PhotoLexicon, Volume 8, nr. 15 (March 1991) (en)

Michel Szulc-Krzyzanowski

Adriaan Elligens


As a photographer, Michel Szulc-Krzyzanowski is involved in a wide variety of projects: sequences, social documentary series, reportages, and portrait series. He achieved international notoriety with the photographic sequences he produced in the years 1972 to 1985. In his photography, Szulc-Krzyzanowski attempts to provide a different view of reality by presenting what is familiar in a form that deviates from the norm.




Michel Szulc-Krzyzanowski is born on 23 April in Oosterhout as the son of Polish father and a Belgian mother.


After completing the MULO (‘Meer Uitgebreid Lager Onderwijs’, a lower-level secondary education), Szulc-Krzyzanowski attends the Akademie voor Beeldende Kunsten ‘St. Joost’ (‘St. Joost Academy of Visual Arts’) in Breda, where he receives lessons in photography from Hans Katan and others.


Szulc-Krzyzanowski furthers his studies at the Koninklijke Akademie voor Kunst en Vormgeving (‘Royal Academy of Art and Design’) at ‘s-Hertogenbosch (with Wim Noordhoek as his photography instructor).


Szulc-Krzyzanowski receives his diploma in ‘free graphics’ and photography. Together with Wim Noordhoek, Szulc-Krzyzanowski takes a trip to Poland, Czechoslovakia, and France


Szulc-Krzyzanowski establishes himself as an independent photographer in ‘s-Hertogenbosch. In May, he makes his first photo sequence on the beach of the Dutch island Schiermonnikoog. He exhibits his photographs for the first time at a group exhibition, Keuze ’71 (‘Selection ’71’), held at the Noordbrabants (‘North Brabant’) Museum.

In September, Szulc-Krzyzanowski is accepted as a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’), based on a photo series concerning a home for demented elderly people—’Huize De Meerwijk’ in ‘s-Hertogenbosch—submitted to an evaluation commitee that includes Cas Oorthuys, Maria Austria, and others.

Szulc-Krzyzanowski photographs everyday life in the village of Lamswaarde (Zeelandic Flanders) on twenty-four 35 mm film rolls. The village’s existence is threatened, due to plans to build the Baalhoek Canal.


Szulc-Krzyzanowski receives his first solo exhibition abroad, held at the Camden Arts Centre in London (Camden Interiors).


In February, Szulc-Krzyzanowski photographs fifty random passers-by in a mobile studio located in the centre of ‘s-Hertogenbosch. This photo project results in the exhibition Straatmensen (‘Street People’). After the exhibition closes, the photos are presented to the city of ‘s-Hertogenbosch.

During the summer, Szulc-Krzyzanowski photographs the home interiors of thirty-five residents in the city of Rotterdam. His subjects are from all walks of life, ranging from the inhabitant of a trailer home to a factory director. The photos are exhibited in the format of 2×2 meters at the exhibition Thuis in Rotterdam (‘At Home in Rotterdam’).

In November, Szulc-Krzyzanowski poses the same question to a number of people living in the Netherlands: ‘What is most dear to you?’ The answers to this question are published in the form of photographs and accompanied by interviews in the weekly magazine Panorama of 21 January 1974.

Szulc-Krzyzanowski asks fifty residents of the city Utrecht to photograph the exterior of their homes using his own camera. The resulting photo project is given the title Woonontmoetingen (‘Home Meetings’).


At the invitation of the photography festival in Arles, France, Szulc-Krzyzanowski photographs twenty residents of that city who work in different professions. He portrays them both at home and at their work. The photographs are exhibited during the exhibition.


In March, Szulc-Krzyzanowski wins second prize at the Triënnale de la Photographie in Fribourg, Switzerland, with a series of black-and-white landscapes.


Szulc-Krzyzanowski places an advertisement in the magazine Vrij Nederland, inviting people to be photographed in the nude at De Appel Arts Centre in Amsterdam. The photo series (featuring forty-seven men and two women) is exhibited at De Appel under the title Naakt zijn (‘Being Naked’).


Szulc-Krzyzanowski receives a photography assignment from the city of ‘s-Hertogenbosch for the entrance hall of the new Stadskantoor (‘City Office Building’). During its construction, he photographs the builders at their work. The photos are accompanied by brief comments made by those portrayed.

