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Dutch photo books are celebrated worldwide for the particularly close collaboration between the photographer, the printer, and the designer. The current boom in photo book publishing in the Netherlands stems from a tradition of excellence dating back to World War II, but the postwar years ushered in a period of particularly close collaboration between photographers and designers, producing unique photography books such as “Love on the Left Bank ” (1956) by Ed van der Elsken and “Chili, September 1973” (1973) by Koen Wessing. Innovations such as the photo novel and the corporate photo book emerged in the 1950s and 1960s; later, other genres emerged to characterize the Dutch publishing landscape, including conceptual and documentary photobooks, books on youth culture, photobooks on urbanism, photobooks on landscapes, and travel journals. By examining each of these genres through six thematic chapters, “The Dutch Photobook” presents selections from over 100 historical, contemporary, and self-published photobook projects. It includes landmark publications such as “Hollandse taferelen” by Hans Aarsman (1989), “The Table of Power” by Jacqueline Hassink (1996), “Why Mister Why” by Geert van Kesteren (2006), and “Empty Bottles” by Wassink Lundgren (2007). Dutch photography historians Frits Gierstberg and Rik Suermondt have written several essays on the history of the genre, on the collaborative efforts between photographers and designers, and on their inspirations and influences, complementing the high-quality reproductions of photobooks throughout the volume. Award-winning designer Joost Grootens presents unique tables and diagrams that bring all these elements together in a visually distinctive map of the Dutch photobook.
Published by Aperture Foundation, 2012
240 pages
29 x 24.5 cm
ISBN: 9781597112000
Dutch photo books are celebrated worldwide for the particularly close collaboration between the photographer, the printer, and the designer. The current boom in photo book publishing in the Netherlands stems from a tradition of excellence dating back to World War II, but the postwar years ushered in a period of particularly close collaboration between photographers and designers, producing unique photography books such as “Love on the Left Bank ” (1956) by Ed van der Elsken and “Chili, September 1973” (1973) by Koen Wessing. Innovations such as the photo novel and the corporate photo book emerged in the 1950s and 1960s; later, other genres emerged to characterize the Dutch publishing landscape, including conceptual and documentary photobooks, books on youth culture, photobooks on urbanism, photobooks on landscapes, and travel journals. By examining each of these genres through six thematic chapters, “The Dutch Photobook” presents selections from over 100 historical, contemporary, and self-published photobook projects. It includes landmark publications such as “Hollandse taferelen” by Hans Aarsman (1989), “The Table of Power” by Jacqueline Hassink (1996), “Why Mister Why” by Geert van Kesteren (2006), and “Empty Bottles” by Wassink Lundgren (2007). Dutch photography historians Frits Gierstberg and Rik Suermondt have written several essays on the history of the genre, on the collaborative efforts between photographers and designers, and on their inspirations and influences, complementing the high-quality reproductions of photobooks throughout the volume. Award-winning designer Joost Grootens presents unique tables and diagrams that bring all these elements together in a visually distinctive map of the Dutch photobook.
Published by Aperture Foundation, 2012
240 pages
29 x 24.5 cm
ISBN: 9781597112000
