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Alex Katz | Out of Sight: A Drawing Survey

Location

Space

Dates

An abstract ink wash painting in reddish-orange on white paper, featuring thick, vertical strokes and gestural blotches that suggest a dense thicket of trees.
Preparatory drawing featuring delicate arrangement of dogwood flowers sprawling across the page. Thin, rapid, and expressive ink lines define the four-petaled blooms and pointed leaves.

Alex Katz | Out of Sight is curated by Kiko Aebi, Katz Curator at the Colby Museum. A richly illustrated catalogue will be published on the occasion of the show. In addition to newly commissioned texts by Aebi, Isabelle Derveaux, and Ingrid D. Rowland, the publication will feature an interview between the artist, Aebi, and Laura Neufeld, poems by John Godfrey, and a contribution by Rackstraw Downes. 

Alex Katz | Out of Sight is generously supported by Sherri and Dean Athanasia, GRAY Chicago | New York, and Valerie Carberry and Richard Wright. Additional support is provided by the museum's 25th Anniversary Fund, Everett and Florence Turner Fund, and Mirken Family Publications Fund.

Travel Details

Hudson River Museum
Yonkers, New York
February 19–July 18, 2027

About Alex Katz

Widely recognized as one of the leading artists of his generation, Alex Katz has developed a distinctive and remarkably influential approach to contemporary representational art, creating a celebrated body of work spanning painting, drawing, sculpture, and printmaking. Born in Brooklyn in 1927 and raised in St. Albans, Queens, Katz studied at the Cooper Union for the Advancement of Science and Art (1946–49). A scholarship to the Skowhegan School of Painting & Sculpture brought him to Maine for the first time in 1949, initiating a lifelong connection to the state and its distinctive environment. Alongside his landscape practice, Katz has consistently turned to the people and places of New York City as vital sources of inspiration.

Katz has been the subject of more than 250 solo exhibitions, and his work is held in more than two hundred institutional collections around the world. The Colby Museum is home to the largest number of his works in any institution, with nearly nine hundred  paintings, drawings, and prints, primarily gifted by the artist. A rotating selection is continuously on view in the Paul J. Schupf Wing for the Works of Alex Katz at the Colby Museum. Opened in 1995, the wing is one of the only museum spaces in the country devoted solely to the work of a single living artist. In 2004, Katz established the Alex Katz Foundation, which has placed hundreds of artworks—many by contemporary artists—into museum collections across the United States and Europe.

Selected Works

Alex Katz

Sketch on sheet of paper with visible perforation marks along the left edge. On the left, a man wearing a fedora and a suit jacket leans forward, focusing on a newspaper held in his hands. To his right, the partial figures of other commuters are suggested, including the torso of a person in a double-breasted coat and a hand gripping a vertical subway pole in the background.

Alex Katz

small-scale collage is divided horizontally into two sections: a solid cerulean blue top representing the sky and a tan bottom representing the sand. In the center, a cluster of figures is formed from cut-out pieces of colored paper. On the left, a man in a white shirt and on the right, a woman in a yellow top sit facing away from the viewer. Between them are smaller shapes in pink and dark grey, suggesting other individuals in the group. A faint signature is visible in the upper right corner of the blue sky.

Alex Katz

Preparatory drawing with multiple rough, gestural compositions for a larger work. Most of the small frames show clusters of figures in profile or from the back, rendered with quick, scribbled lines to suggest a crowded social setting. In the bottom right, the sketches transition from group scenes to two close-up studies of faces, one featuring a person wearing glasses. The paper is slightly aged with a visible crease in the top right corner.

Alex Katz

stylized, close-up study of white lilies. Several large, stark white blossoms dominate the composition, surrounded by thick, vibrant green leaves. The background is a flat, earthy reddish-brown. The painting is contained within a square border on a larger piece of paper, showing visible pencil lines and a signature at the top right.

Alex Katz

A small, centered ballpoint pen sketch of a man’s head on a rectangular sheet of off-white paper. The portrait is rendered in blue ink with quick, hatching lines used for shading across the man's face and neck.

Alex Katz

A delicate, light pencil sketch of a woman’s head and shoulders in profile, accompanied by a small, separate study of a hand. The portrait shows her looking toward the left with a hand resting near her chin.

Alex Katz

A large-scale profile drawing of a woman’s head and shoulders on reddish-brown paper. She is shown from the side with her chin resting on her hand, rendered with dark, bold charcoal or ink outlines and smudged tonal shading.

Alex Katz

A faint, centered pencil drawing of a woman's face on a large sheet of white paper . The portrait features large, detailed eyes and a neutral expression, with very light shading indicating long, voluminous hair.