Szulc-Krzyzanowski follows a sixteen-year-old girl working in a cookie factory for several months with his camera. These photos appear in the book Neem nou Henny (‘Take Henny for Example’). The book presents an image of the life of a young person working in a factory.


On the West Bank of the Jordan River, Szulc-Krzyzanowski makes a photo reportage on the settlements of orthodox Jews.


In May, Szulc-Krzyzanowski cancels his membership with the GKf. Due to his many trips abroad, he is able to attend only a few meetings.

In Gdansk, Poland, Szulc-Krzyzanowski photographs the daily existence of a family with two children. In Chile, he does a photo reportage about those who support the regime of the dictator Pinochet.


Szulc-Krzyzanowski again follows Henny with his camera, who is an adult woman by this time. The resulting photo series is published in the book Henny, een vrouw (‘Henny, A Woman’).


Szulc-Krzyzanowski is granted a monumental photography assignment from the RGD (Rijksgebouwendienst, ‘Dutch Government Buildings Agency’) on behalf of the Rijkspolitiebureau (‘National Police Bureau’) in Veenendaal.

In Sudan, Szulc-Krzyzanowski makes a photo reportage on the victims of Islamic law in this country.


Szulc-Krzyzanowski ends the ‘sequence phase’ of his career with a special exhibition at the Olympus Gallery in Amsterdam. He ends his involvement with photography series of this nature by donating his final sequences to those individuals that were important to him during this period.

In September, Szulc-Krzyzanowski moves to Amsterdam.


At the invitation of the editorial staff of the ostentatious photobook A Day In The Life of America, Szulc-Krzyzanowski departs in May for Palm Beach, Florida, to do a photo reportage on the extremely wealthy residents of this city. The project’s directors believe his photos are too controversial and ultimately decide to exclude them from the book, in spite of the editorial staff’s protests.

In the same month, Szulc-Krzyzanowski also travels to Bombay, India, where he does a reportage on Truus Quak, a Dutch woman who runs an orphanage.

In Sri Lanka, Szulc-Krzyzanowski is arrested for coming into contact with a representative of the Tamils and subsequently imprisoned for four days. In India, he visits the city of Pune. From this time onward, he is spiritually inspired by Osho Rajneesh.

Szulc-Krzyzanowski receives a monumental photo assignment from the RGD, concerning the Karelspoort, a governmental office building in Eindhoven.


On 20 March, Szulc-Krzyzanowski is awarded the Zilveren Camera (‘Silver Camera’) in the category of portraits (first prize).

Szulc-Krzyzanowski does another reportage on Henny, after having received a publication guarantee and a monetary advance from the magazine Vrij Nederland.

For the art event Kunst Over De Vloer (‘Art Across the Floor’, Entrepotdok, Amsterdam), Szulc-Krzyzanowski photographs four different couples in the same home interior. Those attending are allowed to enter the home interior and asked to decide which of the four couples are the actual inhabitants.


From September 1987 to April 1988, Szulc-Krzyzanowski takes dozens of portraits for De Volkskrant to accompany interviews with people working in the Dutch cultural sector.

Szulc-Krzyzanowski’s photo reportages, entitled Het Verschil (‘The Difference’), appear in the magazine Nieuwe Revu. These reportages focus on the differences that exist between two different people, e.g. someone who is unemployed versus a career-maker, or an exceptionally tall man versus someone who is exceptionally short.


In February, Szulc-Krzyzanowski’s photo installation Please Disturb is shown at the Canon Image Centre in Amsterdam. It presents an account of the many anonymous hotel rooms in which he stayed during his trips abroad. The photos are exhibited in a hotel room that has been recreated specifically for the exhibition.

In a newspaper advertisement, Szulc-Krzyzanowski offers to photograph ‘the most beautiful people of the Netherlands’ in their own surroundings. Photos of the twelve candidates are published along with interviews in the Nieuwe Revu of 3 November.

In the fall, Szulc-Krzyzanowski spends three months in the village of Nyakomba, Zimbabwe, where he closely follows the lives of several of the inhabitants.


Szulc-Krzyzanowski is asked to do the colour photography for the exhibition catalogue Kammen (‘Combs’, Boymans van Beuningen Museum, Rotterdam). For the book entitled Anders (‘Different’), he develops the concept and does the black-and-white photography. This book is published on the occasion of the twenty-fifth anniversary of the founding of the ASVZ (Algemene Stichting voor Verzorging en Verpleging van Zwakzinnigen, ‘General Foundation for the Care and Nursing of the Mentally Disturbed’).

