EXTREM SCARCE OPPORTUNITY to purchase this VERY SOUGHT-AFTER book by the INTERNATIONALLY REKNOWN AND IMPORTANT Dutch photographer Rineke Dijkstra. In 1998 Dijkstra was invited by the Herzliya Museum of Art to exhibit her photographs of teenagers and children on the beach, together with the video installation The Buzzclub/Mysteryworld. Whilst there she began to conceive a new series of portraits of young Israeli men and women at the start of their national service. In the preface she writes: "In my work, I look for specific characteristics of individual people within group settings. In Israel, I consciously choose soldiers because the army plays such a prominent role in Israeli society. Moreover, military service implies that one has to submit to a collective identity. There is always a tension, however, between the values of the individual an the values of a community. I am interested in the paradox between identity and uniformity, in the power and vulnerability of each individual and each group. It is this paradox that I try to visualize by concentrating on poses, attitudes, gestures and gazes. WELCOME TO THE CHRISTMAS AUCTION by Ecki Heuser from 5Uhr30.com, Cologne, Germany. We offer a best-of more than 100 international photobooks. The perfect moment to buy the perfect present for you or yours. Rineke Dijkstras book "Beaches" was selected by Martin Parr and Gerry Badger as one of the most important books in the history of photography (The Photobook, vol 2, pages 277). 5Uhr30.com guarantees detailed and accurate descriptions, 100% transport protection, 100% transport insurance and of course combined shipping - worldwide. Herzliya Museum of Art and Sommer Contemporary Art Gallery, Tel Aviv. 2001. Colour photo-illustrated paper-covered boards (as issued). 213 x 264 mm. 44 pages. 17 colour photographs. Photos: Rineke Dijkstra. Design by Mevis and van Deursen. Text in English. Condition: Inside excellent, fresh and flawless; clean with no marks and with no foxing. Outside very fresh, sensitive covers with no scratches and strong, unbumped corners; sensitive white rear cover excellent, spine and front partly sunned (often the case, production/material problem). Overall fine, better than usual condition. Extrem scarce Rineke Dijkstra title - in fresh condition. "Rineke Dijkstra, born 1959, is a Dutch photographer. She lives and works in Amsterdam. Dijkstra has been awarded an Honorary Fellowship of the Royal Photographic Society, the 1999 Citibank Private Bank Photography Prize (now Deutsche Börse Photography Prize) and the 2017 Hasselblad Award. Dijkstra was born June 2, 1959, in Sittard, the Netherlands. She attended the Gerrit Rietveld Academie in Amsterdam from 1981 to 1986. She then spent a few years working commercially, taking corporate portraits and images for annual reports. Dijkstra concentrates on single portraits, and usually works in series, looking at groups such as adolescents, clubbers, and soldiers, from the Beach Portraits of 1992 and on, to the video installation Buzzclub/Mysteryworld (1996–1997), Tiergarten Series (1998–2000), Israeli soldiers (1999–2000), and the single-subject portraits in serial transition: Almerisa (1994–2005), Shany (2001–2003), Olivier (2000–2003), and Park Portraits (2005–2006). Her subjects are often shown standing, facing the camera, against a minimal background. This compositional style is evident in her beach portraits, which generally feature one or more adolescents against a seascape. This style is again seen in her studies of women who have just given birth. Dijkstra dates her artistic awakening to a 1991 self-portrait. Taken with a 4×5 inch view camera after she had emerged from a swimming pool — therapy to recover from a bicycle accident — it presents her in a state of near-collapse. Commissioned by a Dutch newspaper to make photographs based on the notion of summertime, she then took photographs of adolescent bathers. This project resulted in Beach Portraits (1992–94), a series of full-length, nearly life-size color photographs of teenagers and slightly younger children taken at the water's edge in the United States, Poland, Britain, Ukraine, and Croatia. The series brought her to international prominence after it was exhibited in 1997 in the annual show of new photography at the Museum of Modern Art in New York; in 1999, the museum showed Odesa, Ukraine, August 4, 1993, a color photograph of a teenage boy on a beach, next to Cézanne's Male Bather (1885–1887). Begun during Dijkstra's residency at the DAAD, Berlin in 1998–1999, the Tiergarten series (1998–2000) shows