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Joyce KozloffTepoztlan II unique signed framed work on paper by renowned artist Joyce Kozloff1973
1973
$22,000
£16,865.79
€19,299.21
CA$31,090.96
A$33,794.64
CHF 18,090.81
MX$408,498.86
NOK 227,979.52
SEK 210,256.31
DKK 144,134.25
About the Item
Joyce Kozloff
Tepoztlan II, 1973
Gouache and colored pencil on paper
Signed, dated and titled twice: once on the back of the work (shown) and once on the original board which has been affixed to the new frame.
Unique
Frame included
Provenance: Tibor de Nagy Gallery, NY (with original label)
This work is named after Tepoztlan, Mexico. Situated in a highland mountain valley and cradled by dramatic, copper-toned, mountain cliffs, Tepoztlán is one of Mexico’s most alluring and unique colonial towns. With a breath-taking mountainous landscape, charming town center, rich echoes of ancient civilizations, and an interesting convergence of inhabitants, the town makes for one of the most remarkable mix of colonial and indigenous experiences in Mexico. Tepoztlán is located south of Mexico City. It’s known as the reputed birthplace of Quetzalcoatl, the Aztec feathered serpent god, and for its weekly craft market. A steep trail leads to the famous sacred Aztec Tepozteco pyramid, on a clifftop above the town. A 16th-century former Dominican monastery, the Tepoztlán Ex-Convento, has a local history museum. The adjacent Carlos Pellicer Cámara Museum displays pre-Hispanic art.
(this work has been newly framed, but the original board with gallery label has been affixed to the back to preserve provenance)
Elegantly floated and framed in a handmade museum quality wood frame under UV plexiglass
Measurements:
Framed
27.5 inches vertical by 35 inches horizontal by 2 inches depth
Painting
22 inches vertical x 30 inches horizontal
JOYCE KOZLOFF BIOGRAPHY
Joyce Kozloff was born in Somerville, New Jersey in 1942. She received a BFA from Carnegie Institute of Technology, Pittsburgh, PA in 1964 and an MFA from Columbia University in 1967. Kozloff was a major figure in both the Pattern and Decoration and the Feminist art movements of the 1970s. In 1979, she began to focus on public art, increasing the scale of her installations and expanding the accessibility of her art to reach a wider audience. Kozloff has since executed a number of major commissions in public spaces, including Dreaming: The Passage of Time for the United States Consulate, Art in Embassies Program in Istanbul, Turkey; The Movies: Fantasies and Spectacles for the Los Angeles Metro’s Seventh and Flower Station, CA; Caribbean Festival Arts for P.S. 218, New York, NY; New England Decorative Arts for the Harvard Square Subway Station, Cambridge, MA; and Bay Area Victorian, Bay Area Deco, Bay Area Funk for the International Terminal, San Francisco Airport, CA.
Since the early 1990s, Kozloff has utilized mapping as a device for consolidating her enduring interests in history, culture, and the decorative and popular arts. She initially concentrated on cities known to her, onto which patterns and images reflecting their colonial pasts were then overlaid. Subsequent series examined bodies of water and the inaccuracies of early maps from the so-called “Age of Discovery.” In 1999-2000, Kozloff was awarded the Jules Guerin Fellowship / Rome Prize from the American Academy in Rome, Italy. During her yearlong residency abroad Kozloff conceived and completed Targets, a nine-foot walk-in globe in twenty-four sections, each of which is painted with an aerial map of a place that has been bombed by the U.S. in the years since World War II. A 2001 residency at the Bogliasco Foundation in Liguria, Italy provided the genesis for Boy's Art, a series of twenty-four collaged drawings based on maps, diagrams, and illustrations of historic battles, which examine the fascination with war shared by many young boys. Distributed Art Publishers published an oversized artist’s book of these works in 2003.
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).
