Memory Traces is an unconventional photo-book in which Cary Markerink (1951) relates to notions about landscape, culture, history and memory. Composed to be a multi-layered experience, a selection of landscape photographs are combined with several texts including excerpts from travelogues, 'written photographs' and a short story situated in the art-world which, among other things, deals with 'The Artification of Photography'.
A second separate booklet consists of the reproduction of a Chernobyl family album of found negatives.
The large format photographs were made in Sarajevo; Hiroshima and Nagasaki; Berlin, Bitterfeld-Wolfen and Ronneburg; Bikini Island and Nam Island; Chernobyl; Khe San and My Lai.

Since the end of the Cold War in 1990 and the expected conclusion of the Uruzgan mission in 2010, almost 90,000 Dutch soldiers have been involved in peacekeeping operations.
As part of their annual photo commission, 'Document Nederland', the Rijksmuseum and NRC Handelsblad newspaper asked photographer Ad van Denderen to give this history a face. Van Denderen followed the recruits during their training in The Netherlands and on their missions in Chad and Uruzgan: hard working, operating with caution; a frequently unglamorous existence. He also turned his lens towards family members. He captured the Christmas and New Year's greetings being recorded in a television studio and visited the homes of families whose sons will never return - the target of insurgents as a result of their occupation.

This photographic record of the Berlin Wall as it was in 1969-1970 is the work of Shinkichi Tajiri(1923-2009). Tajiri, who lived and worked in the Netherlands, was sculptor, photographer, film-maker, multi-media artist and professor at the University of Arts in the then West Berlin. He recorded the 43 kilometers of the Wall in its then "clean" state; before the west-side became covered in political slogans, declarations of love, and graffiti. It is a telling, panoramic, photo-story in sharp black & white contrast; all the photos are devoid of people but the human drama and intensity of the wall is apparent in every photograph.

"In 1969 I drove to West Berlin to see whether I would accept a professorship at the University of Arts. Once in the city center, I began to feel a low throbbing vibration, like a transfomer plugged into the mains supply, but without a machine to relieve the current load. Driving towards the University, i was suddenly stopped by the Berlin Wall at the Brandenburg Gate. Walking along the Wall, it occured to me that the vibration I had felt earlier might be energy that had been trapped within the city for the last 8 years...Like a magnet, 'The Wall' drew me back on each of my by-monthly visits to the University. I decided to photograph it in its entirety, starting at the southeast end and working northwestwards. I photographed to the right, middle and left and then driving a few blocks further to a new position. After several months and 550 photos I figured I had documented most of the inhabited area next to the Wall. For the next 30 years the project was shelved while i concentrated on other work." (Shinkichi Tajiri from the introduction)

Now 20 years after the fall of the wall this exceptional document has finally been released.

The Cold War is over - yet signs of it still exist. For forty years, the Iron Curtain divided the countries of Europe into East & West. The Arms race was unleased, nuclear fallout shelters were constructed, and everyone braced for the worst. Dutch documentary photographer Martin Roemers (b.1962) spent ten years in search of the traces of this period, traveling through the countries of former enemies on both sides of the line. He explored and documented underground tunnels, abandoned system control centers, former barracks, rotting tanks, and destroyed monuments. His photographs, which are presented here with essays by H.J.A.Hofland and Nadine Barth, are a stark and moving document of this era of hostility, deterrence politics, and the arms race - and also serve as an appeal for future peace.

The Border landscapes are emotionally charged landscapes, especially those that were part of the former Iron Curtain. In 2004 Vesselina Nikolaeva was granted permission to photograph the Bulgarian-Turkish border, the first photographer to be allowed to do this since the Communist regime had seized control in Bulgaria. Until 1989 this was the southeastern frontier of the Soviet bloc and it used to be heavily guarded.
This volume presents the striking photos taken by this young Bulgarian/Dutch photographer over a three-year period as well as previously unpublished photos of border guards from the national archives.
Famed Bulgarian author Georgi Gospodinov, himself a former border guard, writes about his experiences on and along the frontier. Frits Gierstberg, head of exhibitions at the Nederlands Fotomuseum, has written an essay about Nikolaeva’s work in relation to the political landscape, while photo historian Rik Suermondt examines Nikolaeva’s earlier work and the effect of her dual nationality on her work.

"What is a photograph worth? A thousand words, as they say in journalism? Or perhaps just 203 words, as Jeroen Kramer discovers one day in Baghdad. Is a picture worth your happiness? Your self-respect? Your name? Your life?
Starkly honest and coldly beautiful, Room 103 is an unblinking study not only of life and death in the strife-torn middle east but also Kramer's inner struggle to come to terms with the human failings, aesthetic limitations and brutal insights of his chosen path.
Born in Amsterdam and now based in Lebanon, Jeroen Kramer has spent the last nine years photographing the middel east. This is his first published collection of work." (Publishers text)

