19 November 2005 - 5 February 2006
Willem van de Poll worked as a photojournalist for Dutch and foreign news magazines like Panorama and Spiegel and conducted fashion shoots for Vogue and Harper’s Bazaar, but was best known in the Netherlands as the in-house photographer of the Dutch royal family.
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3 December 2005 - 2 April 2006
Friso Keuris is the only photographer ever to have had the chance to produce a series of pictures of the Hague-based International Criminal Tribunal for the Former Yugoslavia. Over a period of two years he produced fifty photographs, both interior shots and portraits, conveying a detailed personal impression of the Tribunal.
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11 February 2006 - 28 May 2006
Loretta Lux has won international acclaim for her imaginary portraits of children. Lux has developed a unique methodology of image-making located between painting and photography which she uses to meticulously compose images of children possessed with a striking self awareness.
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11 February 2006 - 2 April 2006
The heirs of Dirk de Herder decided to give the Gemeentemuseum 40 of his photographs on permanent loan. This ‘promised gift’ goes on exhibition together with photographs by contemporaries of De Herder from the museum’s own collection: photographers like Manuel Alvarez Bravo, Lucebert, Lászlo Moholy-Nagy, Eddy Posthuma de Boer and Wally Elenbaas.
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3 June 2006 - 3 September 2006
From black-and-white to colour, from architectural subjects to the art of portraiture, from commercial assignments to autonomous creations: this retrospective of work by Evelyn Hofer (b. 1922) at the Hague Museum of Photography will demonstrate that this is a photographer with a complete mastery of a wide range of genres.
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8 June 2006 - 8 October 2006
In 2005 The Parade celebrated its fifteenth anniversary. In honour of the occasion, Koos Breukel, Corb!no, Annaleen Louwes, Hans Wilschut and Joyce van Tienen were commissioned to record their own highly personal impressions of the festival.
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9 September 2006 - 26 November 2006
This first major exhibition to focus on Blumenfeld’s ‘Dutch years’ shows that all the ingredients for his later fame were already in evidence in the work he did in the Netherlands: a love of sexy, feminine models permeated by a slightly surreal and alienating sense of styling.
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