portraits of adolescent girls and boys photographed in the Tiergarten park in Berlin, as well as in another park in Lithuania. Another series of works was commissioned by the Anne Frank Foundation in Amsterdam for their new building: portraits of adolescent schoolgirls with their best friends, a poignant reminder that any girl could be an "Anne Frank" in unlucky circumstances. These portraits were primarily taken in Berlin, though Dijkstra later expanded her subjects to include Milan, Barcelona, and Paris. During a project documenting refugees, six-year-old Almerisa, whose family fled Bosnia, asked Dijkstra to take her photo. Almerisa was photographed approximately every two years. Firstly, at an asylum centre as a young child on March 14, 1994. The last photograph of the Almerisa series was taken on June 19, 2008. Thus began Dijkstra's serial project, tracing her subject's transitions through both adolescence and relocation from East to West Europe. Dijkstra uses flash along with a reduction of colour in this Almerisa series. She declutters the room completely so it is void of any superfluous details such as furniture and pictures on the wall. This provides a blank background. This technique is also used in other series, e.g. Beach Portraits. One later series shows a young Israeli woman, Shany, in the series Israeli Soldiers (1999–2003) at stages over the course of a year and a half, is shown at her induction, twice more in her soldier uniform, and at home after leaving the army. The Olivier series (2000–03) follows a young man, Olivier Silva, from his enlistment with the French Foreign Legion through the years of his service in Corsica, Gabon, Côte d'Ivoire and Djibouti, showing his development, both physically and psychologically, into a soldier. For the series Park Portraits (2003–06), Dijkstra photographed children, adolescents, and teenagers momentarily suspending their varied activities to stare into the lens from scenic spots in Amsterdam's Vondelpark, Brooklyn's Prospect Park, Madrid's El Parque del Retiro, and Xiamen’s Amoy Botanical Garden, among others. Filmed in Russia and commissioned by Manifesta 2014, the video portrait Marianna (The Fairy Doll) shows a young classical dancer rehearsing in a St Petersburg studio as she prepares to audition for a place at the Vaganova Academy of Russian Ballet. Dijkstra uses a Japanese 4×5 inch view camera, with a standard lens on a tripod, and a flash on another tripod behind it. Even when she photographed children on the beach she used this same setup, with a portable flash to reduce contrast and bring the faces slightly out of deep shadow, modulating the sunlight. However, daylight is always her main light source. In 1998 she started to print her photographs at the Grieger Photo Lab in Düsseldorf, Germany, two and a half hours by train from Amsterdam, where Thomas Struth and Andreas Gursky, among other European art photographers of large-scale prints, work. Dijkstra has also experimented with video in works such as the two-channel projection The Buzzclub, Liverpool, UK/Mysteryworld, Zaandam, NL (1996–1997), Ruth Drawing Picasso, Tate Liverpool, UK (2009), the four-channel installation The Krazyhouse (Megan, Simon, Nicky, Philip, Dee), Liverpool, UK, (2009), and the three-screen video piece I See a Woman Crying (Weeping Woman) (2009-2010). For The Buzzclub, Liverpool, UK/Mysteryworld, Zaandam, NL, Dijkstra visited two nightclubs, the first in Liverpool, dominated by 15-year-old working-class girls; the second, in the Netherlands, a hangout for working-class boys with shaved heads, wearing matching hip-hop outfits. She set up studios in the clubs and asked volunteers to dance one at a time in front of the camera, the contrast between the girls and boys, each assertive and vulnerable in equal proportion, being a subject of the video. She made another video in 1997, Annemiek, which showed a shy, Dutch teenager singing a Backstreet Boys’ song karaoke style. For Ruth Drawing Picasso, Dijkstra simply trained the camera on an English schoolgirl as she sat on the floor, intently sketching a portrait of Dora Maar at Tate Liverpool. In I See a Woman Crying (Weeping Woman), Dijkstra used Picasso's The Weeping Woman (1937) in the Tate Liverpool as the distraction device for a group of English schoolchildren, who were asked to describe what they saw in the painting which never appears on screen. Dijkstra's photographs have appeared in numerous international exhibitions, including the 1997 and 2001 Venice Biennale, the 1998 Bienal de Sao Paulo, Turin's Biennale