"Early 2008. The Russian business newspaper 'Finans' publishes an overview of the richest Russians. There are 101 billionaires on the list. They become the ironic title of Rob Hornstra's new book. 101 Billionaires reveals the other side of modern Russia, the raw reality that lurks behind the facade of the power elite.
Early 2009. On the day that the first edition of '101 Billionaires' sells out, 'Finans' announces that the number of billionaires has dropped to 49. Not that it makes any difference to the people in this book. In the Russian hinterland, people saw little of this exorbitant wealth anyway." (Publisher's text)

Just like a mystery that slowly unfolds to eventually reveal the truth of the matter, Stavast's project intertwines the reader in a collection of images to reconstruct an absorbing story of Italy, migration, Libero and his family. Coming across an abandoned house in Calabria (Italy) the photographer found a collection of old photographs and letters and started to search for the people in these pictures in order to re-tell the story behind the images. The result of her enterprise is delivered through this absorbing book which brings together the collection of found-photographs taken by various family members, correspondence and recent images by Stavast herself.

In the face of the colossal enterprise of building the Three Gorges Dam on the Yangtze river in China, Dutch photographer Niels Stomps (1973) went to China looking for the human side of this story. Faithful to his concern for the way communities deal with their environment he set out to investigate about how people were managing the effects of this massive construction project.
Around the Three Gorges Dam, a mist has formed that prevents sight from embracing the whole. In Stomp's work this atmospheric phenomenon functions in multiple and varied ways. On the one hand, it is a metaphor for the whole project, on the other, it constitutes an aesthetic means by which we are invited to endlessly wonder about its challenges and drawbacks.
This well designed book has been awarded the Kees Scherer Prize 2009 for the best designed Dutch photobook.

Maurice Scheltens is a young Dutch photographer who has made a name for himself with his 'still-life' photography. In "On Display" he demonstrates the art of staging and reassembling objects into surreal miniature worlds. His style is playful and highly personalised and his work ranges from art pieces to applied projects and editorial commissions.
Rearranged and reedited for this glossy-book, the photographs represent an overview of Scheltens's work of the last 190 years. Alongside commissions from Vitra and Nike, Fantastic Man and Wallpaper, it also includes work fro galleries and museums. An essay by Emily King reflects on Scheltens's multi-layered constructions and cross-references the worlds of fashion, design, architecture, painting, photography and graphics.

Oscar van Alphen (pseudonym for Kees Nieuwenhuizen) started taking photographs in the Second half of the 1950s in what is known as the 'humanist' tradition - reportage photography with a focus on people and the vicissitudes of human existence. Following the success of his book "Kinderen in de grote stad" (Children in the Big City) 1958, in the 1960s van Alphen, who was self-taught, produced several books of photographs and carried out assignments for newspapers and periodicals. He was admitted to the GKf and gradually became more openly politically engaged. In 1982 he was the first Dutch photographer to produce a book on the Palestine problem.
This book is the 14th volume in the Monograph Series on Dutch Photographers.

In 1965 Dirk Buwalda and Bruce McLean met in Room K of St Martin's School of Art in London. They became friends and collaborated on many projects sine then. Buwalda as the photographer and McLean as the multidisciplined artist. Some of the fruits of this long-lasting partnership have become icons of British Art from the 1960s. Much to the surprise of Buwalda who was always reluctant to accept photography on gallery walls; was the photography art or the art photography.
Pieces & Poses is a unique document of friendship between an unorthodox artist and a passionate photographer.
Photographer Dirk Buwalda died, after a long and wasting disease, on February 2, 2009 at the age of 61. His third book 'Pieces & Poses - Dirk Buwalda Photographs Bruce McLean 1965-2008' was published shortly before his death, just in time for him to see it. In 2008 he published his major retrospective "Ver weg om de hoek".

Since she graduated from the Royal Academy of Arnhem in 1997, Viviane Sassen (Amsterdam, 1972) has been combining freelance assignments as a fashion photographer for established and underground publications such as I-D, Purple and RE-Magazine with her own artistic work. In 2002 and with increasing frequency during the years that followed, Viviane travelled back and forth between the Netherlands and Africa bringing back images from Zambia, South and East Africa. Throughout the corpus that constitutes both this independent and commissioned work, a dimension appears as prominently topical: Viviane’s concern for the issue of the representation of Otherness – whether it is in terms of gender, ethnicity or physical ability.
Most of the photographs from the series ‘Flamboya’ are portraits – to the extent that one is actually not always able to visualize the facial features of their subjects. These are most often women and children, though some also feature men. In almost all cases their face or at least part of their body is covered by shadows or withdrawn from our sight, the models actually turning their back to the camera. There lay the visual motifs that hint at Viviane’s implicit arguments: the impossibility to capture the identity of an Other in its full complexity and riches.
In 2007 she was awarded the prestigious Prix de Rome for her photographic work.