In China is Near, Kozloff explored the China accessible to her, visiting the Chinatowns of Mott Street, Manhattan; Main Street, Flushing, Queens; 8th Street, Sunset Park, Brooklyn; Webster Street, Oakland; and Grant Avenue, San Francisco – all destinations on the twenty-first century Silk Route. Her photographs convey the experience of these locations, capturing the sensory overload triggered by the surfeit of kitsch – gaudy trinkets, cheap apparel, and glittering electronics. Reveling in the ways this visual clutter rhymed with her own layered, dense aesthetic, Kozloff paired these images with collages incorporating drawings of old maps, imagery from the internet, and Chinese characters and motifs. The resulting series, published as a book by Charta Books, presents a rich, immersive, unconventional chronicle of China, not a travelogue of a country visited, but of one traversed nonetheless.
In March 2012, Kozloff’s JEEZ was exhibited at the main entrance to The Armory Show Modern. JEEZ is a twelve by twelve-foot painting in thirty-six panels based on the Ebstorf map, a 13th-century mappa mundi of the same size painted on thirty sewn goatskins. In her response to this historic work, Kozloff drew upon a wide range of her artistic practices, incorporating her interest in cartography, decoration, history, material culture, and politics. As a secular person, she was particularly motivated by the ongoing evangelical rhetoric of some candidates in the current U.S. presidential race. JEEZ is her subsequent attempt to grapple with the religious images that pervade Western culture. In JEEZ, Kozloff navigates through the history of art, incorporating everything from Byzantine mosaics to contemporary street art. She culls from sources high and low, from Old Master paintings to everyday kitsch, and encounters scores of representations of Jesus: black, Asian, Latino, and female; adult and infant; Jesuses from the movies and New Age hippie Jesuses. Over thirteen months, Kozloff painted 125 images of Christ into her contemporary mappa mundi. Each represents a stereotype from its culture, faithful to its own artistic ideal, but the proliferation of depictions wryly erodes their power.
Recent solo exhibitions of Kozloff's work include: Joyce Kozloff: Navigational Triangles, DC Moore Gallery, New York (2010); Joyce Kozloff: Co+Ordinates, Trout Gallery, Dickinson College, Carlisle, PA (2008); Joyce Kozloff: Voyages + Targets, Spazio Thetis, Venice, Italy (2006); Joyce Kozloff: Exterior and Interior Cartographies, Regina Gouger Miller Gallery of Carnegie Mellon University, Pittsburgh, PA (2006); and Joyce Kozloff: Topographies, Contemporary Art Center of Virginia, Virginia Beach, VA (2002). Crossed Purposes, a major traveling exhibition pairing the work of Joyce Kozloff with that of her husband, photographer Max Kozloff, was organized by the Butler Institute of American Art in Youngstown, Ohio and traveled to a number of museums around the country during 1999 and 2000. Kozloff's work has been included in countless important group exhibitions, including WACK! Art and the Feminist Revolution, which originated at The Geffen Contemporary at MOCA in Los Angeles, CA in 2006 and traveled to the National Museum of Women in the Arts in Washington, D.C.; P.S. 1 MOMA in Long Island City, NY; and the Vancouver Art Gallery in British Columbia, Canada.
Kozloff has served on the Board of Governors of the Skowhegan School of Painting and Sculpture (Skowhegan, ME) since 1998 and has been a member of the National Academy of Design since 2003. She was on the Department of Art Advisory Board at Carnegie Mellon University (Pittsburgh, PA) from 1992-1998, the Board of Directors of the College Art Association from 1985-1989, and the Advisory Board of the Public Art Fund from 1984-1986.
