From www.mariangoodman.com Rineke Dijkstra was trained at the Gerrit Rietveld Academy, Amsterdam. Her first solo exhibition took place in 1984 at de Moor in Amsterdam. Dijsktra'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 of her work have been shown at the Museum fur Moderne Kunst, Germany (2013), the Guggenheim Museum, New York (2012), the Fotomuseum Winterthur, Switzerland (2005), and the Art Institute of Chicago, Chicago (2001). She is the recipient of a number of awards, including the Kodak Award Nederland (1987), the Art Encouragement Award Amstelveen (1993), the Werner Mantz Award (1994), the Citibank Private Bank Photography Prize (1998), and the Macallan Royal Photography Prize (2012).
From www.guggenheim.org Rineke Dijkstra was born in Sittard, the Netherlands, in 1959. She studied photography at the Gerrit Rietveld Academie in Amsterdam from 1981 to 1986. Through the late 1980s, she photographed people in clubs for magazines in the Netherlands and worked for corporations as a portraitist. In 1990 she injured her hip when her car was struck by a bicycle. A self-portrait produced during her rehabilitation, in which she is seen having just emerged from a pool, exhausted, sparked a new direction in her work. Commissioned by a Dutch newspaper to make photographs based on the notion of summertime, Dijkstra took provocative photographs of adolescent bathers. These ultimately formed her breakthrough Beaches series (1992–96), which featured her young subjects in different locations in the United States and Europe. From this point on, people in transitional moments would be a major theme in her work. In 1994 she photographed mothers in the moments after giving birth and bullfighters about to enter the arena; she also commenced a series of images of Almerisa, an adolescent Bosnian refugee, whom she continued to photograph until 2003. Dijkstra ventured into video with The Buzz Club, Liverpool, UK/Mysteryworld, Zaandam, NL, taping adolescents at raves between 1996 and 1997. She has also focused on particular individuals entering the military, as in her images of Olivier Silva, a French Foreign Legionnaire (2000–01), and new inductees into the Israeli army (2002–03). 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.
Published on the occasion of a major exhibition at the MMK Frankfurt, this intimate look at the work of Dutch photographer Rineke Dijkstra explores at length her relationship to art history and the Old Masters. Here Dijkstra offers personal insight into her artistic affinities, sources of inspiration, and creative process. Included in the exhibition are more than 50 works by other artists from the collection of the MMK selected by Dijkstra, ones which she relates to her own photographic portraits. Through an interview and texts, she explores both their formal analogies and correlations in content, responding to critical speculation on the roles of contemporary and classical art in her own points of departure.
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 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.
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.