#JoyceKozloff to the rescue
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#JoyceKozloff
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#JoyceKozloff to the rescue
www.nytimes.com/2026/02/05/a... #architecture #artdeco #trump #fascism #preservation #conservation #newdeal
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This close up image of the tile mural at the 7th and Flower Metro station comes from Joyce Kozloff’s website -> https://www.joycekozloff.net/1993-7th-flower-metro-station-la
This image of the tile mural at the 7th and Flower Metro station comes from Joyce Kozloff’s website -> https://www.joycekozloff.net/1993-7th-flower-metro-station-la
"They were hairy in the fifties and slimy in the eighties."
This #LAMetro mural at 7th & Flower includes characters from Hollywood's sci-fi & horror films. Acc'g to #JoyceKozloff, "All these big bruisers from the silver screen are reduced down to the scale of early home television.” #SpookySeason
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Took this photo of Joyce Kozloff’s tile murals in Metro's 7th Street station in July 2025. For this public art mosaic, Kozloff created ten "chapters" of characters featured in science fiction and horror films. This panel shows Chapter 8, full of "vampires and spooks" that "range from loathsome to campy" (according to her website).
Took this photo of Joyce Kozloff’s tile murals in Metro's 7th Street station in July 2025. For this public art mosaic, Kozloff created ten "chapters" of characters featured in science fiction and horror films. This panel shows Chapter 4, which is full of robots "from streamlined to clunky." As she explained on her website, "all these big bruisers from the silver screen are reduced down to the scale of early home television."
The movie #monsters shown in Joyce Kozloff’s tile murals at @metrolosangeles.bsky.social's 7th Street station “represent the phobias of their times: nature gone berserk, technology out of control, plague & contamination.” #JoyceKozloff -> www.joycekozloff.net/1993-7th-flo... #SpookySeason #PublicArt
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More work by #JoyceKozloff at the #Everson
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Map a-day-in May (a thirty-one cabinet display) Joyce Kozloff This “top-o’-the-map cabinet collage” is comprised of Sixty-three setting-squares compiled from Joyce Kozloff’s bodies of work (1993-2002). Mapping Works. (1998-2000). Knowledge: Frescoes and Globes. (2000-2003). Targets & Rocking the Cradle. (2004). American History. (2008-2010). Navigational Triangles. (2010). China Is Near. (2024). Collateral Damage. From https://www.joycekozloff.net/ Collage: Most collagists draw upon images and textures from the past in their work. This dialogue with the past, indeed, is part of what gives the very medium of collage its power. Centuries of mechanical reproduction have supplied artists with a deep collection of images to engage with. The array of available visual material that has accreted over this timescale is unspeakably vast – a “megacorpus” which is impossible to fully conceptualize. There have been no shortage of curators, however, who have attempted to chart routes via which to approach it. It is our claim that every collage, ultimately, can be seen as an attempt to bind the “fourth dimension” of time into the two-dimensional space of the fine art picture plane – a practice that shares kinship with the cartographer’s struggle to capture three-dimensional space in a two-dimensional medium. morphic rooms (2023). Passing things i-v (a collage can be a map). you are here the journal of creative geography (Special issue ) 24, Vol. 2023.
![Map a-day-in May (a thirty-one cabinet display) Joyce Kozloff
[portion] showing globe gores from Targets (2000)
Acrylic on canvas with wood frame. Diameter: 108 in.
Targets is a 9’ walk-in globe constructed in 24 sections, each of which is painted with an aerial map of a place that was bombed by the US between 1945 and 2000. It was conceived during a yearlong residency at the American Academy in Rome. Its physical form was inspired by the oculus of the Pantheon and the dome of Bramante’s Tempietto. The aerial maps that line the interior are copied from official tactical pilotage charts issued by the National Oceanic and Atmospheric Administration and the US Department of Commerce and are used by all pilots, civilian and military. These painted charts incorporate the instructions on the government documents including no-fly zones and the presence of oil fields. Some of the sections are inverted, laid sideways or upside down, forcing the viewer to twist to read place names, reflecting the way airplanes swoop above the earth. There is a disorienting echo inside the globe, so that visitors’ voices are amplified if they speak to one another from within, creating a kind of claustrophobia. The selection of sites is based on Killing Hope by historian William Blum (Monroe, ME: Common Courage Press, 1995). “Targets” speaks of the artist’s concern about the barbarity of aerial warfare. We are constantly told that our air force has incurred no casualties while dropping bombs on the enemy, but we hear very little about the victims, often referred to as “collateral damage.” As the idea evolved, it became clear that it wasn’t about a particular war, but fifty-five years of US aerial bombardment.
