Alex Katz presents a new body of work titled "White Lotus" at Gray Chicago, on view through September 20. The exhibition features large-scale portraits and cool, cinematic scenes inspired by a beach in Maine and Antonioni's *L'Avventura*, with only a superficial connection to the TV series *The White Lotus*. Katz, now in his late 90s, continues his seven-decade practice of prioritizing style over narrative, focusing on surfaces, garments, and glances. Concurrently, his work is also on view at SCAI Piramide in Tokyo, San Diego's Museum of Contemporary Art, and Gladstone Gallery will host a fall exhibition of his orange abstractions. The article includes an interview where Katz discusses his studio habits, influences (Fra Angelico, Veronese, Goya), and his resilience in the face of early career criticism.
This article matters because it offers a rare, intimate look into the working methods and mindset of one of America's most enduring and influential painters. Katz's refusal to assign narrative to his work challenges contemporary trends toward conceptual or politically charged art, reaffirming the value of formalist painting and surface beauty. His continued productivity across multiple international venues—Chicago, Tokyo, San Diego, and New York—underscores his sustained market relevance and institutional recognition. The interview also provides insight into Katz's personal philosophy, including his mother's admonition that he must be "either an artist or a phony," which speaks to the broader tensions between artistic integrity and commercial success.