In March 2009 I was honored to be the guest editor of Dutch magazine Creatie.
The theme I created, was: Change, crisis, and the anti-theme, a collage. These are the spreads of the Change section, with a selection of photographers I deeply admire.
Different change, different photos, same emotions, and challenges.
All collages are by me with books and magazines from my own collection.
Click on the images to read the original Dutch text. An English translation is in the caption.
‘In addition to the monumental portraits and innovative fashion photos that Richard Avedon made, he was also politically active with his photography. He supported the Civil Rights Movement and photographed politicians and anti-war activists and abuses in the southern states. He also felt it necessary to go to Vietnam and photograph his war in an improvised studio. Soldiers and their loved ones, journalists, napalm victims, and also the Mission Council, the group of military leaders and officials who arranged the Vietnam War. By the way of cropping heads and legs off, cut left and right, he expressed his criticism of the group, ridiculed them somewhat, and tried to change public opinion in a photographic protest. But at the same moment, he made a monumental portrait. Avedon died in armor in 2004 when he photographed the run-up to the New Yorker presidential election, a series that failed to complete. One of his last portraits was that of Senator Barack Obama.’
‘The Change of American Cities is the theme of Stephen Shore. With a Guggenheim stipend, he traveled through the US like Robert Frank and Walker Evans did before him. What was different, in the early seventies was the use of color film in combination with a large-format 8×10” camera. And so his monumental postcards were created. Unlike many other landscape photographers, he saw his technique as a natural extension of his concept and not as a signature style.’
‘Anyone who has seen the photos of Hiroshi Sugimoto before will sit on the beach or walk along the boulevard, differently. For the rest of one’s life. He explains: “One New York night in 1980, during another of my internal question-and-answer sessions, I asked myself, “Can someone today view a scene just as primitive man might have?” The images that came to my mind were of Mount Fuji and the Nachi Waterfall in ages past. A hundred thousand or a million years ago, would Mount Fuji have looked so very different than it does today? I picture two great mountains: one, today’s mount Fuji, and the other, Mont Hakone in the days before its summit collapsing, creating the Ashinoko crater lake. When hiking up from the foothills of Hakone, one would see a second freestanding peak as tall as Mount Fuji. Two rivals in height- what a magnificent sight that must have been! Unfortunately, the topography has changed. Although the land is forever changing its form, the sea, I thought is immutable. Thus began my travels back through time to the ancient seas of the world.” ‘
‘The pages of French Vogue and Charles Jourdan‘s ads changed my view of photography in late 1976. That you are also able to depict your fantasies with a photo. He was known only in a limited circle for a long time until his son started publishing and exhibiting the work after his death. Something he was strongly opposed to. The pages of the magazine were his vintage prints. That photographer was Guy Bourdin.’
‘Nick Knight is a photographic chameleon. He approaches every series, every project in a new way and makes sublime use of the latest techniques, including 3-D scanners in combination with analog cameras and digital collages. In addition, he is a pioneer with his website Showstudio, where you can often follow his shootings live.’