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Joyce Kozloff (born 1942) is an American artist whose politically engaged work has been based on cartography since the early 1990s.

Joyce Kozloff
Born
Joyce Blumberg

(1942-12-14) December 14, 1942 (age 79)
Somerville, New Jersey
Alma materCarnegie Mellon University
Columbia University
Known forPainting
MovementPattern and Decoration
Feminist art movement
Spouse(s)Max Kozloff
Websitejoycekozloff.net

Kozloff was one of the original members of the Pattern and Decoration movement and was an early artist in the 1970s feminist art movements. She has been active in the women's and peace movements throughout her life. She was also a founding member of the Heresies collective.


Personal life and education


Joyce Blumberg was born to Adele Rosenberg and Leonard Blumberg on December 14, 1942 in Somerville, New Jersey. Leonard, born in New Jersey, was an attorney. Adele was active in community organizations. Both of her parents' families had emigrated from Lithuania. She had two younger brothers, Bruce and Allen.[1]

During the summer of 1959, Joyce studied art at New York's Art Students League. In the summer of 1962 she attended Rutgers University and the following summer she attended the Università di Firenze. In 1964 she earned a Bachelor of Fine Arts from the Carnegie Institute of Technology. She then attended Columbia University and received a Masters of Fine Arts in 1967.[1][2]

She was married to Max Kozloff on July 2, 1967 at her parents' home in Bound Brook, New Jersey by her family's Orthodox rabbi, although she and Max are not religious. Nikolas Kozloff, their son, who is a writer, was born in New York in 1969.[1] Kozloff has lived in New York since 1964 except for a year in Los Angeles, California (1970–1971) and a year in Rome, Italy (1999–2000).


Career



Feminist art movement


Main article: Feminist art movement in the United States

For us, there weren’t women in the galleries and museums, so we formed our own galleries, we curated our own exhibitions, we formed our own publications, we mentored one another, we even formed schools for feminist art. We examined the content of the history of art, and we began to make different kinds of art forms based on our experiences as women. So it was both social and something even beyond; in our case, it came back into our own studios.[3]

Joyce Kozloff

She joined with other women in the arts in 1971 to form the Los Angeles Council of Women Artists, a group that organized the first protests about the lack of women included in the Los Angeles County Museum of Art’s exhibitions and collections.[4][5] Upon returning to New York, Kozloff continued to be active in the women artists’ movement. She joined the Ad Hoc Committee of Women Artists and was a founding member of the Heresies Collective in 1975, which produced Heresies: A Feminist Publication on Art and Politics, a quarterly magazine about feminism, art and politics.[6]

In the summer of 1973 Kozloff lived in Mexico. In 1975 she visited Morocco and three years later she visited Turkey. She has traveled widely ever since. During her visits she studies the countries' "decorative traditions" and the cultural significance of ornament there. When Kozloff first realized, in the early 1970s, that the decorative arts were the domain of women and non-western artists, she understood that the hierarchy among the arts had privileged the production of European and American men. This fueled her position as a feminist and inspired her interest in pattern design.[1] She is the co-author, with Valerie Jaudon, of the widely anthologized "Art Hysterical Notions of Progress and Culture" (1978), in which she and Jaudon explained how they thought sexist and racist assumptions underlaid Western art history discourse. They reasserted the value of ornamentation and aesthetic beauty - qualities assigned to the feminine sphere.[7][8][9]

Kozloff was mentored and inspired by Miriam Schapiro, Nancy Spero, Ida Applebroog and May Stevens.[3]

Kozloff was interviewed for the film !Women Art Revolution.[10]


Pattern and Decoration


Main article: Pattern and Decoration
Three Portals...pink triangle[11]
Three Portals...pink triangle[11]