Installation Views

  • An installation view of an art gallery featuring an exhibition titled "Alex Katz: OUT OF SIGHT." The gallery has light wood floors and a prominent white wall on the right featuring the exhibition title and a block of text, next to a single framed drawing. The background wall is painted a vibrant coral-pink and is lined with multiple small, framed artworks. A long, glass-topped display case sits on the floor in front of the coral wall under bright track lighting.
  • A close-up of three framed artworks hanging on a coral-pink gallery wall. On the left is a larger vertical frame containing a shaded graphite portrait sketch of a young woman's head. On the right, two smaller frames are stacked vertically: the top one features a dark ink sketch of a figure seen from behind sitting on a stool, and the bottom one features a bold red line drawing of a kneeling female figure. Small pink description cards hang to the far left and right.
  • A view of a corner inside a gallery with coral-pink walls and light wood flooring. On the left wall hangs a single, small framed ink drawing of a dark tree silhouette. On the right wall hang two framed landscape drawings rendered in thick, bold black ink lines depicting trees and houses. A small pink description card is mounted next to each artwork grouping.
  • A wide view of a gallery space with coral-pink walls and a light hardwood floor. A large open archway in the center leads into an adjacent white-walled gallery room displaying several colorful framed artworks. To the left of the archway, two framed black ink drawings hang on the coral wall. To the right, a long glass-topped display vitrine sits on the floor beneath overhead track lighting.
  • A straight-on shot of a small, white-walled gallery room with light hardwood floors. The back wall features four small framed artworks, including a central horizontal piece with a bright orange lower half depicting an interior space. The left wall displays a row of six small framed minimalist watercolor and paper collages. The right wall features a larger colorful painting of green foliage and a small framed interior sketch.
  • A close-up, horizontal arrangement of five small framed artworks on a white gallery wall. From left to right: a horizontal landscape with a yellow field and dark blue water; a vertical stack of two small beach scenes; a vertical yellow portrait of a person in a swimsuit; a minimalist horizontal landscape with a pink sky and orange ground; and a small horizontal collage of a green house against a white background. White description labels are visible on the far left and right.
  • A close-up shot of two artworks hanging on an off-white wall. On the left is a larger horizontal painting with a simple wood frame depicting a still life of potted plants with bright green leaves, a red flower, and oranges on a pink surface. To its right hangs a smaller, vertically stacked white-framed drawing showing a minimalist still life of items on a table.
  • A gallery view looking down at a long white display vitrine filled with various unframed sketches and drawings on paper. In the background, the bright coral-pink wall is adorned with a row of four small framed red line drawings, a smaller single framed painting of flowers to the far left, and text block labels.
  • A straight-on view of four small, uniformly sized artworks framed in light wood hanging in a perfect horizontal line on a coral-pink wall. Each artwork consists of abstract or organic patterns rendered in bold red ink lines against a light paper background.
  • A wide installation shot of the entire gallery space with a high ceiling and extensive track lighting. The coral-pink walls line the left and right sides of the room, displaying rows of small framed artworks, while a long white display vitrine sits on the light hardwood floor. A large central freestanding off-white divider wall splits the space, featuring the exhibition title text.
  • A view down a long coral-pink gallery wall that transitions to an off-white back wall. The coral wall on the left displays a small, colorful square painting of a yellow house next to green trees, followed by several small white-framed sketches arranged in pairs or small groups. The white wall in the background features three medium-sized framed portrait sketches.
  • A straight-on view of an off-white freestanding gallery wall displaying four framed portrait sketches. On the left is a larger brown-framed sketch of a person looking forward with a hand to their forehead. To its right are three smaller sketches framed in white: one small landscape sketch on top, a horizontal portrait below it, and a vertical portrait of a woman wearing a headscarf on the far right. A coral-pink wall is visible on the left and far right background.
  • A wide perspective view looking down a long, vibrant coral-pink wall. A series of small and medium-sized framed portrait sketches are hung horizontally across the wall with pink labels interspersed between them. A long, simple wooden bench sits on the light hardwood floor in the lower left foreground under bright gallery track lighting.
  • A straight-on view of the off-white freestanding wall showcasing five framed line drawings of dancers in motion. The artwork on the left is a larger horizontal frame showing a dancer with arms extended. The central group consists of four small, vertically oriented white frames arranged in a cross-like formation, each capturing a different balletic pose. A text block label is mounted on the far right.
  • A close-up view of two artworks on an off-white wall. On the left is a small horizontal sketch of a woman in profile with a text label beside it. On the right is a large horizontal artwork featuring a bold, expressive charcoal or dark ink portrait sketch of a person resting their chin on their hand, set against a solid reddish-brown, terracotta-colored paper background.
  • A straight-on, detailed view of a large, complex salon-style grid arrangement of eighteen small white-framed sketches on a coral-pink wall. The artworks contain delicate, minimalist black ink line drawings depicting landscapes, architectural elements, abstract patterns, and individual flowers.
  • An angled view looking from an off-white wall toward a coral-pink wall meeting at a corner. The off-white wall on the left features two portrait sketches, including the large reddish-brown piece. The coral wall on the right displays the four floral sketches. A wooden bench sits obliquely on the hardwood floor in the foreground under the grid of ceiling lights.

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index

Installation view of Alex Katz | Out of Sight: A Drawing Survey, Colby College Museum of Art, Waterville, Maine, 2026. Photo: Art Index