From: https://www.joycekozloff.net/2000-2003-targets-rocking-the-cradle/](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:q66r3vy7xepmx62ti4vt7uzb/bafkreidqgt2g7balajqjfalti7c7mkuajdhq62twxhhqjdygejwressttm)
Map a-day-in May (a thirty-one cabinet display) Joyce Kozloff [portion] showing globe gores from Targets (2000) Acrylic on canvas with wood frame. Diameter: 108 in. Targets is a 9’ walk-in globe constructed in 24 sections, each of which is painted with an aerial map of a place that was bombed by the US between 1945 and 2000. It was conceived during a yearlong residency at the American Academy in Rome. Its physical form was inspired by the oculus of the Pantheon and the dome of Bramante’s Tempietto. The aerial maps that line the interior are copied from official tactical pilotage charts issued by the National Oceanic and Atmospheric Administration and the US Department of Commerce and are used by all pilots, civilian and military. These painted charts incorporate the instructions on the government documents including no-fly zones and the presence of oil fields. Some of the sections are inverted, laid sideways or upside down, forcing the viewer to twist to read place names, reflecting the way airplanes swoop above the earth. There is a disorienting echo inside the globe, so that visitors’ voices are amplified if they speak to one another from within, creating a kind of claustrophobia. The selection of sites is based on Killing Hope by historian William Blum (Monroe, ME: Common Courage Press, 1995). “Targets” speaks of the artist’s concern about the barbarity of aerial warfare. We are constantly told that our air force has incurred no casualties while dropping bombs on the enemy, but we hear very little about the victims, often referred to as “collateral damage.” As the idea evolved, it became clear that it wasn’t about a particular war, but fifty-five years of US aerial bombardment. From: https://www.joycekozloff.net/2000-2003-targets-rocking-the-cradle/
Map a-day-in May (a thirty-one cabinet display) Joyce Kozloff Image showing the entrance of the "walk-in globe" from Targets (2000) Acrylic on canvas with wood frame. Diameter: 108 in. Targets is a 9’ walk-in globe constructed in 24 sections, each of which is painted with an aerial map of a place that was bombed by the US between 1945 and 2000. It was conceived during a yearlong residency at the American Academy in Rome. Its physical form was inspired by the oculus of the Pantheon and the dome of Bramante’s Tempietto. The aerial maps that line the interior are copied from official tactical pilotage charts issued by the National Oceanic and Atmospheric Administration and the US Department of Commerce and are used by all pilots, civilian and military. These painted charts incorporate the instructions on the government documents including no-fly zones and the presence of oil fields. Some of the sections are inverted, laid sideways or upside down, forcing the viewer to twist to read place names, reflecting the way airplanes swoop above the earth. There is a disorienting echo inside the globe, so that visitors’ voices are amplified if they speak to one another from within, creating a kind of claustrophobia. The selection of sites is based on Killing Hope by historian William Blum (Monroe, ME: Common Courage Press, 1995). “Targets” speaks of the artist’s concern about the barbarity of aerial warfare. We are constantly told that our air force has incurred no casualties while dropping bombs on the enemy, but we hear very little about the victims, often referred to as “collateral damage.” As the idea evolved, it became clear that it wasn’t about a particular war, but fifty-five years of US aerial bombardment. From: https://www.joycekozloff.net/2000-2003-targets-rocking-the-cradle/
Map a-day-in May (a thirty-one cabinet display)
Joyce Kozloff Mapping as a structure for history, geography, arts & culture. For more info/links: #cartobibliography tinyurl.com/34hn54c3 #JoyceKozloff #MapArt #Collage #Painting #Murals #MapDayMay25
William C. Wonders Map Collection #WCWMC
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