"...cartographic works by Joyce Kozloff considers such issues of place, location, and identity. Kozloff examines relationships of power, gender, and global politics through the imagery of maps and cartography. Her paintings, some of which cover spherical surfaces and globes, include and at times combine features from maps of the ancient world, the Age of Discovery, and the digital era to examine issues of identity and territorial conquest and act as metaphors for people, culture, body, and mind."
Director, The Trout Gallery
Joyce Kozloff, Spheres of Influence, 2001
Joyce Kozloff, Around the World on the 44th Parallel, 1995
Joyce Kazloff, Targets, 2000
Joyce Kozloff, Targets (detail), 2000
Joyce Kozloff, Los Angeles Becoming Mexico City Becoming Los Angeles, 1992–1993
Joyce Kozloff, Knowledge 31: The Holy Land, 1584, 1998
"The series reveals a pattern of land use in rural Newfoundland where land has been passed down from generation to generation, divided into smaller and smaller pieces among sons and nephews and, with some interesting exceptions, inherited by daughters. But the statements that interest me most are the ones I regard as poetic and even elegiac — describing an affectionate connection to the places and a sadness over changes and loss that have occurred over time<...>These intersections are powerful, some are painful, and all are elusive, fragile, and improbable"-Marlene Creates
Marlene Creates, Places of Presence: Newfoundland kin and ancestral land, Newfoundland, 1989-1991
"Mehretu's points of departure are architecture and the city, particularly the accelerated, compressed and densely populated urban environments of the 21st century. Her canvases overlay different architectural features such as columns, facades and porticoes with different geographical schema such as charts., building plans and city maps and architectural renderings, seen from different perspectives, at once aerial, cross-section and isometric. Her paintings present a tornado of visual incident where gridded cities become fluid and flattened, like many layers of urban graffiti. Mehretu has described her rich canvases as ' story maps of no location' rather than actual reality."
Julie Mehretu, Black Ground (deep light), 2006
Julie Mehretu, Dispersion, 2002