"The Hungarian-Dutch photographer Ata Kandó was born in Budapest in 1913. In 1923 she left for Paris with her first husband, the artist Gyula Kandó, with whom she had three children. After the war she joined the Magnum photo agency as an assistant, In 1954 she married the Dutch photographer Ed van der Elsken and moved to Holland with him.
Kandó first made her name with compassionate photographs of refugees fleeing Hungary after the suppressed uprising of 1956 and of aboriginal tribes in Amazonia. At the same time she was taking poetic photos of her own children as well as photographing for a number of fashion houses. Ata Kandó also played a significant role for younger generations of Dutch photographers through her teaching at the Enschede Academy of Visual Arts (AKI) and elsewhere. Among her pupils were later luminaries such as Koen Wessing and Ad van Denderen, the later of whom, together with Leo Erken, made the selection for this monograph. Philosopher, political scientist and NRC journalist Rosan Hollak contributes a fascinating biographical portrait of one of Dutch photographic history's most striking figures." (Publishers text)

Bert Nienhuis fotografeert al sinds de vroege jaren zeventig. Hij maakte protretten en reportages voor onder meer 'Vrij Nederland', waar hij werkte met Ischa Meijer, Bibeb, Gerard van Westerloo, Max van Weezel en Joop van Tijn. Beroemdheden als Andy Warhol, Harry Mulisch en Shere Hite werden door hem gefotografeerd. Nienhuis' unieke, ontwapenende stijl maakt hem tot een van de belangrijkste naoorlogse fotografen van Nederland. Dit boek legt dit in al zijn facetten vast.

A retrospective of the photographic work of Bert Nienhuis, one of the Netherlands most important postwar photographers.

Het Jaarboek van het Nederlandse beroepsvereniging voor fotografen.
The Yearbook of the Dutch Association of Professional Photographers.

Dutch photography is challenging, internationally successful and captivating. However, has this photography been given the historiography it deserves? This book is a unique publication that looks at Dutch photography using different themes, like photography and the city; photography and social engagement before and after 1945; photography and its look on colonial history and other people; photography and landscape as well as the photography book as a collaborative enterprise.
The social and cultural context of advancements and people in photography are explored, while attention is also devoted to underlying links and ties to more recent developments. Included in the book are many attractive photographs from major Dutch collections. This publication will intrigue both Dutch and international connoisseurs and is a rich source for anyone interested in images and image culture.
Dutch Eyes has been presented at the opening of the new Dutch Photo Museum in the Las Palmas building, Rotterdam, in April 2007.

There is also a Dutch language edition.

"Around the world, the notion of 'the Dutch landscape' still evokes an image that is strongly influenced by the painterly tradition of unspoilt and idyllic farmland. However, like many other countries, the Netherlands has altered radically over the last century. Agriculture is being supplanted by suburbs, infrastructure for the sake of mobility, and recreation. The Netherlands currently enjoys international renown for its acuity in planning and radically high-tech methods used to control and mould the landscape and nature: water management, engineering technologies for spraying pancake-like layers of sand to drastically reshape or actually create land and computer-controlled horticulture in greenhouses. Since the 1980s, a number of outstanding landscape photographers and video artists have been taking this artificial character of the Dutch landscape and nature as their creative point of departure. Their works of art capture motorways, railways and the recently created landscape of symmetrical polders, glasshouses, business parks and suburban residential districts. At the same time they are searching for a new aesthetic that is no longer based on that of bucolic Old Master paintings. Several of these photographers and artists are already establishing a reputation in the Netherlands and abroad. Nature as Artifice brings them together for the first time, lending their work greater visibility abroad, positioning it in the context of international developments in contemporary art and photography, and simultaneously contributing to new perceptions of the Dutch landscape." (Publishers text)

Includes work by Hans Aarsman, Jannes Linders, Wout Berger, Henze Boekhout, Edwin Zwakman, Theo Baart, Cary Markerink, Hans van der Meer, Marnix Goossens, Driessens/Verstappen, Hans Werlemann, Gert Jan Kocken, Bas Princen, Gábor Ösz, Gerco de Ruijter, Frank van der Salm, Xavier Ribas and Arnoud Holleman.

"Het oeuvre-overzicht 'Ver weg om de hoek' is een reisverslag door de wereld (en het leven) van Dirk Buwalda, waarbij hij de stelling hanteert dat het menselijk drama in al zijn facetten zich ook bij hem in de straat afspeelt, en niet alleen in Rwanda of Sri Lanka. In het boek gaan wij van Purmerend naar Kazakstan, en via Mali naar Volendam. Het leven van een reportage fotograaf: 's ochtends bij terminale aids patiënten in Amsterdam, 's middags bij zwetende balletmeisjes in Den Haag, en dan op reis naar Namibië op zoek naar zwarte neushoorns. Maar overal is haat en liefde, angst en vreugde, ellende en schoonheid." (Uitgevers tekst).

'Ver weg om de hoek'(Far away around the corner) is Dirk Buwalda's major retrospective. Photographer Dirk Buwalda died, after a long and wasting disease, on February 2, 2009 at the age of 61. His third book 'Pieces & Poses - Dirk Buwalda Photographs Bruce McLean 1965-2008' was published shortly before his death, just in time for him to see it.

