Published by Koenig Books. Edited by Michael Juul Holm. Text by Poul Erik Tøjner, Thomas Weski, Hans den Hartog Jager.
Rineke Dijkstra is a master of capturing the individual in transition. Best known for her photographs of preadolescent bathers on the beach, she has also produced iconic images of mothers shortly after giving birth, teen soldiers in Israel, bullfighters bloodied after the fight. Dijkstra rigorously maintains a classical format, isolating her figures against stark backgrounds and posing them frontally or in three-quarters view. Within this strict format, the individuality of each sitter makes itself seen in their body’s particularities—the unique way their back slouches, their mouth sets, their hair falls across their eyes. Dijkstra uses a 4x5 field camera—a slow, laborious piece of equipment that creates, in the artist’s words, “a space where things can happen. The people I shoot really have to open themselves up to me. And I have to open up, too. It’s an interaction.”
Rineke Dijkstra: The Louisiana Book offers a retrospective survey of the life and work of the photographer. Scholars introduce her complete oeuvre chronologically in easy-to-read essays, providing information about her working methods and discussing her artistic development. Dijkstra’s best-known bodies of work are represented, including her long-term series of Beach Portraits (1992–2012), in a comprehensive section of color plates.
Dutch photographer Rineke Dijkstra (born 1959) is known for her stark portraits. She first attracted international attention in the late 1980s for her photographs of club-goers in the Netherlands, but found her breakthrough subject matter in 1992 when she was commissioned by a Dutch newspaper to take photographs exploring the idea of “summertime”—leading her to the renowned Beach Portraits series.
Published by Walther König, Köln. Edited with text by Louise Wolthers, Dragana Vujancovic Östlind. Text by Jennifer Blessing, Rudi Fuchs, Hans den Hartog Jager.
This large-format volume, designed by Irma Boom in close collaboration with Rineke Dijkstra (born 1959), focuses on the female figure in the photographer's work—women and girls who have stopped somewhere (in a park, a beach, at a party), whom she captures in such a way that they appear present to an astonishing degree. Spanning three decades of work, the book unites images from her classic series, including both photo- and video portraits, and extracts them from chronological order to suggest fresh ways of looking at her work. The book is published for Dijkstra's 2017 Hasselblad Award, for which occasion the Hasselblad Foundation described her images as "recalling the visual acuity of 17th-century Dutch portraiture." Essays discuss Dijkstra's gift for communicating an empathy with her subjects, and the logic of her image layouts in book form. Limited quantity available
Published by Guggenheim Museum Publications. Text by Jennifer Blessing, Sandra S. Phillips. Interview by Jan van Adrichem.
This volume is the first comprehensive monograph on Rineke Dijkstra to be published in the United States. The catalogue accompanies the first U.S. mid-career survey of this important Dutch artist’s work in photography and video; it features the Beach Portraits and other early works such as the photographs of new mothers and bullfighters, together with selections from Dijkstra’s later work including her most recent video installations. Also included are series that she has been working on continuously for years, such as Almerisa (1994–present), which documents a young immigrant girl as she grows up and adapts to her new environment. The catalogue features essays by exhibition curators Jennifer Blessing (Senior Curator of Photography at the Guggenheim) and Sandra S. Phillips (Senior Curator of Photography at the San Francisco Museum of Modern Art); an interview with the artist by Jan van Adrichem; interviews with the artist’s subjects by Sophie Derkzer; short texts on the artist’s series by Chelsea Spengemann; and the most comprehensive exhibition history and bibliography to date. Rineke Dijkstra came to prominence in the 1990s with her celebrated Beach Portraits, large-scale color photographs of children on the verge of adolescence posed on beaches around the world, from South Carolina to the Ukraine. From that point on, her sensitive and visually riveting portraits have documented individuals caught in transitional states, sometimes due to physical exertion, for example after giving birth or dancing, or charted over time through series. Along with other Western European photographers such as Thomas Struth and Thomas Ruff, Dijkstra has been a leading innovator in the production of large-scale color images, which came to define contemporary photography in the 1990s and have transformed it ever since.
Published by D.A.P./Schirmer/Mosel. Essays by Urs Stahel and Hripsimé Visser.
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.
Published by LaSalle Bank, N.A.. Photographs by Rineke Dijkstra. Text by James Rondeau, Carol Ehlers, Thomas Heagy.
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.
PUBLISHER LaSalle Bank, N.A.
BOOK FORMAT Clothbound, 10.25 x 13.25 in. / 72 pgs / 20 color / illustrated throughout
PUBLISHING STATUS Pub Date 2/2/2003 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2003
PRODUCT DETAILS ISBN 9780970245229TRADE List Price: $40.00 CDN $50.00
Published by Hatje Cantz. Essay by Jessica Morgan, Katy Siegel. Foreword by Jill Medvedow.
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.