Beginning in 1973, wishing to break down the western hierarchy between "high art" and decoration, Kozloff created large paintings, drawing upon worldwide patterns, juxtaposing ornamental passages across an expansive field. In 1975, she began to meet with artists Miriam Schapiro, Tony Robbin, Robert Zakanitch, Robert Kushner, Valerie Jaudon and others pursuing related ideas; they formed the Pattern and Decoration movement.[12] During the late 1970s, she produced An Interior Decorated, an installation composed of hanging silkscreen textile panels; hand painted, glazed tile pilasters; lithographs on Chinese silk paper; and a tiled floor composed of thousands of individually executed images on interlocking stars and hexagons. The project was redesigned for every space in which it was exhibited in 1979 and 1980. Just as her paintings had nonwestern origins, for this installation, she compiled a personal, visual anthology of the decorative arts from dozens of sources, including Caucasian kilims, İznik and Catalan tiles, Seljuk brickwork, and Native American pottery.[1][12][13] "An Interior Decorated is where painting meets architecture, where art meets craft, where personal commitment meets public art", wrote Carrie Rickey, art critic.[1]


Public art


Kozloff became interested in public art when studying under Robert Lepper at Carnegie Mellon in Pittsburgh. He taught the Oakland Project, in which students went out into the Oakland neighborhood and made art documenting the infrastructure, buildings and people. She said, "That was my initiation into public art -- into the world outside".[14] The mural in the Harvard Square subway station, Cambridge, MA, her first public artwork, was obtained through a competition. Most of the rest of her public projects were directly commissioned. Her initial large scale pieces were composed of interlocking patterns of glass mosaic and/or ceramic tiles, an extension of her earlier gallery art. She began incorporating images from the cities' histories, so as to make the works site specific. For instance, at the Suburban Station in Philadelphia, she substituted an image of William Penn for the Good Shepherd in an appropriation of the famous Byzantine Tomb of Galla Placidia in Ravenna, Italy.[15] The works were often collaborative efforts, involving input from the public, community boards, architects, and arts patrons.[16]

Kozloff created 16 public art projects,[15] including:

She was interested in public art because it makes art accessible to everyone, and not just the public and private collectors,[1] but became disheartened after the 1990s political "culture wars", felt that she'd have to censor her creative expression to create acceptable "safe art", and discontinued vying for public art commissions.[25]


Artist's books


In the late 1980s she produced a series of 32 watercolors entitled Patterns of Desire—Pornament is Crime, published by Hudson Hills Press in 1990 with an introductory essay by Linda Nochlin. This book by a feminist artist juxtaposed the obsessive nature of both decoration and pornography in many traditions, to comic and revelatory effect.[31] A founding member of the New York activist group, Artists Against the War (2003), Kozloff has been increasingly preoccupied with that theme. In 2001, she began Boy's Art, a series of twenty-four drawings based on illustrations, diagrams, and maps depicting historic battles, over which she collaged copies of her son Nikolas’s childhood war drawings and details from old master paintings.[32] An oversized artist’s book of these works was published by D.A.P./Distributed Art Publishers in 2003 with an introductory essay by Robert Kushner. In 2010, Charta Books Ltd. published Kozloff’s third artist’s book, China is Near, which includes a conversation with Barbara Pollack. For this publication, the artist photographed the China most accessible to her, New York’s Chinatown, a few blocks from her home, as well as other Chinatowns within range. She copied old charts of the Silk Road and downloaded online maps of all the places in the world called China. It’s a bright, glossy mash-up of contemporary kitsch and historic commerce, a guide to the global highway.[33]


Map themes


Voyages, masks
Voyages, masks

Kozloff has utilized mapping since the early 1990s as a structure for her long-time passions - history, geography, popular arts and culture. In Los Angeles Becoming Mexico City Becoming Los Angeles (1993) and Imperial Cities (1994) she painted cities she knew, overlaying images and patterns reflective of their colonial pasts. She subsequently examined bodies of water such as the Baltic Sea in Bodies of Water, the Mekong and Amazon Rivers in Mekong and memory and Calvino’s Cities on the Amazon (1995–1997). In her series Knowledge (1998–1999), consisting of 65 small (8 x 10") frescoes and six tabletop globes, she depicted the inaccuracies of maps from earlier times, particularly during the Age of Discovery, to reveal the arbitrary nature of what can be known.