This kaleidoscopic book tells the story in pictures, sketches and some words of Resturant, Club and Bar 11; one of Amsterdams most exceptional meeting places during the last 3 years. Created as a temporary, experimental venture, 11 was situated on the 11th floor, what used to be the gym-hall of the old post office near the Central Railroad station. The large space with it's panoramic view of the city quickly became the place to be in Amsterdam; you could eat there, create there and play there. It was used for art installations, cultural programs, and in the weekends it was the hottest dance club in the city, featuring many of the best djs and vjs.
From the beginning it was only a temporary venue as the building, which also housed the temporary location of the Stedelijk Museum, is now being renovated as part of a major new urban development.

Dit caleidoscopische boek vertelt in plaatjes, tekeningen en een beetje tekst het verhaal van Restaurant, Club en Bar 11, gelegen op de bovenste, elfde, verdieping van het oude postkantoor naast het Centraal Station van Amsterdam. De afgelopen drie jaar was hier een uitzonderlijke ontmoetingsplaats op een uitzonderlijke plek gevestigd.
11 was gelegen op de elfde verdieping waar vroeger de gymzaal was, en bood een panoramische blik over de stad. Het werd al snel "the place to be" in Amsterdam om te eten en te drinken, creatievelingen te ontmoeten en te spelen. In de weekends werd Club 11 de mooiste dance club met de beste dj's en vj's.
Ook werd de ruimte gebruikt voor beeldende kunst installaties en culturele programma's.
Vanaf het begin was duidelijk dat dit tijdelijk zou zijn; het oude postkantoor, waarin ook het Stedelijk Museum voorlopig gehuisvest was, wordt grondig gerenoveerd in het kader van de stadsontwikkeling aan de IJ-oevers.

"BAGHDAD CALLING" is an exceptional photography book. Photo-jounalist Geert van Kesteren shows how Iraqi refugees are living in Jordan, Syria and Turkey. Besides the professionally shot images from Van Kesteren, the book reveals everyday life in the Irag of 2006 & 2007 through cellphone images made by the Iraqis themselves. A team round Van Kesteren amassed hundreds of photos from the mobile phones and digital cameras of Iraqi citizens that reveal places where journalists dare not tread for reasons of personal safety.
The combination of professional photos, amateur snapshots and interviews with refugees, giving their first-hand accounts of the horrors that have befallen them, provides a penetrating insight into the situation in which the Iraqi people find themselves.
"Baghdad Calling" is an appeal to those countries of the Western coalition to shoulder their responsibilities and afford the Iraqis some hope of a better future.

There is also a Dutch edition

In 2001 the photographers Carin Verbruggen and Ferry Drenthem Soesman met Marlies Dekkers, the internationally renowned Dutch lingerie designer. This meeting was to lead to a close collaboration, with Verbruggen & Drenthem Soesman being responsible for the art direction and photography of all Dekker's printed campaign imagery. This book is the result of their co-operation.

For more than 15 years the Dutch photographer Koos Breukel has been making photographic portraits of fellow photographers with whom he felt a certain affinity. In this large sized publication which accompanies an exhibition in The Hague Breukel opens the souls of his contemporaries in a series of exceptional portraits.

Yearbook and members index of the Dutch professional photographers association. Alphabetically arranged, each member is represented with one or two pages showing their work and there is an index containing address and contact information.

Paul de Nooijer(Eindhoven 1943) is no run-of-the-mill photographer. The urge to manipulate the visible world, to wrest everyday reality from it s context and present if in a different guise or from a different angle is a leitmotif that runs throughout his entire oeuvre. He has consistently explored the visual potential of the photographic medium in relation to film, theatre, architecture, painting and sculpture. His eclectic approach, absurdist humour and parody of conventional perception anticipated and inspired Dutch staged photography of the 1980s.
This book, the 13th volume in the series on Dutch photographers published at the initiative of the Prins Bernhard Cultuurfonds, offers for the first time a rich overview of Paul de Nooijer's extraordinary photographic oeuvre.

In 2005 en 2006 trokken Rolf Bos en Raymond Rutting (in samenwerking met het ICCO) door het Grotemerengebied in het midden van Afrika. Ze wilden met woord en beeld berichten over de conflicten die in dit gebied speelden en spelen. Ze waren in het oosten van Congo, waar jarenlang de 'Eerste Afrikaanse Wereldoorlog' woedde, waarbij een kleine vier miljoen mensen omkwamen en waarvan de naweeën nog overal zichtbaar waren. Ze reisden in het noorden van Oeganda, waar de kindsoldaten van het Leger van de Heer miljoenen inwoners terroriseerden. Ze vlogen naar Juba aan de Nijl, in het 'nieuwe Soedan' waar de bevolking opkrabbelde na een decennialange burgeroorlog.
Tijdens de laatste reis, in het najaar van 2006, fotografeerde Rutting de Afikanen die ze onderweg in Soedan, Oeganda en Congo ontmoetten, voor een zwarte achterwand; met deze achterwand wilde hij de geportretteerden los maken van hun achtergrond. Zijn modellen gingen allemaal graag, en niet zelden lachend, op de foto.

Portraits of ordinary people from Sudan, Uganda and Congo all photographed against a black background therefore eliminating all reference to where they are and the conditions in which they live. Raymond Rutting, Dutch photo-journalist, complied this collection of portraits in 2006 while traveling through war-torn and refuge plagued Africa.