A retrospective of Szulc-Krzyzanowski’s work is held at ‘De Beyerd’ in Breda. The retrospective book The First Twenty Years appears simultaneously.


Szulc-Krzyzanowski becomes a member of the GKf once again.

In the spring and fall, Szulc-Krzyzanowski spends several months in Spain, working on a new series of photos, called the ‘Cadaques’ series.


Michel Szulc-Krzyzanowski has excellent memories of two of his teachers: the photographer Wim Noordhoek, an instructor at the academy in ‘s Hertogenbosch, and Hans Katan, a photographer at the academy in Breda. Katan was a theorist; Noordhoek was a dynamic, inspiring personality with profound passion—a specialist in landscape and travel photos, who identified himself with his photography. With Noordhoek, one was obliged to work according to his style, as anything falling outside his conception of photography was irrelevant. Szulc-Krzyzanowski travelled together with Noordhoek on a number of trips at a time when he was as yet uncertain regarding his future choice of study. Noordhoek suspected there was a love for photography present in his student and he ensured that it firmly took root. Noordhoek’s personal radiance had a tremendous influence on the young man’s formation. Szulc-Krzyzanowski’s conscious decision to pursue photography therefore felt as if he was entering an adult stage of life.

From this point onward, Szulc-Krzyzanowski gave up drinking and smoking and devoted himself entirely to his profession with discipline. During the period in which he produced his sequences that would later bring him notoriety, he withdrew from society and lived according to a tight schedule. The sequences could only have arisen with Szulc-Krzyzanowski’s conscious decision to be in total isolation and through the utmost concentration.

Szulc-Krzyzanowski had been working laboriously as an independent photographer on his own for one-and-a-half years, when, by accident, he found himself in the exhibition circuit. At this time, he had not yet made a choice with regards to any one specific photography movement. What he had accomplished, however, was his first sequence, produced in May 1971 on the Dutch island of Schiermonnikoog: a series featuring an abandoned palisade on the beach. Filled with curiosity, he approaches the structure, then walks past it and continues on towards the land-wash. As he does so, he records his progression with his camera. It appears to be a simple photographic registration of an ordinary viewing process. Through the mediation of Domien van Gent, employed with what was then the ‘Provinciale Tentoonstellings Dienst van Noord-Brabant’ (‘Provincial Exhibition Department of North Brabant’), these photos were included in a group exhibition at the Noordbrabants Museum.

As fate would have it, Jan Dibbets was also compiling a series of photos at the land-wash on the beach in this same period. In Dibbets’ case, the camera registered the surroundings in a series of images taken from the same vantage point, scanning from left to right (Dutch Mountains 1971). A comparison with Dibbets’ series is interesting, not only because of its early date of origin, the subject choice, and the manner of registration. More importantly, however, the approach of these two artist/photographers with respect to the medium is different. Dibbets has always distanced himself from the notion of being a photographer and has always expressed his disdain in this regard when given the opportunity. By contrast, Szulc-Krzyzanowski’s intention is by all means to communicate as a photographer.

Photo sequences are series of images that can be viewed from left to right, sometimes from right to left or from top to bottom. With Szulc-Krzyzanowski, a series might contain two, but typically, three or more photos. His images are austere, with a minimum of events going on. In many of these sequences, the leading figure is either Szulc-Krzyzanowski himself—or his shadow—and nature, e.g. a beach or a dune landscape. In other sequences, the main subject is comprised of simple attributes, such as a stick or a stone.

For the viewer, the sequences are at first enigmatic, because they diverge greatly from the normal way in which we observe. A conflict arises between the onlooker and the picture, because, in this immobile series of images, Szulc-Krzyzanowski is toying with the factors time and movement. Sometimes he adds other elements, for instance, re-introducing various spatial concepts—behind, close-up, far away—to the flat surface of a photo. What makes these sequences remarkable is the presence of situations and events, which the photographer has staged in front of the camera. It is the spirit, not the eye, that is important. The photographer determines the surroundings as he sees fit, therefore as well playing a role himself.

Contrary to his documentary photo projects, Szulc-Krzyzanowski applies a refined photographic aesthetic designed to spark a confrontation with the observer in leading to a new viewing experience.

