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Rineke Dijkstra
Artist Rineke Dijkstra has appropriated the formal qualities of the studio portrait from the early part of this century--taking the convention of the full length, frontal and centrally composed portrait to its logical limits, she is able to penetrate to the core of her subjects. Each photograph is marked with a precise date and location, suggesting a conscious evocation of the work of the early 20th century photographer August Sander and his project to document the ''Citizens of the Twentieth Century.'' Dijkstra's photographs stand by themselves, bearing no reference to personal circumstances or the specific geographical details of the location--the power of her images lies in an intimate psychological connection between artist, sitter, and viewer. For Dijkstra's best known series of photographs--an extensive series of beach portraits of teenagers and children taken on beaches all over the world between 1992 and 1996--the artist sought out a certain introversion or unease in her subjects, capturing with rare perfection the human condition of feeling not-at-home in the world. This brilliant new monograph documents Dijkstra's recent photographic and video work.
The Louisiana Book
Rineke Dijkstra (b. 1959) is one of the most prominent and internationally acclaimed artists working within the genre of photography and video portraiture. Her large-scale photographs show a rare sense of humanity, empathy and intimacy without any trace of sentimentality or indiscretion. Dijkstra typically captures her subjects at moments of transition or vulnerability, thus focusing on the thematics of identity. Though absolutely modern, even timeless, her portraiture brings to mind the great masters of the Golden Age of Dutch art. 'I try to capture something of the personality of these people,' Rineke Dijkstra explains, 'but at the same time extract something universal relating to humanity in general. There has to be enough space to make your own stories; to interpret a picture the way you want.'
Rineke Dijkstra
This volume is the first comprehensive monograph on Rineke Dijkstra to be published in the United States, accompanying the first U.S. mid-career survey of this important Dutch artists work in photography and video. The catalogue features the Beach Portraits and other early works such as the photographs of new mothers and bullfighters, together with selections from Dijkstras later work, including her most recent video installations. Also featured are series that the artist has been working on continuously for years, such as Almerisa (1994), which documents a young immigrant girl as she grows up and adapts to her new environment. Exhibition curators Jennifer Blessing, Senior Curator, Photography, Solomon R. Guggenheim Museum, and Sandra S. Phillips, Senior Curator of Photography, San Francisco Museum of Modern Art, contribute essays accompanied by an interview with the artist by Jan van Adrichem, selected interviews with several of the artists subjects, and entries on the artists series by Chelsea Spengemann, as well as the most comprehensive exhibition history and bibliography to date.
Rineke Dijkstra
Tall, skinny, short, round, squat, awkward, slouched, tanned, bashful, and sometimes unknowingly beautiful, the adolescents in Rineke Dijkstra's "Beach Portraits" stand alone, the ocean rolling behind them. Clad in little more than bathing suits, these young people are striking to behold. Remarkably clear and formally classical, each subject is frontally posed and shot straight on; the resulting photographs participate in a cold, quasi-scientific categorization reminiscent of the work of August Sander and Thomas Ruff. Yet Dijkstra's pictures are not just that--there is also something of the eccentric in them, something that comes closer to Diane Arbus's images. Seen together, the complete series of 20 "Beach Portraits" creates a kind of collective portrait of the existential insecurity and awkward beauty of youth.
Rineke Dijkstra
Rineke Dijkstra is renowned for her uncanny and thoughtful portraits series of teenagers and young adults: girls and boys of various nationalities at the beach, children of Bosnian refugees, Spanish bullfighters straight out of the arena, Israeli youngsters before and after military service, and here, documented for the first time, her series of photographs taken of aspiring, young ballet dancers. Her subjects are shown standing, facing the camera, against a minimal background. Formally, the images resemble classical portraiture with their frontally posed figures isolated against minimal backgrounds. Yet, in spite of the uniformity in the photographer's works, there is a marked individuality in each of her subjects. Dijkstra often deals with the development of personality as one moves from adolescence to adulthood, or through a life-changing or potentially threatening experience such as childbirth, or a bullfight. Portraits includes the photographer's new Ballet School series.
Rineke Dijkstra
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Krazy House
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The Wretched Skin
Fotoboek met zwart-witte opnamen, veelal van mensen en/of foto's rond het thema huid.
Look. Ed!
Published in conjunction with an exhibition showing a range of works by Dutch photographer and filmmaker Ed van der Elsken - images selected by fellow artists Marlene Dumas, Rineke Dijkstra and Marijke van Warmerdam - 'Look. Ed!' is about observing and making choices. Van der Elsken's photographs are intriguing in that they both document and voice emotion, simultaneously detached and empathising. The chosen images present not only the variety inherent in his work, but also his unique ability to portray the darker side of humanity and circumstances. Besides commentary from the selectors, the book includes additional texts by Annet Gelink and Jhim Lamoree. 0Exhibition: Annet Gelink Gallery, Amsterdam, the Netherlands (8.9.-13.10.2012).
Francesca Woodman
On Being an Angel takes its title from a caption the artist inscribed on two of her photographs--self-portraits with her head thrust back and her chest thrust forward. Typical of Woodman's work in the way they cast the female body as simultaneously physical and immaterial, these photographs and the evocative title they share are apt choices to encapsulate the work of an artist whose legacy has been unavoidably colored by her tragic personal biography and her death, at age 22, by suicide. In less than a decade, Woodman produced a fascinating body of work--in black and white and in color--exploring gender, representation, sexuality and the body through the photographing of her own body and tho...
