Sunrise 2 is a portrait by Alex Katz that shows a young woman with a hat pulled deep into her forehead. The shadow covers her eyes almost completely, but they are dimly visible. Katz, who has long been interested in fashion – as in “Black Dress” – also often refers to upper-middle-class American sportswear, such as that found in Maine or the Hamptons. The light in Maine was also a revelation to him, as he writes in his memoir, “richer and darker than the light in the paintings of the Impressionists. It helped me break away from European painting and find my own look.” A few years later, Katz, artist Lois Dodd, and Katz’s then-wife Jean Cohen, an abstract painter he had met in school and married in 1950, bought a house (the yellow farmhouse that often appears in his paintings) and land in Lincolnville, Maine, a small coastal town near Camden. (They paid $1,200 for it.) The couple divorced in 1956, but Katz kept the house. Light, and especially Maine light – melting grass and leaves, hitting a lake with the blinding brightness of a mirror in the sun – was to become, one might think, the real subject of his landscapes. ALEX KATZ was born in 1927 in Sheepshead Bay, Brooklyn, and grew up in St. Albans, Queens, where his family moved in 1928, just before the Depression began. His first aesthetic influences came from his parents, who had met in Russia during World War I and met again in New York City. His mother Sima was an actress, a star of the Yiddish theater on the Lower East Side who performed under the stage name Ella Marion. She was “very literary,” Katz says – she taught herself English with the help of a dictionary and an Edgar Allan Poe collection, whose poems she also had her four-year-old son recite – and had a biting sense of humor. In his memoirs, Katz recounts that he once told her as he was leaving in a hotel lobby, “It was awfully nice talking to you,” to which she replied, “I hope you don’t paint in clichés.” A pioneer of Pop Art, he always focused on the essentials and was an early adopter of simplified forms and high-contrast color composition. His art is diverse, but always has beauty as its central theme. The artist can now look back on more than 200 solo exhibitions as well as around 500 group exhibitions; his diverse works are part of over 100 collections worldwide. Alex Katz lives and works in New York and in Maine.

Woodcuts, an ancient form of printmaking, have found a remarkable resurgence in contemporary art. Despite the advent of digital technology, artists are rediscovering the unique qualities and rich history of this traditional technique. By embracing the tactile nature of carving into wood and transferring ink onto paper, they create compelling and visually striking works that captivate viewers in a world saturated with digital imagery.

Contemporary woodcut artists employ a wide range of styles and approaches, showcasing the versatility of this medium. Some artists embrace the inherent grain and texture of the wood, allowing it to play a prominent role in the final composition. They carefully select different types of wood, considering their unique characteristics, such as hardness, grain pattern, and color. By intuitively carving into the wood, they create intricate lines and bold forms, adding depth and dimension to their prints.

Others experiment with innovative techniques, combining woodcut with other printmaking methods or incorporating mixed media elements. They may combine woodcut with etching, lithography, or screen printing, pushing the boundaries of traditional printmaking and creating hybrid works that bridge the gap between old and new.

Contemporary woodcut artists also explore a wide range of themes and subject matter. Some draw inspiration from nature, creating intricate botanical or landscape prints that capture the beauty and serenity of the natural world. Others delve into social and political issues, using woodcuts to convey powerful messages and challenge conventional narratives. Through their art, they engage in a dialogue with the past while addressing contemporary concerns.

The resurgence of woodcuts in contemporary art is not merely a nostalgic homage to the past; it is a testament to the enduring relevance and expressive potential of this medium. By embracing the physicality and craftsmanship inherent in woodcut printmaking, artists breathe new life into an ancient art form, infusing it with their own unique perspectives and narratives. In a digital age characterized by fleeting images, woodcuts stand as tangible and lasting artifacts, inviting viewers to slow down, contemplate, and appreciate the beauty of a handcrafted creation.