Brian Kosoff
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| This article, Brian Kosoff, has recently been created via the Articles for creation process. Please check to see if the reviewer has accidentally left this template after accepting the draft and take appropriate action as necessary.
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| This article, Brian Kosoff, has recently been created via the Articles for creation process. Please check to see if the reviewer has accidentally left this template after accepting the draft and take appropriate action as necessary.
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Comment: There aren't enough references - there are entire paragraphs without any references Roger (Dodger67) (talk) 12:33, 27 July 2013 (UTC)
- Comment: This reads like a resume for this artist. The sources used to create this article are not clear. Large portions appear to have been written as an essay from personal experience. RadioFan (talk) 18:00, 14 July 2013 (UTC)
Brian Kosoff (born 1957) is a photographer from New York who has worked as both a commercial and fine arts photographer.[1] While in his teens, Kosoff began capturing images of urban landscapes, a genre that is indicative of his later work.
Early life
Kosoff was born in New York City and spent his early years in Brooklyn. His uncle, an avid hobbyist, introduced him to photography when he was 15-years old. While in high school, he began an internship that allowed him to assist several Manhattan-based editorial and advertising photographers. During his subsequent studies at the School of Visual Arts, he continued to work as a photographer’s assistant and was encouraged to bring his portfolio to newspapers and galleries. This resulted in assignments for the Village Voice and the first solo exhibition of his photography at Third Eye Gallery. The exhibition was noted on the “short list” in The New York Times for recommended shows. As a result, Kosoff left school to pursue photographic assignments, the first of which was for New York Magazine.[2]
Commercial career
Starting in the late seventies, Kosoff worked for magazines, corporate clients and advertising agencies. After a 25-year career in commercial work, Kosoff embarked on a very different path that he found more rewarding. In the late nineties he made a trip to Death Valley and Kosoff, enamored by the sand dunes and mountains of California, was intrigued by the peace and serenity they conveyed. He began attempting to capture in images both the landscapes he saw and the mood they invoked. That became his life’s work and, in 2002, Kosoff closed his commercial studio in Manhattan.
Fine art photography
In 2002 Kosoff left his commercial career to devote himself to the production of personal work; he subsequently had exhibitions throughout the United States. In addition to writing articles for magazines and newspapers, he has been interviewed and featured in a variety of publications.[3] Kosoff states, “While photography is inherently a two-dimensional medium, incorporating only height and width, I work to include two other dimensions: depth and time.”[4] A critic for the Dallas Morning News similarly noted that his images are “example[s] of two-dimensional work that operate with magic akin to the three-dimensional shimmer of rolling mercury.”[5]
His skills learnd while producing projects for commercial clients carried over into his work photographing landscapes.[6] He began applying methodical precision to work he found moving on an emotional level. He uses early-morning light and a minimalist sensibility to document his travels in North America and Europe.
Joe Farace, spoke about Kosoff’s work in a 2012 edition of Shutterbug Magazine. He said the following: “With his pristine compositions Kosoff has created an idealized world that sometimes strays into the allegorical, as in his image of three telephone poles titled ‘Three Crosses’ that may generate internal debate within the viewer. And then it hit me: Kosoff is a poet with a camera, rendering stanzas in grayscale using the rhythm of minimalistic images of pier pilings (‘Pier Pilings with Bird’) where you have to work to see the bird. It’s as if Kosoff wants to make his work accessible while at the same time not too accessible, holding back part of an image’s mystery for discovery and interpretation by the viewer.”[7]
In a review in The Dallas Morning News, Patricia Mora stated, “Brian Kosoff’s images in his show at AfterImage Gallery crackle with the voluptuousness of jewelry. He gives us vision after vision of night skies and planetary rotations coupled with sailing vessels, churches, highways and Southwestern landscapes. Because he photographs at night, he calculates directions, angles, exposure times and weather with the precision of a sailor navigating with an astrolabe.” [5] The latter review refers to Kosoff’s most recent work, landscape photography depicting night skies and images that include star trails and the contours of mountains, roads, telephone wire and train tracks.
References
- ^ "Our Five Favorite of Afterimage Gallery's 40 Exceptional Photographs". Dallas Observer, By Catherine Downes, November 4, 2011
- ^ "ISSUE NO. 19". Black & White Magazine. Retrieved 22 February 2016.
- ^ Stavars, Martin (March 2012). "Brian Kosoff". ND Magazine. Retrieved 6 August 2013.
- ^ Carol, David (February 2013). "Lone Pine Peak". Rangefinder Magazine: 138.
- ^ a b Mora, Patricia (May 12, 2013). "Gallery Gourmet, Shows by Roger Winter, Martin Rico and Brian Kosoff". Retrieved 22 July 2013.
- ^ Bell, Ewen (2012). "How to Shoot Black and White Landscapes" (PDF). Digital Photography Magazine: 92–97. Retrieved 6 August 2013.
- ^ Farace, Joe (June 2012). "Celebrating Camera Day": 24. Retrieved 22 July 2013.
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