"Photographer and director Jasper Zwartjes has for years kept hold of all of the polaroids he took during set-ups for commercial and editorial projects, and was quite stunned to discover that in most cases, the initial polaroid was in effect rather unique.
His book 'First Polaroid' comprises a substantial number of these polaroids, none of which have been manipulated or retouched in any shape or form. The informality of the images not only presents a look behind the scenes of the many projects Jasper has been involved in photographing for the past eight years, but is actually more interesting in that it provides a window beyond which the photographer in question comes into view. Anyone who doesn't know him personally would, upon seeing the wide array of subjects, be forgiving for thinking it was all too good to be true... but on the other hand, a polaroid never lies." (Morad Bouchakour)

"Ruud van Empel(1958) is a versatile artist. He has already enjoyed a broad artistic career as a décor and theatre designer, graphic designer, and film-maker. He has worked on various television productions as an art director, and in 1993 received the Charlotte Köhler Award for his television work and other associated activities. From the mid-nineties onward, he devoted all his endeavour to art photography, developing his images in thematic series. Since 2002, he has been working a great deal with nature and, in doing so, he has definitively found his present day characteristic visual language: photographic works with an unbelievable clarity of colour, rich in detail, with intriguing representations, and a fairytale ambience. Children often feature prominently in his images. Ruud van Empel combines forms on the computer and assembles pictures that deceive our perception. His work balances between reality and perfection. They are magical-realistic images, as it were, a cross between narrative painting and staged photography." (Frank van de Schoor)

"Gripped by the 'New Photography', Eva Besnyö(1910-2003) became the reporter of life on the streets: she photographed coalers, dustmen, artists and children not from the waist height, where her 6x6 Rolleiflex hung, but generally from a low camera angle. At other moments she looked down on the shadows on cobbles or dirt tracks from a bird's-eye perspective.
Her fascinating images reveal her exceptional eye for detail and design. In the autumn of 1932 the Budapest-born photographer left Berlin for the Netherlands, where she would live for the rest of her life. Through her mother-in-law Charley Toorop she fell in with a circle of avant-garde artists, painters, architects and cinematographers. Eva found her niche among them, primarily through her photographic style, the New Realism which she had mastered in Berlin. Architectural photography and portraits were an important source of income for her.
In addition to 'highlights' from her oeuvre that Besnyö herself selected for what she called her 'Choice Collection', this book includes a large number of magnificent, unknown, never before published or exhibited works." (Publishers text)

The fifth volume in a series of photo books created by Erik Kessels of KesselsKramer.The book features found photographs of a Dalmatian, a family pet, over the course of many years. In the photographs, the love and fascination with this photogenic dog is documented. The owners photographed their Dalmatian in a wide variety of poses, locations and even experimented with film stock to try to achieve a strong record for their memories.

People in 1940s and '50s America talked of Erwin Blumenfeld (Berlin 1897 – Rome 1969) in the same breath as Cecil Beaton and Man Ray. For a time he was the highest paid photographer in the world, with magazines like Vogue and Harper’s Bazaar queuing up to use his pictures.
Most of the published studies of his life and work virtually ignore Blumenfeld’s lengthy residence in the Netherlands (1918 – 1936). However, this first major exhibition about his ‘Dutch years’ reveals that all the ingredients that were later to make Blumenfeld’s photographs so prized were already clearly apparent in the work he did here. Moreover, the satirical, politically charged sense of humour that Blumenfeld exhibited in his collages and photocollages of the 1920s and ’30s shows that he was never willing to conform to social mores in general and the norms of fine art photography in particular. This is why Blumenfeld is today regarded as one of the greatest innovators in the history of 20th-century photography.

This autumn Huis Marseille in Amsterdam, is presenting an overview of the latest work of Hellen van Meene. Over the past four years she has travelled across the world to make a convincing sequel to her series of portraits of teenagers, which brought her worldwide success. Having at first worked mainly with teenagers whom she already knew from her own surroundings, she found her models for her new work on the streets of Japan, England, Germany, Lithuania and Russia. These portraits were likewise carefully staged, although she worked more quickly and purposefully. This spontaneous manner of photographing has led to new portrait photos in which the interaction between photographer and model is much more charged.

Dutch Dare is being published to accompany the exhibition at the Australian Centre for Photography in Sydney, which will run from 19 October to 2 December 2006, in the context of 'Dutch Dare', the cultural programme marking 400 years of relations between the Netherlands and Australia. The exhibition is an initiative of the Mondriaan Foundation and has been compiled by Frits Gierstberg.
Dutch Dare is an up-to-date overview of 16 photographers and visual artists from the Netherlands; some world-famous, others from younger generations and not (yet) globally renowned. This publication reveals the outspoken and peculiar character of contemporary Dutch photography and video, presenting in the process a fascinating artistic vision of Dutch society.
The photographs that the compiler Frits Gierstberg has selected for the book offer a new perspective on contemporary Dutch society. The book includes work by Gerco de Ruijter, Marnix Goosens, Roy Villevoye, Hans van der Meer, Elspeth Diederix, Gertjan Kocken, Julika Rudelius, Jaap Scheren, Anouk Kruithof, Martine Stig, Viviane Sassen, Marike Schuurman and Useful Photography.

