phoebe-light-1973-copy-1037x1536.jpg 1037w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/12-notley-phoebe-light-1973-copy-1383x2048.jpg 1383w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/12-notley-phoebe-light-1973-copy-scaled.jpg 1728w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><p id=\"caption-attachment-165176\" class=\"wp-caption-text\">Alex Katz and Alice Notley, <em>Phoebe Light<\/em>, 1973. Photograph courtesy of Alex Katz Studio and GRAY, Chicago\/New York.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_165177\" style=\"width: 671px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-165177\" class=\"wp-image-165177 size-large\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/16a-oink-18-1984-copy-661x1024.jpg\" alt=\"\" width=\"661\" height=\"1024\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/16a-oink-18-1984-copy-661x1024.jpg 661w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/16a-oink-18-1984-copy-194x300.jpg 194w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/16a-oink-18-1984-copy-768x1190.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/16a-oink-18-1984-copy-991x1536.jpg 991w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/16a-oink-18-1984-copy-1321x2048.jpg 1321w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/16a-oink-18-1984-copy-scaled.jpg 1652w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><p id=\"caption-attachment-165177\" class=\"wp-caption-text\"><em>Oink!<\/em> no. 18, 1984. Photograph by Adam Reich, courtesy of Alex Katz Studio and GRAY, Chicago\/New York.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_165178\" style=\"width: 645px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-165178\" class=\"wp-image-165178 size-large\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/17-the-paris-review-96-1985-copy-635x1024.jpg\" alt=\"\" width=\"635\" height=\"1024\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/17-the-paris-review-96-1985-copy-635x1024.jpg 635w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/17-the-paris-review-96-1985-copy-186x300.jpg 186w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/17-the-paris-review-96-1985-copy-768x1239.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/17-the-paris-review-96-1985-copy-952x1536.jpg 952w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/17-the-paris-review-96-1985-copy-1270x2048.jpg 1270w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/08\/17-the-paris-review-96-1985-copy-scaled.jpg 1587w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><p id=\"caption-attachment-165178\" class=\"wp-caption-text\">Issue no. 96 of <em>The Paris Review<\/em>. Photograph courtesy of Alex Katz Studio and GRAY, Chicago\/New York.<\/p><\/div>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.richardgraygallery.com\/books\/alex-katz10\">Alex Katz: Collaborations with Poets<\/a><em> is forthcoming from GRAY in September.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cKatz has always been fascinated by poetry, and especially by the work that came out of the New York School in the fifties and sixties.\u201d<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[30442],"tags":[9527,68529,67827,971,5234,16381],"class_list":["post-165172","post","type-post","status-publish","format-standard","hentry","category-document","tag-alex-katz","tag-alice-notley","tag-featured","tag-frank-ohara","tag-john-ashbery","tag-new-york-school"],"acf":[],"yoast_head":"<!-- This site is optimized with 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