Ger Dekkers (1929-2020) - Goals, Dronten






Over 35 years' experience; former gallery owner and Museum Folkwang curator.
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Description from the seller
This is a series of photographs by Gerrit Hendrik (Ger) Dekkers (Borne, 21 August 1929 – Zwolle, 20 January 2020), a Dutch photographer who lived and worked in Giethoorn.
Dimensions: 56 × 41 cm
Dimensions with frame: 54 × 39 cm
There is no glass in front
Ger Dekkers studied from 1950 to 1954 at the AKI Art Academy in Enschede. He became best known for his assembled photographic sequences of the Dutch landscape. For him, the camera was not merely a registering tool, but an essential instrument in the development of his autonomous artistry.
Dekkers’ attention went to disorienting elements in the landscape: objects abandoned or lost by people, such as pipes and tarpaulins. It was not the “pretty picture” that concerned him, as in his documentary photography, but the gaze itself — the phenomenon of looking. Conceptual art, which at that time reached Europe from the United States, found fertile ground in Dekkers.
In later years he turned to newly reclaimed land, where human settlement is still absent, but where the hand of man is clearly visible in the clean lines of dikes, canals, and parcels. In this series, that theme is expressed persuasively.
Seller's Story
This is a series of photographs by Gerrit Hendrik (Ger) Dekkers (Borne, 21 August 1929 – Zwolle, 20 January 2020), a Dutch photographer who lived and worked in Giethoorn.
Dimensions: 56 × 41 cm
Dimensions with frame: 54 × 39 cm
There is no glass in front
Ger Dekkers studied from 1950 to 1954 at the AKI Art Academy in Enschede. He became best known for his assembled photographic sequences of the Dutch landscape. For him, the camera was not merely a registering tool, but an essential instrument in the development of his autonomous artistry.
Dekkers’ attention went to disorienting elements in the landscape: objects abandoned or lost by people, such as pipes and tarpaulins. It was not the “pretty picture” that concerned him, as in his documentary photography, but the gaze itself — the phenomenon of looking. Conceptual art, which at that time reached Europe from the United States, found fertile ground in Dekkers.
In later years he turned to newly reclaimed land, where human settlement is still absent, but where the hand of man is clearly visible in the clean lines of dikes, canals, and parcels. In this series, that theme is expressed persuasively.