"Long live cosiness in our damp little country. And, oh, how tolerant we are together. Just the word itself: to tolerate something. Looking the other way. That respectability ladled into us with a porridge spoon. No greater compliment for a superstar in the Netherlands than that he has stayed so normal despite his success. Where do we actually get this, that frugal, faint-hearted, fearful behaviour? The fear of the unknown.
Fortunately every once in awhile someone like Paul D. Scott comes along to give us some hope. This book is pleading for us to be silly. But if you study these photos just a little longer, you will discover that all these people in his portraits are not actually being so silly. They are essentially just themselves. And perhaps this is the true character of being different from others: simply being yourself." Johan Kramer (KesselsKramer Co-Founder)

After the success of his photo-book "Hollandse Velden" in which he inventoried amateur soccer playing fields in the Netherlands, Hans van de Meer has now widened his vision to take in European playing fields. From Portugal to Norway, from Ireland to Hungary, in a decor that is miles away from full bleachers and covered-stadiums, his photographs tell the story of amateur football and how large the gap is between dream and reality.

'A Short History of Dutch Video Art', curated by Sabastian Lopez, was organized by the Gate Foundation to celebrate 30 years of video art in the Netherlands. The exhibition, documented by this publication, presented a history which recognizes the fundamental contribution made by artists of diverse cultural backgrounds: Marina Abramovic & Ulay, Babak Afrassiabi, Tiong Ang, Barbara Bloom, Daniel Brun, Miguel-Angel Cárdenas, Ulises Carrión, Yael Davids, Alicia Framis, Henryk Gajewski, David Garcia & Annie Wright, Claudio Goulart & Flavio Pons, Noel Harding, Heiner Holtappels & Klaus Boegel, Nan Hoover, Madelon Hooykaas & Elsa Stansfield, Christian Linaris-Corridou & Robert J. Nottrot, Mariano Maturana, Raul Marroquin, Atsushi Ogata, Dan Oki, Michal Shabtay, Jeffrey Shaw, Debra Solomon, Sandra Sterle, Nasrin Tabatabai, and Lawrence Wiener.

The 30th of April is a very special day in the Netherlands; it is "Koninginnedag" (Queens Day-the Queens Birthday) and the whole nation celebrates a unique holiday. In many of the larger cities such as Amsterdam, the whole city takes on a carnival atmosphere with "free markets" where everyone can go out on to the street to sell just about anything or create frivolous entertainment for their fellow party-goers. The festivities, always clothed in the colour Orange, begin in the very early hours of the morning and go on into the late evening, resulting for the most part in an exceptionally festive mood and an enormous mountain of garbage.
Each year the Queen herself, accompanied by her whole family, pays a personal visit to two cities or towns where she is treated to a unique folk-festival of games and amusements.
This book is a photo-essay containing work by some 68 photographers living in the Netherlands who have gone about capturing the unique character of this national holiday.

This is the catalogue of an exhibition at Huis Marseille, Foundation for Photography in Amsterdam. The exhibition marks the special collaboration between Huis Marseille and the collector Han Nefkens. Han Nefkens has been collecting contemporary art and placing it in the H+F Collection since 1999. One of the basic principles of this collection is that it is a ‘public’ collection. The photographs shown in Whisper Not! were acquired by the H+F Collection in close consultation with Huis Marseille, where they are on permanent loan as a 'promised gift'.
Whisper Not, the exhibition's title which has been taken from a melody of the same name by American saxophonist Benny Golson, is an appeal to allow the whispering image to speak to the imagination.

This well designed small book is a photographic portrait of male prostitution in the Netherlands.
In the words of the author/photographer Rob Philip: "I started making self-portraits of myself as a hooker and try to imagine a world where prostitution was a real good job and not the degraded activity i thought it was. Soon i realized that the only way to do this proper was to photograph real prostitutes and the world they live in. After numerous preparations, a grant from the Anne Cornelis Foundation made it possible that i submerged myself for two years in the world of callboys and gay brothels. The choice to photograph the organized gay prostitution was a conscious one, since i was not interested in confirming all the preconceptions that already existed, but to show a new representation of the phenomenon."

The 14th edition of the Dutch Photography Awards; chosen by an international jury made-up of professionals, experts and connoisseurs out of a total of 829 photos by 159 photographers and divided into Land & Cityscapes, Documentary & Life, Fashion & Beauty, Still-life, People & Portraits and Student work.

The Dutch photographer and culinary journalist Philip Mechanicus (1936-2005) was principally known for his portraits of writers, but also for his still-lives and photographs of the city where he had been born, Amsterdam.
Mechanicus, originally a graphic designer, established himself as an independent photographer in 1959. He began with his portraits of writers toward the end of the 1970s, for the cultural supplement of the NRC Handelsblad, with the thought that it was better to photograph people who were famous than unknowns. Already in 1981 this work was to be seen in a presentation in the Stedelijk Museum, Amsterdam which also collected the photographer’s work.
This publication containing more than 200 photos and accompanying texts celebrates 50 years in the photographers life and brings together his 'last selection' which he personally made shortly before his death.

