Max Kozloff: A Legacy in Art Criticism and Photography

Art critic and photographer Max Kozloff, known for his influential commentary on movements that succeeded Abstract Expressionism, passed away on April 6 at his Manhattan home. He was 91 years old. The cause of his death was attributed to Parkinson’s disease, as confirmed by his wife, Joyce Kozloff.

Early Career and Influence

Kozloff began his journey in art criticism at a young age, becoming the art critic for The Nation in 1961 while pursuing doctoral studies at New York University’s Institute of Fine Arts. By the age of 31, he had joined Artforum as an associate editor, eventually rising to the role of editor. His writings played a crucial role in navigating the evolving artistic landscape of the 1960s and 1970s, often focusing on the works of artists like Jasper Johns and Robert Rauschenberg, who challenged the prevailing trends of their time.

Challenging Established Norms

Kozloff was known for his critical approach to established art ideologies, particularly taking issue with the views of renowned critic Clement Greenberg. He perceived Greenberg’s theories as overly rigid and not representative of the rich diversity in artistic movements of his era. Unlike many of his contemporaries, Kozloff sought to highlight the complex interplay between art, ideology, and political context, shedding light on how these elements influenced artistic expression.

A Seminal Essay

One of Kozloff’s most notable contributions to art criticism is his essay titled “American Painting During the Cold War,” published in Artforum in 1973. In this piece, he posited that Abstract Expressionism, by distancing itself from political engagement, inadvertently became a tool for promoting postwar American values globally. He stated, “Never for one moment did American art become a conscious mouthpiece for any agency as was, say, the Voice of America. But it did lend itself to be treated as a form of benevolent propaganda for foreign intelligentsia.”

Shift to Photography

In the early 1970s, Kozloff transitioned his focus to photography, a burgeoning field ripe for critique. He was particularly fascinated by street photography, capturing spontaneous moments of everyday life. His admiration for early 20th-century European photographers such as Eugène Atget, along with American figures like Diane Arbus, Lee Friedlander, and Garry Winogrand, shaped his own photographic practice. In an interview in 2023, Kozloff remarked, “Photography offered me the chance to be subversive once again because of the lack of color in photographic practice at that time.”

Academic Background and Professional Milestones

Maxwell Kozloff was born on June 21, 1933, in Chicago. Raised in a family with a passion for the arts, he graduated from the University of Chicago in 1953 with a degree in art history. Following a period of service in the Army, he returned to academia to earn a master’s degree in the same field. Kozloff would eventually relocate to Manhattan, where he felt a compelling draw to its vibrant art scene. In 1964, he left his doctoral studies, opting for a successful writing career instead, contributing to several prominent publications.

Personal Life and Legacy

Kozloff married artist Joyce Blumberg in 1967, and they had one son, Nikolas. Throughout his career, he authored nine books, covering topics ranging from Johannes Vermeer to broad histories on Cubism and contemporary photography. In 2002, he curated the exhibition “New York: Capital of Photography” at the Jewish Museum, which asserted the significance of New York City in the maturation of art photography.

Conclusion

Max Kozloff’s contributions to art criticism and photography have left an indelible mark on the artistic community. His ability to intertwine art with the socio-political context of its creation continues to inspire new generations of artists and critics alike.