Internationale di Fotografia in 1999, and the 2003 International Center for Photography's Triennial of Photography and Video in New York. Solo exhibitions in 1998 were held at Museum Boymans-van Beuningen, Rotterdam, the Sprengel Museum, Hannover, and Museum Folkwang, Essen. In 1999, Dijkstra's work was exhibited at MACBA, Barcelona. In 2001, exhibitions were held at the Frans Hals Museum (De Hallen), Haarlem, The Netherlands and the Herzliya Museum of Contemporary Art, Israel. In 2005–2006 a travelling exhibition Rineke Dijkstra: Portraits was shown at Jeu de Paume, Paris and at Fotomuseum Winterthur, La Caixa, Barcelona, and Rudolfinum, Prague. In the United States, Dijkstra has had solo exhibitions at the Art Institute of Chicago (2001), the Institute of Contemporary Art, Boston (2001) and LaSalle Bank, Chicago (2004). A comprehensive exhibition of her work, Rineke Dijkstra: A Retrospective, was organised by the San Francisco Museum of Modern Art (SFMOMA) and New York's Solomon R. Guggenheim Museum in 2012. Bringing together more than 70 color photographs and 5 video works, the exhibition showed in 2012 at SFMOMA then at the Solomon R. Guggenheim Museum." (Wikipedia) "Since the early 1990s, Rineke Dijkstra has produced a complex body of photographic and video work, offering a contemporary take on the genre of portraiture. Her large-scale color photographs and videos, which focus mainly on young, typically adolescent subjects, show subtle, minimal contextual details and encourage us to focus on the exchange between photographer and subject and the relationship between viewer and viewed. Dijkstra was born in Sittard, The Netherlands in 1959; she attended the Gerrit Rietveld Academy, Amsterdam from 1981-1986. She has been honored with the Johannes Vermeer Prize (2020), Hasselblad Foundation International Award in Photography (2017), SPECTRUM, International Prize for Photography of Stiftung Niedersachsen (2017), and The Citibank Private Bank Photography Prize (1999). Rineke Dijkstra was the subject of a traveling mid-career retrospective at Museum De Pont, Tilburg, the Netherlands (2018), Louisiana Museum of Modern Art, Humlebaek, Denmark (2017), the San Francisco Museum of Modern Art (2012), and the Solomon R. Guggenheim Museum in New York (2012). In 2013, the Museum für Moderne Kunst (MMK) Frankfurt presented the first comprehensive filmic retrospective of her work as a global premiere. In 2019, she premiered her video installation Night Watching in the Gallery of Honour of the Rijksmuseum, Amsterdam. In 2023 the Maison Européenne de la Photographie in Paris presented a solo exhibition of her video works. A 2005–2006 tour of Rineke Dijkstra, Portraits was on view at Galerie National du Jeu de Paume, Paris; Fotomuseum, Winterthur; Fundacio la Caixa, Barcelona; Stedelijk Museum CS, Amsterdam; and Rudolfinum, Prague. Additional solo exhibitions include Rineke Dijkstra: I See a Woman Crying at Tate Liverpool (2010), Ruth Drawing Picasso at Museu Picasso, Barcelona (2017), Rehearsals at Milwaukee Art Museum (2016), National Gallery of Art, Washington DC (2016), Corcoran Gallery of Art, Washington, DC (2014), and Guggenheim Museum Bilbao (2014)." (Marian Goodman Gallery) "Rineke Dijkstra, born 1959, one of the most highly regarded Dutch artists, received international recognition in the early '90s for her eloquent portrait series of teenagers and young adults. The exploration of identity remains central to her powerful images of adolescents, clubbers, soldiers, emigrants, schoolchildren or toreadors. Dijkstra often accompanies her models for years to enable an emotional relationship and trust which leads to the specific intimacy and naturalness evidenced in her photographs and films. In the moving and still images alike, Dijkstra's works encapsulate an intense concentration. ‘As an artist, Dijkstra has a patience and sympathy for the people in her pictures, an ability to look carefully at them and to represent what she finds; she shows us their complexities without sentiment and without minimizing the uncertainty, even the traumas they may face. And what she finds are not moral lessons [...] Instead, what we see when we take the time to look at her pictures are the imperfections and the particular grace she finds in ordinary people, especially in the young. Because of their size and their intimacy, her pictures present these moments of insight, glances at what is beautiful and vulnerable, and ask that we see, remember and understand – even that we cherish these moments, because they will disappear.’" (Gallery Max Hetzler)