In 1999–2000, during Kozloff’s year-long fellowship at the American Academy in Rome, she executed Targets, a walk-in globe 9 feet (2.7 m) in diameter made of 24 gore-shaped sections. She painted an aerial map on

the inside surface of each section to depict a site bombed by the United States military between the years 1945 and 2000.[34][35] Upon entering, the visitor is completely surrounded, and if he/she makes a sound there is an echo amplified by the enclosed space. Two multi-panel, 16-foot (4.9 m)-long works followed, each in the form of the flattened gores of a globe (2002): Spheres of Influence (Kozloff’s "terrestrial piece") and Dark and Light Continents (her "celestial piece").[citation needed]

For several years, Kozloff worked on a huge installation about the history of western colonialism, shown at Thetis in the Venice Arsenale (2006), Voyages + Targets. She painted islands across the world on 64 Venetian Carnival masks situated inside windows with light streaming through their eyes; hanging from the ceiling and along the brick walls, there were banners (Voyages: Carnevale, Voyages: Maui, and Voyages: Kaho’olawe) with maps of islands in the Pacific and jazzy carnival imagery as it has morphed around the planet. Beginning in 2006, Kozloff’s ongoing tondi (round paintings) began with Renaissance cosmological charts crisscrossed by the tracks of satellites in space,[36] an imaginary projection of future (star) wars (the days and hours and moments of our lives, Helium on the Moon, Revolver).[citation needed]

"Descartes' Heart" is based on the heart-shaped map, Cosmographia universalis ab Orontio olin descripta, by Renaissance cartographer Giovanni Cimerlino (Verona, 1566). On the top is a totally wacky[clarification needed] map called Mechanical Universe by Descartes (1644). The tondi were followed by an 18-foot (5.5 m)-long triptych, The Middle East: Three Views (2010), a projection of the contested areas in that region during the Roman era, the Cold War, and currently. The maps, based on photographs taken by NASA’s Hubble Space Telescope, float in deep space among the stars, as if they had been dislodged from the earth.[citation needed]


Awards and honors



Collections


Her art is in numerous museum collections, including:


Exhibitions


Kozloff has had group and solo exhibitions since 1970 in many US cities, including New York, Philadelphia, Boston, Los Angeles, Chicago, and Washington, DC[54][55][56][57] She had a traveling exhibition with her husband Max, "Crossed Purposes", that started in Youngstown, Ohio and traveled to eight other museums and university galleries in the US from 1998 to 2000.[56][58] International exhibitions include Italy, Germany, the Netherlands, Belgium, Argentina, and Denmark.[57]

Most recently, Kozloff's work has been included in several national and international museum exhibitions focusing on the Pattern and Decoration movement: With Pleasure: Pattern and Decoration in American Art 1972-1985, Museum of Contemporary Art, Los Angeles, CA (2019-2020); Less is a Bore: Maximalist Art & Design, Institute for Contemporary Art, Boston, MA (2019); Pattern and Decoration: Ornament as Promise, Ludwig Forum, Aachen, Germany, Museum Moderner Kunst Stiftung Vienna, Austria, and Ludwig Museum, Budapest, Hungary (2018-2019); Pattern, Decoration & Crime, MAMCO, Geneva, Switzerland, and Le Consortium, Dijon, France (2018-2019).

Kozloff is represented by DC Moore Gallery in New York City and has been exhibiting there since 1997.[56][59]


