Geoffrey Koslov on Curating Excellence
Geoffrey Koslov co-founded Koslov Larsen, an AiPAD member fine art gallery located in the museum district of Houston, Texas, for contemporary photography-based art. He had served for many years on the Photography Acquisitions Subcommittee for the Museum of Fine Arts, Houston (MFAH), and the Board of Directors for the Houston Center for Photography (HCP). He was formerly a member of HCP’s Exhibitions Committee, a former co-chair of its Print Auction and previously served as co-chair of the Art Circle at Holocaust Museum Houston.
Geoffrey has been involved across the US in reviewing the work of artists in various venues and in consultations with collectors. He has participated with Fotofest, the Center for Fine Art Photography (CFAP), The Rencontres d’Arles (France), the Colorado PhotographicArts Center (CPAC), The Medium Festival of Photography, PhotoLucida, Critical Mass, PhotoVisa (Russia), ASmith Gallery, and others.Geoffrey has more than 46 years of business experience which he brings to the arts. With this experience, he helps photographers with project development, talking and writing about their work, as well as consulting and advising artists on strategy and approaches to the art market. He works with collectors, art advisors as well as educators speaking and searching for the best of contemporary photography-based art.
HM: Geoffrey please tell us about your involvement in photography and what initially sparked your passion for it?
GK: I had a unique upbringing that greatly influenced my love for photography. My father collected cameras from around the world, amassing a large collection. This exposure allowed me to experiment with various styles and formats from a young age. Back then, it was all film, and I enjoyed working in the darkroom we had in our basement. Like many, I did high school yearbook photography and almost always had a camera with me, no matter where I went. Though photography isn’t my primary career, I’ve always been deeply involved in it. In Houston, I’ve been very active in the arts community, previously serving on the Museum of Fine Arts' subcommittee for photography acquisitions for many years, the Board of the Houston Center for Photography, and participating in reviews like FotoFest and PhotoLucida. My interactions with photographers over the years and my passion for how artists capture and create images led me to open a gallery after retiring from my previous career.
Blandine Soulage, Déviation n°22, 2019, archival pigment print
HM: How did you transition from being a partner in a large international public accounting firm to running a gallery?
GK: After spending 36 years as a partner in a public accounting firm, I always knew I wanted to continue my involvement in the arts upon retirement. The gallery format seemed like a natural way to work with photographers and help them get their work out there. My partner in our gallery, Bryn Larsen, and I shared a passion for contemporary photography-based art, focusing on living artists who are pushing the boundaries of photography as an art form. Running a gallery is a business that involves many aspects of my background, such as inventory management and tax matters. What keeps us going is our love for discovering new works and the constant journey of exploration in the art world.
Claire Rosen, The Elephant Feast, 2013, archival pigment print
HM: What advice do you have for photographers planning to approach a gallery for a potential exhibition?
GK: First, photographers should understand that each gallery has its own aesthetic and focus. It's crucial to research and appreciate the gallery’s vision before approaching them. Photographers need to have a strong elevator pitch—a concise explanation of their work and its relevance. Impressions are made quickly, so presentation matters. Beautifully printed and well-presented work in a thoughtfully chosen portfolio case can make a significant difference. When approaching a gallery, a warm introduction through a mutual acquaintance or a review event is often more effective than a cold approach. Timing is also important; for instance, avoid presenting your work during an art fair. Instead, try to set up an appointment.
Claire Rosen, The Lar Gibbon Feast, 2013, archival pigment print
HM: How do you advise photographers to choose and edit pictures to make a strong impression on gallery directors?
GK: The presentation of the work is critical. The portfolio should be curated thoughtfully, with each image being a strong piece. The prints should be high-quality, and the overall presentation should convey that the photographer values their work. For unique works, careful handling and presentation are essential. When dealing with editions, photographers should be prepared to discuss the relevance and uniqueness of their work. I encourage photographers to think about their art in three dimensions: the image capture, the printing process, and the presentation as an art object.
1. Image Capture: This refers to how the image is created. Photography, originally defined as "drawing or painting with light," involves various mediums like film, digital, chemical, cameraless techniques, cyanotypes, or platinum-palladium prints.