In this book, published on the occasion of a retrospective exhibition in the Hague Museum of Photography, the photographer Helena van der Kraan's oeuvre, spanning more than thirty-five years, is subdivided into three successive groups: early black & white photographs from the 1970s through the mid 1980s, then portraits from all periods, and finally colour photography which she began in the course of the 1990s. Born in Czechoslovakia in 1940 as Helena Jirina Maazel she emigrated to the Netherlands in the 1960s.
What immediately strikes one is that van der Kraan prefers to stay close to home; her work expresses no yearning for the distant and unknown, but rather for the familiar that through its visual obviousness would often seem to have nothing more to offer to the photographer. She has worked continually against all the prevailing fashions, and certainly against that of charming, trendy manipulated photography.

Rineke Dijkstra, who was born in Sittard in the Netherlands in 1959, studied at the Rietveld Academy in Amsterdam, and after doing some commissioned work for magazines, soon found international recognition for her penetrating coloured portrait series of teenagers and young adults. She has taken photographs - sometimes over longer periods of time - of boys and girls of different nationalities on the beach, the development of an adolescent Bosnian girl refugee at intervals of two years, young mothers shortly after giving birth, young Israelis before and after their recruitment into the army, young bullfighters after the fight; these are all categories in Dijkstra's "classical" portraits, registering the changes brought about in the faces and bodily attitudes of her subjects by an important experience or a crucial event in their lives.
Rineke Dijkstra has received the Kodak Award Nederland in 1987 and was nominated for the Young European Photographers in 1990; she received the Werner Mantz Award in 1994 and the Citybank Private Bank Photography Prize in 1999. Her work is already considered to be at the top of the current photography world. This monograph is published to coincide with the retrospective exhibition being held in Paris, Winterthur and Amsterdam in 2005-2006.

Pubescent girlhood has been the central subject of Hellen van Meene's work; the depiction and dramatization of the moment that girls change, physically and emotionally, into women. Her models are often caught in languorous poses, sometimes stripped to their underwear, sometimes viewed in states of worrying discomfort, with their flesh squeezed or bruised or otherwise put under pressure.
"The photographs are not meant to be portraits, which is why they have no titles. It is not my intention to give expression to their personality or state of mind. Nor do i want to sketch a sociological image of contemporary youth or girls at the moment of puberty...As a matter of fact, i treat my models as objects that you can direct and guide. They are simply material for me." Hellen van Meene.

This photographic ode to a legendary rock band is accompanied with texts by Bono, Helena Christensen, Bill Clinton, William Gibson, Paul Morley, Salman Rushdie, Michael Stipe and Wim Wenders.
"Anton Corbijn more or less "invented" U2's image as a band, and even today he continues to play a strong part in defining it. Behind the scenes, with camera in hand, he has followed the band's constantly growing fame and success, preserving for posterity the key moments in their career in the form of his characteristically Corbijn photographs.
Now Anton Corbijn is dedicating this major photo-book to his collaboration with the band, choosing for it the telling title 'U2 & i'. A total of 379 colour & duotone plates provide quite an extraordinary and intimate chronicle of the band's path from local unknowns to legendary superstars and the photographer's own development as an artist." (From the cover text)

"No photographer has ever shown greater zeal in putting together his portfolio for Stern than Anton Corbijn. He choose all the pictures himself and spent weeks brooding over the arrangement and sequence of the photos. And that wasn't all. Whereas Corbijn's famous colleagues customarily inform us of their interest and wishes from some distant location, he took the next best flight to Hamburg and spent a whole day locked away with our layout specialist. Corbijn was an impressive guest. He knew exactly what he wanted but was also open to any new ideas- a really nice guy to have around, who even wrote the captions to his pictures. We wouldn't mind if all great photographers were like Anton Corbijn." Tom Jacobi, art director of Stern Portfolios.

"The Dutch artist and photographer Joke Robaard(b.1953), originally trained in fashion, investigates the configuration of groups of people, for example in networks of friends, colleagues, companies and neighbours. She 'directs' individuals in certain positions and patterns in relation to one another, which are then photographed, and uses clothing to illustrate where the connections lie and how they are constantly shifting.
Her work is based on a huge collection of images and texts relating to people's clothing behaviour patterns. Robaard does not categorise them as 'fashion', but wants to find out how clothing works. Her archive can be seen as a cartographic record of everyday clothing. Robaard moves simultaneously through the various zones of visual art, photography, video and fashion.
This book contains an essay by Jorinda Seijdel and quotations from various writers, including Gilles Deleuze, Roland Barthes and Robert Bresson, as well as excerpts from texts by the artist herself, outlines of projects, instructions for models and newspaper clippings." (From the cover text.)

