Kozlov in Retrospect

Jo Melvin
Institute Lecture
27th January 2016
Henry Moore Institute Seminar Room, 6.30pm

Christine Kozlov
'No Title (Black Film #1)'
8mm film leader in canister

Courtesy of Christine Kozlov Estate, London
Photo: Jay Cantor

Christine Kozlov was at the centre of the first wave of conceptual art practices in New York at the end of the 1960s and involved in a network of young artists working within an expanding international context. These artists reconsidered the platforms for showing work and devised new strategies for its distribution by using new technologies and communication systems.

Kozlov was the only woman of thirty-one artists in the radical young art dealer Seth Siegelaub's exhibition One Month (1969), also known as March 1969. This was the first international exhibition that existed solely as a publication. Despite her participation in several major exhibitions from the period, Kozlov's work is little known today. This is partly due to her approach to making work, much of which was based on a systematic participation and withdrawal within these networks until the early 1970s, when she decided to stop actively making art.

This lecture discusses some of the paradigms Kozlov's work presents through a consideration of key works on display in our current exhibition Christine Kozlov: Information to demonstrate their relevance and importance to the critical practice and sculptural concerns of today.

Jo Melvin is a London based curator and writer, and Reader in Archives and Special Collections, Chelsea School of Arts. Her ecent projects include Five Issues of Studio International, Raven Row, London and Palindromes: Barry Flanagan and John Latham exchanges, Flat Time House, London, both 2015 and Peter Halley Paintings: Visual Pleasure and aesthetic alienation, Musée d'Art Moderne, St Etienne, 2014. Her forthcoming projects include Seth Siegelaub Source Book (editor) König, 2015, Beyond Conceptual Art, catalogue, Stedelijk Museum, Amsterdam, 2015.

Further information