Szulc-Krzyzanowski made many of his sequences on the abandoned beaches off the western coast of Mexico, where the decor in no way distracts the viewer from the subject. There are not many people, and because the sky is consistently blue, the light is intense. The late afternoon sun provides long, sharply outlined shadows. The sun allows only a small diaphragm, so that one is able to obtain a large depth of field using a 20 mm wide-angle lens. The depth of field is an important condition, as Szulc-Krzyzanowski allows events to occur directly in front of his camera lens for many of his sequences.

Sequences and staged scenes are today common accepted in creative photography. In the early 1970s, however, this was most definitely not yet the case. Besides Jan Dibbets, Ger Dekkers started making his ‘perspective corrections’ of landscapes in this same period, which he published in series. In the United States, Duane Michals was then making highly personal sequences that were often surrealistic in content. It was not until later in the 1970s, however, that Michals’ photography became well known in the Netherlands.

It was based on his distinctive sequences that Szulc-Krzyzanowski soon mad e a name for himself. In 1979, he was given a solo exhibition at the Bibliothèque Nationale in Paris. Exhibitions followed at the Paris and New York branches of the famous Zabriskie Gallery, drawing international attention. The revenue from these sequences gave him financial independence and allowed him to undertake photography projects on his own. Szulc-Krzyzanowski’s work can roughly be divided into three main categories: the aforementioned sequences—by this time a closed book—social documentary series, and portraits. From his own personal perspective, his documentary photography is no less significant than his sequences. This stems, in part, from his ideas concerning photography. He prefers the presentation of photos in a narrative form to the single image. This applies just as much to his documentary work, as it does his sequences.

Szulc-Krzyzanowski’s documentary series can be divided into three categories: thematic projects, photo essays, and travel reportages. The first major theme project was the ‘Camden Interiors’ in 1972. Following the group exhibition in the Noordbrabants Museum, Szulc-Krzyzanowski was invited to participate in an exhibition at the Camden Arts Centre in London. For this exhibition, two projects were realised on location: a series of ‘urban sequences’ and a social documentary series. In this London neighbourhood, Szulc-Krzyzanowski photographed fifty people in their living rooms in front of the television. The television is more than just a theme that firmly binds the series, it also a key element in the confrontation between the viewer and the living environment of the person photographed.

At the invitation of the photography festival of Arles, France, Szulc-Krzyzanowski photographed people working in twenty different professions in 1974, to be displayed at an exhibition. He portrayed people at their work and in their homes. Two professions were juxtaposed at a time, with four photos for each group. In the two upper photos, the viewer saw people portrayed at their work; two photos below showed the same individuals in their respective situations at home. Presented in this manner, the comparison that the viewer makes between the different surroundings of those portrayed was intensified. Here, too, the task that Szulc-Krzyzanowski set for himself was confrontation—just as with his sequences.

It is therefore the deviating form in which Szulc-Krzyzanowski photographs people that one particularly notices. He not only frames his subject, but likewise seeks a second theme within the same subject. In this way, a kind of magnifying glass effect occurs. In his approach to other projects as well, Szulc-Krzyzanowski chooses for a presentation form that fosters the photo’s content.

Another example of such a working method is the reportage that Szulc-Krzyzanowski made in the village of Nyakomba in Zimbabwe (exhibited in 1990 under the title Gewoon Afrika [‘Plain Africa’], held at the Royal Tropical Institute in Amsterdam). For three months, he followed four villagers in their daily routine. As part of the photo exhibition, Szulc-Krzyzanowski devoted a separate area to one of the people he portrayed: a farmer who is digging a well based on the tips of a local water diviner. No matter what they do, they are unable to find water. The farmer disappears deeper and deeper into the hole he is digging. By the time he reaches an imposing depth without having success, he is ready to give up. On this final attempt, however, he finally finds water in what is virtually a bottomless well. His joy knows no boundaries. Because this photo series is presented on the exterior of a circular wall placed in the middle of the exhibition space, it is impossible for the observer to see the entire visual narrative as a whole. He is obliged to walk around it, thereby intensifying his interest in the subject.

