Joyce Kozloff
| Joyce Kozloff | |
|---|---|
 |
|
| Born |
Joyce Blumberg December 14, 1942 Somerville, New Jersey |
| Alma mater |
Carnegie Mellon University Columbia University |
| Known for | Painting |
| Movement |
Pattern and Decoration Feminist art movement |
| Spouse(s) | Max Kozloff |
| Website | joycekozloff |
Joyce Kozloff (born 1942) is an American artist whose politically engaged work has been based on cartography since the early 1990s.
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.
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 parent's families had emigrated from Lithuania. She had two younger brothers, Bruce and Allen.
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.
She was married to Max Kozloff on July 2, 1967 at her parent's home in Bound Brook, New Jersey by her family's Orthodox rabbi, although she and Max are not religious. Max, born on June 21, 1933 in Chicago is an art and photography critic and a photographer. Nikolas Kozloff, their son, who is a writer, was born in New York in 1969. 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).
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.
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