INVITATION – Company Photobook Salon&SALE June 16 2012 – from 12.00 until 18.00 – at IPhoR Amsterdam – serving tramezzini & Turkish Delight

Bart Sorgedrager, De Unileverfabrieken in Delft, Loosdrecht en Vlaardingen, 2008

NV Lettergieterij ‘Amsterdam’ voorheen N. Tetterode, 1957. Design Mart Kempers

Les Levine, HOUSE, New York/steendrukkerij de Jong & Co, Hilversum, The Netherlands, 1971. Design Pieter Brattinga

Koen Vergeer, [f]oto’s, 2005. Design Henrik Barends. goodwill publication by Maria Austria Instituut, Amsterdam

Lee Friedlander, People Working (The George Gund Foundation Annual Report), 1995

Esko Mannikko, 100% Cashmere, 2003

Violette Cornelius, Ed van der Elsken, Paul Huf, Cas Oorthuys, Ata Kando, vuur aan zee, 1958. Design Jurriaan Schrofer

Nico Jesse, Oranje Nassau Mijnen, 1953. Design Nico Jesse

Mirelle Thijsen, Schaden_cahier 001, 2010
first and second print run

Proost Prikkel 322 (boekenfabricage), 1971
spread

Kunststoffenindustrie Proost & Brandt NV, Proost Prikkel 328, 1972. photography: Aart Klein

De snelbinder, Proost Prikkels 286, 1965. Photography: Ad Windig, text: Bert Schierbeek. Published on the day the first elastic straps were issued.

Mensen en Machines in Maastricht. Proost Prikkels 236, 1959. Text Endt Friso

Henk Wildschut and Raimond Wouda, A’Dam DOC.k, 2006. back cover

Migros annual report 2002, Zurich 2003
Photography: Horst Diekgerdes

Erik Kessels, On Show (Howard Smith Paper), 2008

Het telefoonboek van Ben, 1999. Photography: Koos Breukel, Celine van Balen a.o.. Design: Kesselskramer

Jacqueline Hassink, The Table of Power, 1996. Design: Melle Hamer, Plus X

INVITATION from the desk of IPhoR  for June 16 2012, 12.00 AM- until 18.00 PM

Herewith I like to invite you for a Company Photobook Salon & Sale  on Saturday June 16 at my office along the Ertskade in Amsterdam.  We will open the doors to the garden and serve espresso and mint tea with tramezzini, filled dates and Turkish Delight. We will make a display of seminal company photobooks, annual reports and derivations of the genre, with an emphasis on photoboooks published by graphic industries in the Netherlands. Several mint copies of my reference book Het bedrijfsfotoboek 1945-1965. Professionalisering van fotografen in Nederland (2002) will be for sale. As well as the self-published dissertation Humanistische Fotografie en het geluk van de alledaagsheid. het Nederlandse bedrijfsfotoboek (2000). Titles included in Schaden_cahier 001 (2010)  will be displayed. Anyone interested in making a bid on the integral collection company photobooks is welcome!

Company photobooks were published in small press runs, were usually not sold in bookshops but circulated within a closed circuit of potential clients, contacts, staff and friends of the company. For a new generation of post war photographers, however they were a significant source of income.

Captains of industry expected rethorical images of industrial growth and people working in functional buildings, even of employees relaxing after work. The furniture factories of Bruynzeel and the Menko textile manufacturers, the Hoogovens steel furnaces, the mines of Limburg and the Dutch National Railways were presented as pleasant working environments. A lot of seminal Dutch company photobooks were published by Meijer N.V. in Wormerveer. Politically left-wing GKf-members, idealists such as Carel Blazer, Eva Besnyo and Cas Oorthuys made company photobooks. They accepted assignments from capitalists, business men. Their attitude was an ambivalent one, prompted on the one hand by an ideology of making an artist’s statement and on the other by the need of a new generation of photographers and designers to make a living.

The post-war company photobook has made way for an artist’s book documenting contemporary corporate cultures, the decline of industrial sectors, automation, globalisation, neo-capitalism and the network society. The Table of Power (1996) by Jacqueline Hassink, mensenstroom (1997) by Bart Sorgedrager, as well as the anual reports by JRP|Ringier and Migros are illustrative of the evolution of the genre.


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