The photo reportages that Szulc-Krzyzanowski made of a young girl named ‘Henny’ demonstrate an entirely different kind of involvement in a subject. The reportages span a period of ten years, with the years 1977, 1983, and 1988 as fixed reference points with respect to the events that shape Henny’s life. In ten years’ time, she grows from a young girl working in a cookie factory to become a wife with two children. Eventually, however, her young husband becomes seriously ill, ends up in a wheelchair, and has to be nursed. It is Henny who takes up this task. Although she remains steadfast in spite of everything, the visual narrative is by no means uplifting. The reportages were published in the form of three books. The accompanying texts written by the journalist Angeline van den Berg relate the staid monologues of Henny and those around her: her parents, her boyfriend, her acquaintances, and the production manager at her work (‘Oh, the girls aren’t that bad… yet I hold the view: if they don’t like it here, they can just get the hell out of here.’)

The social documentary photobook is today a phenomenon with a discernable tradition in the Netherlands, with an interesting series of high-quality publications as a result. Szulc-Krzyzanowski’s ‘Henny books’ are an important contribution to this particular genre.

Szulc-Krzyzanowski rarely does commissioned work. He typically devises a given theme or project on his own initiative, then puts it into practice, and lastly—depending on the subject—tries to sell the final product to a gallery, museum, social institution, or the editorial staff of a weekly magazine. One of the larger assignments that Szulc-Krzyzanowski was invited to work on—and as well given the liberty to determine the content as he saw fit—entailed a monumental project to decorate the stairwell of the new ‘Rijkskantorengebouw’ (‘National Office Building’) in Eindhoven (1986). He depicted the theme of ascending and descending with a series of photos featuring stairways in Sri Lanka, Bolivia, Odessa (Ukraine), in the Moroccan Sahara, and at the crest of a dune in the Netherlands. While climbing these stairways, Szulc-Krzyzanowski kept his camera held directly in front of him and photographed his view as he made his way to the top. With each step, the camera’s field of view shifted. In the last photo, the final destination of his ascension came into view. This stairway series formed the finale of his sequences period, which spanned primarily the years 1972 to 1985.

Szulc-Krzyzanowski’s sequence phase was not an isolated period, as examples of his documentary photo projects demonstrate. No matter how varied these photo projects might have been, it was always his aim to break with established viewing conventions. As well in his portraits, Szulc-Krzyzanowski strives for a conflict in the viewing process. In 1986, he produced a series of divergent portraits that had an alienating character. In this series, Szulc-Krzyzanowski threw the formula of portraying a person’s character based on his facial expression radically overboard. He made his subjects ‘unrecognisable’, by completely removing all attributes that reflect specific personal traits or elements related to a person’s profession from what the viewer is able to see. The viewer begins to feel uncomfortable, because he is denied any opportunity to identify himself with the person portrayed. This discomfort is further intensified by the harsh, frontal lighting that Szulc-Krzyzanowski consciously employs in these photographs. In some of these portraits, however, the effect is nullified by an over-obvious attribute that leaves little room for suggestion.

Szulc-Krzyzanowski seeks confrontation in order to communicate, not just by means of photographs, but also with his words. He enjoys saying things that draw a reaction from the person listening. When giving a lecture, such as one presented to his fellow photographers in February 1990, he opens with the following words: ‘Tonight I have good news to tell you. As things are going now, no interesting future lies ahead for Dutch photography’. As such, he is at least certain to draw his audience’s attention.

In terms of technical expertise, Szulc-Krzyzanowski is by no means a seasoned photographer. His training was too brief for him to have learned every facet of the profession. Furthermore, the tremendous amount of time he spends taking the actual shots does not always allow him to make his own prints. Because he still maintains high standards when it comes to the finishing of his photos, he leaves time-consuming tasks of this nature to printing experts such as Siebe Swart and F-Lab, who are specialised in this area. In Szulc-Krzyzanowski’s view, such an approach is not completely undesirable: as he puts it, working in this way allows him to devote more of his time to the creative process itself.

Szulc-Krzyzanowski works preferably with a 35 mm reflex camera. For his portraits he uses a a 6×6 cm camera.

For many years, Szulc-Krzyzanowski has been identified with sequence photography, a form of photography—when seen from an international perspective—in which he was involved at a high level. It was the sequences that accelerated his photographic career.

In addition to this, Szulc-Krzyzanowski has always been involved in documentary photography. As a rule, these two aspects of his work have functioned within different contexts, in part because they were ‘consumed’ by disparate audiences, but also because they did not share the same aesthetic.