2. Image Realization: This is about the printing process—whether it's a silver gelatin print, cyanotype, platinum-palladium, or another method. The quality and technique used in printing significantly impact the final piece.
3. Image Presentation: This considers how the image is displayed as an art object. It's essential to think beyond the 2D print and consider the dimensionality and materiality of the work.
This holistic approach helps communicate the depth and thought behind their work. Additionally, the ongoing dialogue about whether photography is art and the role of editions should be part of their consideration, as it often influences collectors' perceptions.
Claire Rosen, The Shetland Pony Feast, 2013, archival pigment print
HM: You mentioned the evolving landscape of photography. Can you elaborate on the current trends and how they impact photographers and galleries?
GK: The history of photography has traditionally been Anglo-Western centric, but this is changing. There's now greater recognition of diverse voices, including people of color, LGBTQ+ individuals, and artists from various global regions. This shift is reshaping the narrative and expanding the appreciation of photography as an art form. We're in a golden moment for photography, with increased visibility and opportunities for a broader range of artists. This evolution impacts how galleries curate their collections and the types of stories they choose to tell through photography.
Daisy Patton, Untitled (Blue Bride with Gold Veil and Green Flowers), 2020. Oil on archival print on panel. Photo sourced from Cairo, Egypt
Daisy Patton, Untitled (Seated Woman with Purple Clouds and Blue Vine with White Flowers), 2021. Oil on archival print on panel. Photo from Nigeria sourced in the United Kingdom
HM: If your work is unique and extends beyond traditional two-dimensional prints, how do you advise artists to present their work effectively, especially when dealing with three-dimensional or constructed pieces?
GK: When dealing with non-traditional, three-dimensional, or constructed pieces, creativity in presentation becomes crucial. Artists must think outside the box to convey their work's essence, even if it cannot be easily transported. This challenge requires innovative solutions tailored to each unique piece.
The dialogue around whether photography is art, particularly with editioned and replicated pieces, is ongoing. Collectors often value uniqueness, which complicates the perception of photography as art. To paraphrase something I read in The New York Times Magazine from a collector: "Art is something beautiful that can't be seen in anyone else's house." This highlights the desire for unique, irreplaceable works and brings forward the importance of appreciating the process through which the photograph is created and how special and unique that makes each work.
Installation View of Koslov Larsen's Booth at AIPAD's The Photography Show 2024, featuring the work of Claire Rosen, Pelle Cass, Robert Langham III, David Reinfeld, and JP Terlizzi
HM: Why do you think it's a great time to be an artist using photography?
GK: It's a fantastic time to be an artist using photography because the medium's potential is expanding rapidly. Photography is being integrated into art in innovative ways, far beyond traditional uses. Historical shifts in the 1960s opened up new artistic possibilities, and today, artists are taking this even further by using photography as a tool within broader art contexts. More collectors are appreciating photography, and the types of collectors have broadened. People are now more open to having photography as art on their walls, recognizing its beauty and artistic value. This shift aligns with our gallery's mission to showcase contemporary photography-based art, pushing the boundaries of the medium and presenting it in new, exciting ways.
JP Terlizzi, A Parade of Peonies, 2022, archival pigment print
JP Terlizzi, Whichever Way You Slice It, 2020, archival pigment print
HM: How has your background helped in managing a photography gallery, and what advice do you have for artists regarding the business side of art?
GK: My background in business and finance has been invaluable in managing a gallery. It's crucial for artists to be organized, track their work, manage editions, and maintain clear records. This is especially important when working with multiple galleries. Artists should also consider strategic relationships for framing, printing, and other production aspects. Communication is key—both with the gallery and among artists. We encourage open dialogue and collaboration, which helps build a supportive community. Written agreements are essential. They clarify expectations, responsibilities, and terms of collaboration, helping avoid misunderstandings. They serve as communication tools, ensuring both parties understand and respect their roles.
Karen Navarro, Subject #5, 2019, archival inkjet print, laser-cut and embossed on gesso panel
Karen Navarro, Untitled (perspective), 2021, archival inkjet print, wood, and acrylic
HM: What are some common financial pitfalls artists should avoid?