-Courtesy DC Moore Gallery
- Creator:Joyce Kozloff (1942, American)
- Creation Year:1973
- Dimensions:Height: 27.5 in (69.85 cm)Width: 35 in (88.9 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Excellent original condition. Ships framed in museum quality wood frame under UV plexiglass.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745217338792
Joyce Kozloff
Born December 14, 1942, Somerville, NJ Public Collections
Albany Institute of History and Art, Albany, NY
Albright-Knox Art Gallery, Buffalo, NY
Allen Memorial Art Museum, Oberlin, OH
Ball State University Art Gallery, Muncie, IN
Bartlett Center for Visual Arts, Oklahoma State University, Stillwater, OK
Brooklyn Museum, Brooklyn, NY
Carnegie Mellon University Libraries, Pittsburgh, PA
Casa de las Americas, Havana, Cuba
College of Wooster Art Museum, Wooster, OH
Davis Museum & Cultural Center, Wellesley College, Wellesley, MA
California Palace of the Legion of Honor, Fine Arts Museums of San Francisco, San
Francisco, CA
Dayton Art Institute, Dayton, OH
Delaware Art Museum, Wilmington, DE
Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY
Freedman Gallery, Albright College, Reading, PA
Georgia Museum of Art, University of Georgia, Athens, GA
Grey Gallery, New York University, New York, NY
Grinnell College Art Gallery, Grinnell, IA
Hawaii Art in Public Places program, purchased by Hawaii State Foundation on Culture and
the Arts
Harvard University, Fogg Art Museum, Cambridge, MA
Hebrew Union College Museum, Jewish Institute of Religion, New York, NY
Indianapolis Museum of Art, Indianapolis, IN
Jane Voorhees Zimmerli Art Museum, Rutgers University, New Brunswick, NJ
Jersey City Museum, Jersey City, NJ
The Jewish Museum, NY
John Michael Kohler Arts Center, Sheboygan, WI
Joslyn Museum, Omaha, NE
Library of Congress, Washington, DC
List Gallery, Swarthmore College, Swarthmore, PA
Los Angeles County Museum of Art, CA
Ludwig Forum for International Art, Aachen, DE
Mildred Lane Kemper Art Museum, St. Louis, MO
Massachusetts Institute of Technology, Cambridge, MA
Metropolitan Museum of Art, New York, NY
Mint Museum of Art, Charlotte, NC
Mount Holyoke College Art Museum, South Hadley, MA
Municipal Gallery and Museum of Modern Art, Udine, IT
Museum of Contemporary Art, Los Angeles, CA
Museum of Fine Arts, Santa Fe, NM
The Museum of Modern Art, New York, NY
National Academy Museum, New York, NY
National Gallery of Art, Washington, DC
National Museum of American Art, Smithsonian Institution, Washington, DC
National Museum of Women in the Arts, Washington, DC
New Jersey State Museum, Trenton, NJ
New Mexico Museum of Art, Santa Fe, NM
New York Public Library, New York, NY
Nora Eccles Harrison Museum of Art, Utah State University, Logan, UT
Norton Gallery of Art, West Palm Beach, FL
Palmer Museum of Art, Pennsylvania State University, University Park, PA
Pennsylvania Academy of Fine Arts, Philadelphia, PA
Racine Art Museum, Racine, WI
Ruth Chandler Williamson Gallery, Scripps College, Claremont, CA
Smith College Museum of Art, Northampton, MA
Springfield Art Museum, Springfield, MO
Stanley Museum of Art, University of Iowa, Iowa City IA
Trout Gallery, Dickinson College, Carlisle, PA
University Art Gallery, New Mexico State University, Las Cruces, NM
University of Arizona Museum of Art, Tucson, AZ
University of California Santa Barbara Library, Judith A. Hoffberg Archive, Santa Barbara,
CA
Weatherspoon Gallery, University of North Carolina, Greensboro, NC
Whitney Museum of American Art, New York, NY
Yale University Art Museum, New Haven, CT
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Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil.