Michel Szulc-Krzyzanowski’s photography can undoubtedly be described as individualistic and at many times idiosyncratic. He is not afraid to engage in confrontations—not with himself, nor with the observer. In his sequences, the visual challenge is refined and often subtly designed; the documentary series and the portraits are quite frequently unmerciful and revealing. Because he chooses to follow a path that is entirely his own, Szulc-Krzyzanowski has created a remarkable oeuvre, thereby demanding a place in both the Dutch and the international photography worlds.


Primary bibliography

Angeline van den Berg en Ben Spekman (tekst), Neem nou Henny. Zomaar een werkende jongere. Een beeldverhaal van Michel Szulc Krzyzanowski, Utrecht (LOVWJ) 1977.

Ze zeggen dat vrijheid nodig is om kunst te maken. Maar dat geloof ik niet, in De Tijd 15 januari 1982, p. 26-35.

Een fotograaf is nog altijd goedkoper dan een kunstenaar, in Zero 4 (september 1982) 5, p. 80-81.

Een blamage voor het Stedelijk Museum, in Zero 4 (oktober 1982) 6, p. 99.

‘Jij bent niet gelukkig’. Het fotografisch surrealisme van Jan Saudek, in Zero 4 (oktober 1982) 6, p. 127-133.

De operationele miskleun van de bezuinigingschirurgen, in Zero 4 (november 1982) 7, p.44.

Eerst Shirley Beljon zien, daarna haar foto’s, in Zero 4 (winter 1982/1983) 8, p. 115-121.

Angeline van den Berg (tekst), Henny, een vrouw, Utrecht (LOVWJ/Uitgeverij In de Knipscheer) 1983.

David Travis (inl.), Michel Szulc Krzyzanowski, Sequences, Haarlem (Joh. Enschedé en Zonen) 1984.

Elba 1975, in Plaatwerk (maart 1987) 18, p. 30-31.

Angeline van den Berg (tekst), Henny, tien jaar uit haar leven, Amsterdam (SUA) 1988.

Het zomerverblijf, in De Volkskrant 6 augustus 1988.

Adriaan Elligens (inl.), Michel Szulc Krzyzanowski, The First Twenty Years, Haarlem (Joh. Enschedé en Zonen) 1989.

Rudie Kage (tekst), Anders. Uitgave t.g.v. het vijfentwintig-jang jubileum van de Algemene Stichting voor Verzorging en Verpleging van Zwakzinnigen, Utrecht (Stichting ASVZ) 1989.

Pictures for the art mafia?, in European Photography 10 (juli/augustus/september 1989) 39, p. 48.


in Focus:

Confrontatie. Het Nederlands Foto-Archief en een hotelbediende in Peru, 73 (1986) 11, p. 14.

Confrontatie. ‘Ik heb de ballen verstand van fotografie’, 73 (1986) 12, p. 14.

Confrontatie, 74 (1987) 1, p. 13.

Confrontatie. Een exclusief interview, 74 (1987) 2, p. 15.

Confrontatie. Columnist op zicht, 74 (1987) 3, p. 13.

Confrontatie. De Engelbert Humperdinck van de Nederlandse fotografie, 74 (1987) 4, p. 17.

Confrontatie. Spanningen, ontevredenheid en depressies teisteren Nederlands fotografie-onderwijs, 74 (1987) 5, p. 19.

Confrontatie. Een vette kluif voor bloeddorstige jakhalzen, 74 (1987) 6, p. 16.

Confrontatie. De verbeelding van de macht, 74(1987) 7/8, p. 56.


in Nieuwe Revu:

Verboden foto, (27 april 1979) 17, p. 18-25.

Krijgt Pinochet toch zijn Friendship?, (16 oktober 1981) 42, p. 54-57.

De Tweede Verjaardag, (17 september 1982) 37, p. 36-40.

Het beulsregime van Soedan, (20 april 1984) 16, p. 50-57.

Een Hollandse soldaat schoot ze dood waar ik bij stond, (27 maart 1985) 14, p. 30-34.

Omaira droeg haar lot waardig tot aan het eind, (1 augustus 1985) 32, p. 8-13.

De strijd van de Tamils, (28 maart 1986) 14, p. 48-51.

Islam in Nederland, (7 april 1986) 7, p. 20-23.

Het broertje van Bhagwan, (25 april 1986) 18, p. 6-7.

De Hollandse moeder Theresa. Hoe Truus Quak in haar eentje een weeshuis in Bombay runt, (9 mei 1986) 20, p. 56-61.

