Beginning in 1970, energized by her participation in the feminist art movement, Joyce KOZLOFF became a founding member of the Heresies publishing collective and an originating figure of the Pattern and Decoration movement, exploring the applied and decorative arts, wanting to break down the “high art/low art” hierarchies inherent in the West. Soon her patterned paintings moved off the canvas, evolving into installations composed of hand painted, glazed ceramic tiles and pieced silk wall hangings.
During the 1980s, she concentrated on ambitious public commissions, many in transportation centers, executed in ceramic tile and/or glass and marble mosaic. Out of a desire to communicate with a broader audience, these pieces have local and regional subject matter, sometimes ironically tweaked, sometimes catalogued as an almost archaeological enterprise. In the early twenty-first century, she created pieces in Japan and Turkey, adapting their rich ornamental traditions to her contemporary aesthetic.
One starts an architectural project with charts of the site. By the 1990s, maps had become the foundation for her private work, structures into which she could insert a range of issues, particularly the role of cartography in human knowledge and as an imposition of imperial will. Her map and globe works -frescoes, books, paintings, sculptures- which image both physical and mental terrain, employ mutations to raise these geopolitical issues. Often their figurations are hybrids, places known only in the imagination, composed of memories and fragments. Exploring her political concerns, she luxuriates in the beauty of maps, as incised diagram and reflection of our world to evolve an art that is both graphically satisfying and intellectually questioning.
Kozloff has executed 15 public commissions, including Dreaming: The Passage of Time, United States Consulate, Art in Embassies Program (Istanbul, 2003); The Movies: Fantasies and Spectacles, Los Angeles Metro's Seventh and Flower Station (Los Angeles, 1993); New England Decorative Arts, Harvard Square Subway Station (Cambridge,1985) and Bay Area Victorian, Bay Area Deco, Bay Area Funk, International Terminal, San Francisco Airport (San Francisco, 1983). Her work is in many museum collections. Some recent solo exhibitions were Joyce Kozloff: Maps + Patterns, DC Moore Gallery (NY, 2015); Joyce Kozloff: Social Studies, French Institute Alliance Francaise (NY, 2015); Joyce Kozloff Cradles to Conquests: Joyce Kozloff: Co+Ordinates, Trout Gallery, Dickinson College (Carlisle, 2008); Joyce Kozloff: Voyages + Targets, Spazio Thetis (Venice, 2006); Joyce Kozloff: Exterior and Interior Cartographies, Miller Gallery, Carnegie Mellon University (Pittsburgh, 2006). Her work has been shown in countless group exhibitions: Mind the Map, The Global Art Project, (Oslo, 2014); Die anderen Amerikaner, Ludwig Forum fur Internationale Kunst, Die Aachener Museum (Aachen, 2013); The Map as Art, Kemper Museum of Contemporary Art, (St. Louis, 2012); Shifting the Gaze: Painting and Feminism, The Jewish Museum (NY, 2010); HereThereEverywhere, Chicago Cultural Center (Chicago, 2008); WACK! Art and the Feminist Revolution, The Geffen Contemporary, MoCA (Los Angeles, 2006).
Joyce Kozloff lives and works in NY (USA).
Kozloff has shared her collaboration with the painter and sculptor Emily KIACZ (Bryan Ohio,1986), currently living in NY. Kiacz attended the Maryland Institute College of Art, graduating with a BFA in painting in 2009. She later received her MFA in painting from Boston University in 2011. Over the last five years she has participated in numerous exhibitions in the NY metro area, including two and three person exhibitions. In 2015 Kiacz attended the DNA Summer Residency in Provincetown (Massachusetts).
Emily Kiacz lives and works in NY (USA).
During the 1980s, she concentrated on ambitious public commissions, many in transportation centers, executed in ceramic tile and/or glass and marble mosaic. Out of a desire to communicate with a broader audience, these pieces have local and regional subject matter, sometimes ironically tweaked, sometimes catalogued as an almost archaeological enterprise. In the early twenty-first century, she created pieces in Japan and Turkey, adapting their rich ornamental traditions to her contemporary aesthetic.
One starts an architectural project with charts of the site. By the 1990s, maps had become the foundation for her private work, structures into which she could insert a range of issues, particularly the role of cartography in human knowledge and as an imposition of imperial will. Her map and globe works -frescoes, books, paintings, sculptures- which image both physical and mental terrain, employ mutations to raise these geopolitical issues. Often their figurations are hybrids, places known only in the imagination, composed of memories and fragments. Exploring her political concerns, she luxuriates in the beauty of maps, as incised diagram and reflection of our world to evolve an art that is both graphically satisfying and intellectually questioning.
Kozloff has executed 15 public commissions, including Dreaming: The Passage of Time, United States Consulate, Art in Embassies Program (Istanbul, 2003); The Movies: Fantasies and Spectacles, Los Angeles Metro's Seventh and Flower Station (Los Angeles, 1993); New England Decorative Arts, Harvard Square Subway Station (Cambridge,1985) and Bay Area Victorian, Bay Area Deco, Bay Area Funk, International Terminal, San Francisco Airport (San Francisco, 1983). Her work is in many museum collections. Some recent solo exhibitions were Joyce Kozloff: Maps + Patterns, DC Moore Gallery (NY, 2015); Joyce Kozloff: Social Studies, French Institute Alliance Francaise (NY, 2015); Joyce Kozloff Cradles to Conquests: Joyce Kozloff: Co+Ordinates, Trout Gallery, Dickinson College (Carlisle, 2008); Joyce Kozloff: Voyages + Targets, Spazio Thetis (Venice, 2006); Joyce Kozloff: Exterior and Interior Cartographies, Miller Gallery, Carnegie Mellon University (Pittsburgh, 2006). Her work has been shown in countless group exhibitions: Mind the Map, The Global Art Project, (Oslo, 2014); Die anderen Amerikaner, Ludwig Forum fur Internationale Kunst, Die Aachener Museum (Aachen, 2013); The Map as Art, Kemper Museum of Contemporary Art, (St. Louis, 2012); Shifting the Gaze: Painting and Feminism, The Jewish Museum (NY, 2010); HereThereEverywhere, Chicago Cultural Center (Chicago, 2008); WACK! Art and the Feminist Revolution, The Geffen Contemporary, MoCA (Los Angeles, 2006).
Joyce Kozloff lives and works in NY (USA).
Kozloff has shared her collaboration with the painter and sculptor Emily KIACZ (Bryan Ohio,1986), currently living in NY. Kiacz attended the Maryland Institute College of Art, graduating with a BFA in painting in 2009. She later received her MFA in painting from Boston University in 2011. Over the last five years she has participated in numerous exhibitions in the NY metro area, including two and three person exhibitions. In 2015 Kiacz attended the DNA Summer Residency in Provincetown (Massachusetts).
Emily Kiacz lives and works in NY (USA).