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SELECTED JURIED/INVITATIONAL EXHIBITIONS
2020
“edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY
2019
“Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY
“Mixed Media”, SITE Gallery, Brooklyn, NY
2018
“JuxtaPositions”, The Painting Center, New York, NY
“Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY
2017
“Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY
“Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY
2016
“Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD
“Under, Over, After Over”, Vassar College, Poughkeepsie, NY
2015
“Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY
“Gridspace”, KMOCA, Kingston, NY
“Abstraction”, Carrie Haddad Gallery, Hudson, NY
“Assuming Identity”, NY Institute of Technology, New York, NY
2013
“Modern Artists”, Carrie Haddad Gallery, Hudson, NY
“Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY
Stone Canoe/Community Folk Art Center, Syracuse, NY
2012
New York Institute of Technology, New York, NY
“Contemporary Painters (Who Just Happen To Be Women)”,
Carrie Haddad Gallery, Hudson, NY
“Strange Glue: Collage at 100”, Cambridge School, Weston, MA
“Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY
“Fresher Paint”, Rockland Center for the Arts, Nyack, NY
Courthouse Gallery, Lake George Arts Project, Lake George, NY
2011
“Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College,
Newburgh, NY
“Gender Matters/Matters of Gender”, Freedman Gallery,
Albright College, Reading, PA
2010
Carrie Haddad Gallery, Hudson, NY
“Encaustics: Wax and Image”, Westchester Community College,
White Plains, NY
“Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY
“Spring Awakening”, NY Institute of Technology, New York, NY
“Clay City Dreams”, NY Institute of Technology, New York, NY
“Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School,
Providence, RI
2009
“Collage”, NY Institute of Technology, New York, NY
“Working in Wax”, Bedford Gallery, Walnut Creek, CA
“Encaustic 2009”, College of New Rochelle, NY
“Three Artists”, Carrie Haddad Gallery, Hudson, NY
“Convergence: The Human Experience”,Howard County Center for the Arts, MD
2008
“Suckers and Biters: Love, Lollipops, and Exquisite Corpse”
Chashama Gallery, New York, NY
Carrie Haddad Gallery, Hudson NY
2007
“Patterns and Light”, Blue Hill Gallery, Blue Hill, ME
“Suckers and Biters”, AG Gallery, Brooklyn, NY
2006
“100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art,
New York, NY
“On/Of Paper”,Kirkland Art Center, Clinton, NY
“The Love Show”, Manchester Community College, Manchester, CT
2005
The Soap Factory, Minneapolis, MN
“Small Tales”, Valdosta State University, Georgia
National Juried Exhibition,Art Institute and Gallery
Salisbury, MD, Juror: Stephen Haller
“Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY
2004
“Women in the Middle: Borders, Barriers, Intersections”
University of Wisconsin-Milwaukee
“Girl Art Now”,Hera Gallery, Wakefield, RI
3 Person Exhibition, Monterey Peninsula College, Monterey, CA
“The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery
Poughkeepsie, NY
2003
“Beefcake/Cheesecake”,Orange County Center for Contemporary Art,
Santa Ana, CA,Juror: Jamie Wilson, Curator
Halpert Bienniel, Appalachian State University, Boone, NC
Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY
2002
“Cat Calls”, Red Clay Arts, Brooklyn
“Hudson Valley Regional”, SUNY New Paltz
Juror: Sydney Jenkins, Director, Ramapo College Art Galleries
2001
One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago
One-Person Exhibition, Garrison Art Center, Garrison, NY
2000
“Vision 2000...
Category
2010s Abstract Geometric Abstract Paintings
Materials
Canvas, Gouache, Archival Paper, Color Pencil, Graphite
Interconnections - colorful, contemporary, geometric abstract, paper collage
Located in Bloomfield, ON
This bold contemporary composition by Yvonne Lammerich is an intriguing exploration of colour and form. Origami-like folded shapes inter-connected by fine lines dance across this col...
Category
1970s Abstract Abstract Paintings
Materials
Mixed Media, Archival Paper, Gouache, Color Pencil
Abstract Gouache N.4 by Dmitry Samygin
By Dmitry Samygin
Located in Paris, FR
Abstract Gouache N.4 by Dmitry Samygin
Minimalist and geometric paintings.
Technique: Gouache
Color: Black
Size: H. 30 x 21 x 0.1 cm
Dmitry Samygin is a Furniture and Product De...
Category
21st Century and Contemporary Abstract Geometric Abstract Paintings
Materials
Gouache
Vision I by Cheryl R. Riley, purple, gray, gold abstract geometric symbols
By Cheryl R. Riley
Located in Jersey City, NJ
Vision I by Cheryl R. Riley
Metallic abstract geometric symbols, purple, yellow, gray, gold
Gouache and metallic ink on 140# cold press watercolor paper
Feminist Art and Contemporar...
Category
2010s Abstract Geometric Abstract Drawings and Watercolors
Materials
Gold Leaf
Black & Gold Glyphs III by Cheryl R. Riley, metallic abstract geometric symbols
By Cheryl R. Riley
Located in Jersey City, NJ
Black & Gold Glyphs III by Cheryl R. Riley
Metallic abstract geometric symbols
Gouache and metallic ink on 140# cold press watercolor paper
Feminist Art and Contemporary Feminist / ...
Category
2010s Abstract Geometric Abstract Drawings and Watercolors
Materials
Gold Leaf