Het verschil, (28 augustus 1987) 35, p. 58-63.

Het verschil, (14 januari 1988) 3, p. 50-55.

Het verschil, (20 oktober 1988) 43, p. 70-75.

‘Ja, ik vind mezelf mooi’, (3 november 1988) 45, p. 20-21, 24-27 (met foto’s).

Drie maanden Nyakomba Zimbabwe. Portret van een anoniem stukje Afrika, (27 oktober 1988) 44, p. 22-27.

Drie maanden Nyakomba Zimbabwe. Bruidschatten, water en magie, (10 november 1988) 46, p. 22-27.

Drie maanden Nyakomba Zimbabwe. Geen geluier of gelal meer, (24 november 1988) 48, p. 59-61.

Drie maanden Nyakomba Zimbabwe. De angst voor de sprinkhaan, (8 december 1988) 50, p. 68-71.

Drie maanden Nyakomba Zimbabwe. De medicijnman uit het Noorden, (29 december 1988) 1, p. 52-55.

Drie maanden Nyakomba Zimbabwe. Eindelijk water, (5 januari 1989) 2, p. 54-57.


in Panorama:

De prijswinnaars, 76 (22 juni 1989) 26, p. 68-69.

De prijswinnaars, 76 (29 juni 1989) 27, p. 60-61.

De prijswinnaars, 76 (6 juli 1989) 28. p. 60-61.

De prijswinnaars, 76 (13 juli 1989) 29, p.61.

De prijswinnaars, 76 (20 juli 1989) 30, p. 61.

De prijswinnaars, 76 (27 juli 1989) 31, p. 61.

De prijswinnaars, 76 (3 augustus 1989) 32, p.69.

De prijswinnaars, 76 (10 augustus 1989) 33, p.61.

De prijswinnaars, 76 (17 augustus 1989) 34, p.61.

De prijswinnaars, 76 (24 augustus 1989) 35, p.61.

De prijswinnaars, 76 (31 augustus 1989) 36, p.69.

De prijswinnaars, 76 (7 september 1989) 37, p. 93.

De prijswinnaars, 76 (21 september 1989) 39, p. 81.

Merken trouw. ‘Het ding rijdt’, 77 (8 februari 1990) 7, p. 46.

Merkentrouw. ‘Ik heb nu vijf BMW’s’, 77 (15 februari 1990) 8, p. 48.

Merkentrouw. ‘Een machtig mooie wagen’, 77 (22 februari 1990) 9, p. 38.

Merkentrouw. ‘Ik heb de gouden Skodaspeld’, 77 (1 maart 1990) 10, p.46.

Merkentrouw. ‘Ik dank er mijn leven aan’, 77 (8 maart 1990) 11 , p . 24.

Merkentrouw. ‘Dan kan ik ‘m wel een zoen geven’, 77 (15 maart 1990) 12, p. 47.

Merkentrouw. ‘Mijn dochter wilde ik Peugette noemen’, 77 (22 maart 1990) 13, p. 45.

Merkentrouw. ‘Ik rijd dwars door die andere wagens heen’, 77 (29 maart 1990) 14, p.31.

Merkentrouw. ‘Ik ben nog steeds verliefd’, 77 (5 april 1990) 15, p. 42.

Merkentrouw. ‘We aaien hem over het dashboard’, 77 (12 april 1990) 16, p. 33.

Merkentrouw. ‘Een keer heeft er een schroefje losgezeten’, 77 (19 april 1990) 17, p. 63.


images in:

Le Francais audio visuel I, Den Bosch (Malmberg) z.j., p. 15, 69, 95.

Avenue (1972) 9, p. 100.

Siriële fotografie van Michel Szulc Krzyzanowski,in Fototribune (1973) 2, p. 14-17.

Bres, kroniek van onze beschaving voor Nederland en België februari/maart 1973, p. 90-91, 93.

Wonen TA/BK (juni 1973) 12, p. 31.

Panorama (25 januari 1974) 4, p. 42-49.

Wonen TA/BK (juni 1974) 12, p. 12-14.

Wonen TA/BK (december 1974) 24, p. 2-3.

Cherry Duyns, Lotgevallen, Leiden (Tango) 1975, omslag.

Jaar te kijk. De Zilveren Camera 1975, Bussum (De Gooise Uitgeverij) 1975, p. 90.

