1998 Renaissance: Wales; National Museums and Galleries
of Wales, Cardiff
1998 Contacts: Wales; Cardiff Bay Arts Trust, Cardiff
2000 Chaos; The Snellman Hall, Helsinki
Group Exhibitions
1971 Photographs of Women; Museum of Modern Art, New
York
1973 Two Views: 8 Photographers; The Photographers’ Gal-
lery, London
1974 Celebrations; Hayden Gallery, Massachusetts Institute
of Technology, Cambridge
1980 Old and Modern Masters of Photography; Victoria and
Albert Museum, London, traveling
1983 Personal Choice: A Celebration of Twentieth Century
Photographs; Victoria and Albert Museum, London
Further Reading
Cuau, Bernard.Josef Koudelka. Paris: Centre national de la
photographie, 1984.
Horvat, Frank. Josef Koudelka in Entre Vues. Paris:
Nathan, 1990.
Koudelka, Josef.Chaos. Paris: Nathan-HER/Delpire, 1999.
Koudelka, Josef.Exiles. New York: Aperture, 1988.
Koudelka, Josef.Gitans: La fin du Voyage. Paris: Delpire
Editeur, 1977.
Koudelka, Josef.Gypsies in the British Isles. London: Arts
Council of Great Britain, 1976.
Koudelka, Josef.Josef Koudelka. Prague, Czech Republic:
Torst, 2002.
Koudelka, Josef.Lime Stone. Paris: La Martinire, 2001.
Koudelka, Josef.Prague 1968. Paris: Centre National de la
Photographie, 1990.MAX KOZLOFF
American
Critic, photographer, curator, Max Kozloff is a lead-
ing figure in the field of photography and photo-
graphic criticism. Born in Chicago, Illinois on June
21, 1933, Max Kozloff began his training as an art
historian. In 1953, he attended the University of
Chicago, where he received his Bachelor of Arts
degree and then his Master of Arts degree in Art
History in 1958. Kozloff also studied at the Institute
of Fine Arts of New York University from 1960–
- In 1967, he married the artist Joyce Kozloff.
They have a son, Nikolas. Kozloff was an art critic
forThe Nationfrom 1961–1969, the New York edi-
tor ofArt Internationalfrom 1961–1964, and served
as Executive Editor ofArtforumfrom 1974–1976. In
1976, as both a personal and political choice, Kozl-
off expanded his interest from the field of art criti-
cism to writing on and practicing photography.
Kozloff’s work as a critic has gone well beyond
the medium of photography and is influential on
artists, art historians, and the art world. He has
written critically on a diverse range of artists includ-
ing photographers Peter Hujar, Duane Michaels,
and Weegee and the nineteenth century painter
Jean-Baptiste-Sime ́on Chardin and contemporary
painter Jasper Johns. His many collections of essays
focus on photography, museums, and modern art,
and includeLone Visions, Crowded Frames, Culti-
vated Impasses, Social Graces, The Privileged Eye,
Renderings: Critical Essays on a Century of Modern
Art, and Photography and Fascination. Besides
street photography and Jewish photographers, his
area of expertise in writing about photography
includes portraiture and photojournalism.
Kozloff taught at the California Institute of Arts,
Valencia, from 1970–1971 and at Yale University in
1974 as well as the School for the Visual Arts, New
York. It is his career as a lecturer, however, that has
allowed his ideas to be widely disseminated; his
2000 lecture series at The School of Visual Arts in
New York was on his book of collected writings,
Cultivated Impasses: the Waning of the Avant-
Garde, 1960– 1980 , which examines the complex
debates that animated the art world of the 1960s
and 1970s. In this volume, Kozloff re-examines the
traditions of twentieth century modernism from the
viewpoint as a 1970s art critic covering every type of
art from the period, from conceptual art to body art
to multi-media installations.
While focusing on avant-garde movements in
much of his writing, as a photographer Kozloff
has commented that he sees himself working in the
tradition of Euge`ne Atget, his subject matter often
store windows and the streets. Kozloff has written
on ‘‘fortuitous encounters’’ as the premise of streetKOZLOFF, MAX