The career of Bernard F.Eilers crossed many areas of photography. Besides the traditional genres of the cityscape, portrait and still life he practised architectural photography, art reproduction and advertising. As an art photographer he was highly acclaimed at home and abroad, having the most success with his atmospheric views of Amsterdam in the vein of the painters Breitner and Witsen. His personal work is painterly and looks more nineteenth century than contemporary. His photographs paint a nostalgic picture of the Netherlands as it no longer existed. The zenith of his architectural photography coincided with that of the Amsterdam School and the publication of the magazine Wendingen. Eilers regarded a sense of tone tantamount to capturing the size and scale of a building in its correct proportions, along with what he described as his sixth sense: his 'feeling in space'.
This study covers all aspects of Eilers' versatile and extensive oeuvre and is the 12th volume in the excellent series 'Monographs on Dutch Photographers'.

"With this book and the exhibition of the same name in the Groninger Museum, the Dutch photographer Erwin Olaf has reached a milestone in his 25 year career. Olaf has a passionate love affair with life, and enjoys to the full everything it has to offer. His oeuvre is a manifestation of this passion and of his genuine engagement with his subjects. Olaf's pictures are filled with humour, imagination and exuberance, but they go much further than simple visual intrique. His works deal with freedom, beauty, loneliness, and being different. He convinces his public in a shameless and versatile manner, questioning established norms." Kees van Twist (Director Groningen Museum).

Paul Kooiker (1964, Rotterdam)lives and works in Amsterdam. He studied at the Koninklijke Academie in The Hague and the Rijksacademie van Beeldende Kunsten in Amsterdam. In 1966 he received the first prize in the Prix de Rome for Photography. Since 1996 he has had numerous solo and group exhibitions both in the Netherlands and abroad.

Although his book "Vrouwen van Parijs" (1954) graces the bookcases of many photography lover the world over, the work of Nico Jesse has unjustly fallen into oblivion. With his 35 mm camera and frequent use of flash he produced surprisingly distinctive and unconstrained images in the 1950s, containing movement blur as an important feature. Many of his contemporaries underrated the significance of Nico Jesse as a photographer of importance. This book aims to rectify that, not only by devoting ample attention to the individual photographic higlights of his oeuvre, but also to his activities as one of the most successful Dutch authors of books on photography.
This is the 11th publication in the series 'Monographs on Dutch Photographers'

mm2 presents an overall picture of experimental film in the Netherlands since 1960. Each and every film mentioned is an expression of an inquiring mentality that, for each film convention, poses the question whether or not it can be done differently. The book contains a historical review, sixteen extensive interviews with authoritative experimental filmmakers and more than a hundred filmographies.
The enclosed DVD, 'Cadavre Exquis', made by Anna Abrahams, documents the work and the working methods of five experimenal film makers, thus providing an image of the diversity within contemporary experimental filming.

From one of the most beautiful private photography collections in the world, the Manfred Heiting Collection, the Rijksmuseum in Amsterdam has selected photographs focused on two themes: portraits and the still life and how photographers of the 19th and the 20th century gave substance to these themes. The catalogue of the exhibition shows 100 hundred of these photographs and in essays and descriptions shows how the photographers worked, who were the people who commissioned them, and what is the story behind some of the most famous classic photographs of all time.

First major monograph of one of the Netherlands most prominent women photographers of the 20th century. Emmy Andriesse (1914-1953) trained at the Royal Academy of Art in The Hague under the pioneers of the "New Photography", Gerrit Kiljan and Paul Schuitema. The work she shot in Amsterdam and in Arnhem during and shortly after the Second World War now form part of the Dutch collective memory. They owe their fame not only to their documentary value but to Andriesse's speical talent for fusing social commitment with a feeling for the poetic powers of the medium. Her fashion, reportage, portrait and landscape photographs were published in numerous newspapers and magazines. She produced a magnificent series of artist's portraits for Willem Sandberg, the Director of the Stedelijk Museum, and shortly before her death she completed a photographic tribute to Vincent van Gogh.

Corbijn is one of the most important and influential portrait photographers in the international music scene and show-business today. This catalogue has been published to coincide with a retrospective exhibition of Corbijns work during the last 20 years which will be held in the Groninger Museum from the 8th of April 2000.

The Dutch cineast and photographer Johan van der Keuken, (1938-2000), is highly respected in the Netherlands and in France. Since in 1998, by 'Cahiers du Cin

Dutch photographer Sem Presser (1917-1986) literally took the whole world as a photo-studio. In an era when travel was still an adventure, he journeyed around the world doing photo reportages which then appeared in many newspapers and magazines both in the Netherlands and other countries, bringing the world into people's homes in the pre-television period. His reportages were datelined from the South Pole, New Guinea, Australia, India, Africa, Surinam and the United States, but he also was active closer to home in the Netherlands, and many European countries. With subtle humour and a sharp eye for sometimes absurd details he recorded his fellow men, creating his own "family of man."

The photographs of Koen Wessing (b.1942) conjure up stories. His images tell tales about Ireland, Chile, Guinea-Bissau, Nicaragua, El Salvador, China, Berlin, & Amsterdam. Wessing is always moving on, ever seeking places of conflict which he does not fully understand, his experienced eye scouting for situations full of tension for him to visualise. He is not a voyeur, not someone who stops off for a few fleeting news shots, but a person with eyes that notice and a heart that responds. He records without speaking and can be resolute and uncompromising if necessary.