GK: One major pitfall is not respecting the gallery relationship. Artists should communicate openly with their galleries about their intentions and opportunities. If you have an agreement, honor it. If you want to work with another gallery to expand your market presence, discuss it with your current gallery to find a supportive arrangement. Another pitfall is failing to innovate. Artists should continually grow, experiment, and challenge themselves, even if they have found success with a particular style. Stagnation can be detrimental. Finally, transparency and integrity are crucial. Artists must differentiate their commercial work from their art to maintain the integrity of their artistic practice.
Kelda Van Patten, The table laid before a party, the unperceived and therefore never felt and seldom expressed, 2021, archival pigment print
HM: How do you choose photographers for your gallery, and what qualities do you look for in their work?
GK: It's all about the work and how it aligns with our gallery's aesthetic and mission. We look for artists who push the boundaries of photography, using it in innovative ways of excelling in traditional techniques. Equally important is the ability to work well with the gallery. We seek artists with whom we can build a collaborative, communicative, and respectful relationship. The personal and professional compatibility between the gallery and the artist is vital for a successful partnership.
Margeaux Walter, Backstage, 2022, digital c print mounted to Dibond
HM: When choosing photographers for your gallery, you mentioned that the ability to work well together is as important as the work itself. Can you elaborate on that?
GK: Absolutely. When we meet artists, it's crucial to feel that we can establish a productive and positive working relationship. It's not just about the quality of their work but also about how we connect and communicate.
Pelle Cass, BU Terrier Invitational, Day One, archival pigment print
HM: You've mentioned current trends in the gallery world. What types of photography are gaining in popularity?
GK: That's an interesting question. It's hard to pinpoint specific trends because photography is such a broad field with many genres, each having its own art branches. Art movements and trends are often easier to identify in hindsight. What's always in demand are works that are expressive, relevant, and speak to a wide audience.
HM: Could you talk about the diversity and the inclusion of marginalized communities in contemporary photography?
GK: Certainly. There has been a significant shift in recent years towards recognizing and showcasing work from marginalized communities and regions around the world. This includes artists from Africa, South America, Asia, and other regions who previously had less visibility. This diversity enriches the art world and brings new perspectives that are increasingly being embraced by galleries and collectors alike.
HM: How do you balance showcasing established artists with promoting emerging talent?
GK: It's a delicate balance. We are always excited to discover and promote emerging artists, and we've had success in helping new talents gain recognition. At the same time, representing established artists brings credibility and attracts a wider audience to the gallery. It's not a science but a mix of intuition, taste, and market response. We believe in giving all our artists equal opportunities to be seen and appreciated.
Robert Calafiore, Male Figurative Study 1, 2008-2011, pinhole camera C-prints
HM: What makes certain artists stand out, and what can other artists learn from them?
GK: Artists stand out when their work is seen and accepted, gaining recognition through exhibitions, museum collections, and critical acclaim. It's important for artists to be proactive in promoting their work, using social media effectively, and seeking out opportunities for grants and residencies. They should also strive to present their work professionally and maintain clear communication with galleries and collectors.
Robert Langham III, Catalpa Leaf Arm, 2021, cyanotype
Robert Langham III, Triple Magnolia, 2019, silver gelatin print
HM: Do you have any additional insights or advice for photographers looking to succeed in the art world?
GK: Know the key players in your area of photography—curators, gallery owners, and collectors. Networking and building relationships are crucial. Finding a mentor can also be incredibly beneficial, providing guidance and support as you navigate your career. Always be open to learning and evolving, and never stop challenging yourself creatively.
HM: What upcoming projects or exhibitions are you excited about at Koslov Larsen Gallery?
GK: We have several exciting projects in the works. We will be showcasing a group of young French photographers we met in Arles last year, which we're very excited about. Additionally, we encourage our young staff members to curate shows, bringing fresh perspectives and emerging talent to our gallery. It's important for us to continually expand our horizons and stay open to new and diverse voices in the art world.
Yelena Strokin, Off White 10, 2018, archival pigment print
HM: It's great to hear about your efforts to support and mentor young talent. Thank you for sharing your insights and experiences.
GK: Thank you for the opportunity to discuss our work and the evolving landscape of photography. It's always a pleasure to share our passion for art.