Publications



Further reading



Books and exhibition catalogs



Articles, essays and reviews



Interviews



References


  1. Meeker, Carlene. "Joyce Kozloff". Jewish Women's Archive. Retrieved January 16, 2014.
  2. Moriuchi, Mey-Yen (2012). "Joyce Kozloff (American b. 1942)". The Female Gaze: Women Artists Making Their World. New York: Hudson Hills. p. 282. ISBN 978-1-55595-389-8.
  3. "Where Fine Art Meets Craft: The Accessible Works of Joyce Kozloff". American Association of University Women. August 28, 2013.
  4. Wilding, Faith (1977). By Our Own Hands. Santa Monica, CA: Double X. p. 17.
  5. Corinne Robins, The Pluralist Era: American Art, 1968-1981. New York: Harper & Row, 1984. p. 140.
  6. Norma Broude and Mary D. Garrard, ed. (1994). The Power of Feminist Art. New York: Harry N. Abrams. p. 126.
  7. Jaudon, Valerie (Winter 1977–1978), "Art Hysterical Notions of Progress and Culture." (PDF), Heresies #4, retrieved 2012-09-12
  8. "Valerie Jaudon and Joyce Kozloff, 'Art Hysterical Notions of Progress and Culture' (1978)*". Dead Revolutionaries Club. Archived from the original on 2014-05-17. Retrieved 2014-06-16.
  9. Stiles, Kristine and Peter Selz (1996). Theories and Document of Contemporary Art: A Sourcebook of Artists' Writings. Berkeley and Los Angeles California: University of California Press. ISBN 0-520-20251-1. pp. 154–155
  10. Anon 2018
  11. http://www.joycekozloff.net and www.dcmoore.com
  12. Nancy Princenthal; Phillip Earenfight. Joyce Kozloff: Co+ordinates. The Trout Gallery-Dickinson; 2008. ISBN 978-0-9768488-8-2. p. 30-34, 45- 46.
  13. Delia Gaze. Concise Dictionary of Women Artists. Taylor & Francis; January 2001. ISBN 978-1-57958-335-4. p. 427.
  14. Nancy Princenthal; Phillip Earenfight. Joyce Kozloff: Co+ordinates. The Trout Gallery-Dickinson; 2008. ISBN 978-0-9768488-8-2. p. 44.
  15. Nancy Princenthal; Phillip Earenfight. Joyce Kozloff: Co+ordinates. The Trout Gallery-Dickinson; 2008. ISBN 978-0-9768488-8-2. p. 48.
  16. Nancy Princenthal; Phillip Earenfight. Joyce Kozloff: Co+ordinates. The Trout Gallery-Dickinson; 2008. ISBN 978-0-9768488-8-2. p. 32.
  17. A Mosaic of Bay Area History. Art and Architecture - San Francisco. Retrieved January 17, 2014.
  18. Anne Swartz. Pattern and Decoration: An Ideal Vision in American Art, 1975-1985. Hudson River Museum; 2007. ISBN 978-0-943651-35-4. p. 79.
  19. Danto, Arthur Coleman (2001). The Madonna of the future: essays in a pluralistic art world. University of California Press. p. 45. ISBN 978-0-520-23002-6.
  20. Financial District. Archived 2014-04-05 at the Wayback Machine The Detroit People Mover. Retrieved January 17, 2014.
  21. Joyce Kozloff biography. Public Art in L.A. Retrieved January 17, 2014.
  22. Joyce Kozloff. World's Women On-Line!. Retrieved January 17, 2014.
  23. Gardens of Villandry and Gardens at Chenonceaux. Public Art in L.A. Retrieved January 17, 2014.
  24. Joyce Kozloff Lecture - June 16, 2010 . Los Angeles Events. Eventful. Retrieved January 17, 2014.
  25. Nancy Princenthal; Phillip Earenfight. Joyce Kozloff: Co+ordinates. The Trout Gallery-Dickinson; 2008. ISBN 978-0-9768488-8-2. p. 32–33.
  26. Gloria Gerace; Dennis Keeley; Margie J. Reese. Urban surprises: a guide to public art in Los Angeles. City of Los Angeles Cultural Affairs Dept.; 1 July 2002. ISBN 978-1-890449-14-8. p. 77.
  27. Public Art Photo Gallery. Metropolitan Washington Airports Authority: Reagan National Airport. Retrieved January 17, 2014.
  28. Nancy Princenthal; Phillip Earenfight. Joyce Kozloff: Co+ordinates. The Trout Gallery-Dickinson; 2008. ISBN 978-0-9768488-8-2. pp. 56, 129.
  29. Joyce Kozloff biography. DC Moore. Retrieved January 17, 2014. [better source needed]
  30. Joyce Kozloff: Dreaming the Passage of Time, I, II, III. US Department of State. Retrieved January 17, 2014.
  31. Kozloff, Joyce. Patterns of Desire. Introduction by Linda Nochlin. New York: Hudson Hills Press, 1990.[better source needed]
  32. Wood, Denis (2012). "Map Art: Stripping the Mask from the Map". Rethinking the Power of Maps. Guilford Press. pp. 189–190. ISBN 978-1-60623-708-3.
  33. Pollack, Barbara (Barbara Ruth) (2010). Joyce Kozloff : China is near. Kozloff, Joyce. Milano: Charta. ISBN 978-88-8158-787-2. OCLC 630502978.
  34. Castro, JG (2001). "Joyce Kozloff: D.C. Moore Gallery". Sculpture. 20 (7): 72–73.
  35. Heartney, Eleanor (2001). Joyce Kozloff : Targets. DC Moore Gallery. OCLC 741994537.
  36. Decker, Elisa (2008). "Joyce Kozloff at DC Moore and Solo Impression". Art in America. 96 (5): 194.
  37. Joyce Kozloff. National Academy of Design. Retrieved January 17, 2014. Note: determined that she became part of the Academy in 2002 by the "NA 2002" after her name.
  38. Carnegie Mellon Alumni Awards on October 28 Celebrate Centennial Year for College of Fine Arts Carnegie Mellon University. October 19, 2005. Retrieved January 17, 2014.
  39. Women's Caucus for Art Honors MICA Graduate Faculty Maren Hassinger, Joyce Kozloff for Lifetime Achievement. Maryland Institute College of Art. February 24, 2009. Retrieved January 17, 2014.
  40. ArtTable Honors Influential Women in the Visual Arts. Archived 2014-03-01 at the Wayback Machine Project Row Houses. Retrieved January 17, 2014.
  41. "Joyce Kozloff | Albright-Knox". www.albrightknox.org. Retrieved 2020-04-21.
  42. "Brooklyn Museum". www.brooklynmuseum.org. Retrieved 2020-04-21.
  43. Harvard. "Harvard Art Museums". www.harvardartmuseums.org. Retrieved 2020-04-21.
  44. "Indianapolis Museum of Art Collection Search". collection.imamuseum.org. Retrieved 2020-04-21.
  45. "The Jewish Museum". thejewishmuseum.org. Retrieved 2020-04-21.
  46. "Joyce Kozloff | LACMA Collections". collections.lacma.org. Retrieved 2020-04-21.
  47. "Joyce Kozloff". www.metmuseum.org. Retrieved 2020-04-21.
  48. "Joyce Kozloff | MoMA". The Museum of Modern Art. Retrieved 2020-04-23.
  49. "Joyce Kozloff – NA Database". Retrieved 2020-04-23.
  50. "Collection Search Results". www.nga.gov. Retrieved 2020-04-23.
  51. "The French Were Here (Quebec, Port-au-Prince, Fez) | Smithsonian American Art Museum". americanart.si.edu. Retrieved 2020-04-23.
  52. "Joyce Kozloff". whitney.org. Retrieved 2020-04-23.
  53. "Is It Still High Art? State IB | University Art Gallery". artgallery.yale.edu. Retrieved 2020-04-23.
  54. Swartz, Anne (2007). Pattern and Decoration: An Ideal Vision in American Art, 1975-1985. Yonkers, N.Y.: Hudson River Museum. pp. 31–32, 77–83. ISBN 978-0-943651-35-4.
  55. Renn, Melissa (2006). "Max Kozloff". Encyclopedia of Twentieth-century Photography. New York: Routledge. pp. 889–890. ISBN 978-0-415-97665-7.
  56. Glueck, Grace (December 5, 2003). "Art in Review: Joyce Kozloff - 'Boys' Art and Other Works'". The New York Times.
  57. Nancy Princenthal; Phillip Earenfight. Joyce Kozloff: Co+ordinates. The Trout Gallery-Dickinson; 2008. ISBN 978-0-9768488-8-2. p. 114–119.
  58. Roth, Moira (1998). Crossed purposes : Joyce & Max Kozloff. Youngstown: Butler Institute of American Art. OCLC 41320888.
  59. "DC Moore Gallery artist page". Retrieved 1 February 2013.



На других языках

[de] Joyce Kozloff

Joyce Kozloff (* 14. Dezember 1942 in Somerville, New Jersey als Joyce Blumberg) ist eine US-amerikanische feministische Künstlerin. Sie ist eine zentrale Figur der Pattern-and-Decoration-Bewegung sowie der feministischen Kunstbewegung der 1970er Jahre.
- [en] Joyce Kozloff

[fr] Joyce Kozloff

Joyce Kozloff (née en 1942) est une artiste américaine dont le travail politiquement engagé s'appuie sur la cartographie depuis le début des années 1990.


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