Panorama (10 januari 1975) 2, p. 44,45.

Panorama (24 januari 1975) 4, p. 16-21.

Panorama (14 februari 1975) 7, p. 22-27.

Panorama (6 juni 1975) 23, p. 22-26.

Panorama (12 december 1975) 50, p. 34-35.

Fotografen 1976, geïllustreerde ledenlijst van de beroepsvereniging van fotografen GKf, Amsterdam (GKf) 1976, p. 38-39.

Jeugd en Samenleving 6 (januari 1976), p. 44, 46.

Nieuwe Revu (6 augustus 1976) 32, p. 22-27.

De Engelenbak (oktober 1976) 2, p. 3.

Catalogus tent. Fribourg 78, 2nd International Triennial Exhibition of Photography, Fribourg 1978, afb. 255.

Nieuwe Revu (6 juni 1978) 23, p. 36-43.

Panorama (9 juni 1978) 23, p.50, 53.

Nieuwe Revu (8 september 1978) 36, p. 42-45.

Vrij Nederland-Bijvoegsel (28 september 1978) 35, omslag, p. 7, 38.

Catalogus tent. Nederlands landschap, Amsterdam (Canon Photo Gallery) 1979.

Nieuwe Revu (18 mei 1979) 20, p. 18-23.

Lorenzo Merlo, New Dutch photography/Hedendaagse fotografie in Nederland, Amsterdam (Kosmos) 1980, p.. 52-57.

Zien (1980) 1.

GKf-fotobulletin december 1980.

Denis Roche, Autoportraits, Parijs (Centre Georges Pompidou/Musée national d’Art moderne) 1981, p. 53.

Nieuwe Revu (21 augustus 1981) 34, p. 18, 20-27.

Nieuwe Revu (1981) 49, p. 32-39.

David Travis, Photography in Chicago Collections, Chicago (The Art Institute of Chicago) 1982, p. 38, 41.

Carole Naggar, Dictionnaire des photographes, Parijs (Seuil) 1982, p. 238-239, 372.

Nieuwe Revu (23 juli 1982) 29, p. 20-22, 24.

Nieuwe Revu (19 november 1982) 46, p. 38-41.

GAK Sociaal Jaarverslag 1983.

Nieuwe Revu (4 november 1983) 44, p. 36.

Photographies (december 1983) 3, p. 84.

Hans Wijnants, Over de doden…, in De Volkskrant 24 december 1983.

Hans Wynants, Over de doden, Haarlem (In de Knipscheer) 1984, omslag, p. 7, 25, 41, 59, 81, 97, 123.

Nieuwe Revu (4 mei 1984) 18, p. 64-68.

Nieuwe Revu (7 februari 1985) 7, bijlage.

Photo Communiqué 7 (1985) 3, p. 2-3.

Man (1985) 4, p. 18-22.

Panorama (1 juni 1985) 22, p. 85-89.

European Photography (1985) 21, p. 26-27.

Jaar te kijk. De Zilveren Camera 1986, Amsterdam (Elsevier) 1986, p. 80-81.

Bijeen 19 (november 1986) 10, p. 34-35.

Photo Metro 5 (1986) 45, p. 22.

Catalogus tent. Kunst over de vloer, Amsterdam (Stichting Kunst over de vloer) 1987, p. 118-119.

Hans Aarsman, Denken is moeilijk, niet denken is moeilijker. Elf serieuze fotografen en de aanloopstrook, Amsterdam (Riba pers) 1987.

Fritz Gruber, Glanzlichten und Schlagschatten. Photographische Erinnerungen, Keulen (Braus) 1988, p. 102-103.

Catalogus tent. 2Oth Century Photographs from The Museum of Modern Art, New York 1988, p. 77.

Vrij Nederland-Bijvoegsel (29 oktober 1988) 43, omslag, p. 8-17.

NV Provinciale Noordbrabantse Energie Maatschappij Jaarverslag 1988, p. 60-61.

The World of KLM in 24 hours, Amstelveen (KLM Public Relations Bureau) 1989, p. 56, 78-79, 108 , 152, 257.

Theater Van Het Oosten (Arnhem). Programmaboekje 1989/1990, p. 15, 23, 27, 30, 32, 37-38.

Rudy Kousbroek (inl.), 66 Zelfportretten van Nederlandse fotografen, Amsterdam (Nicolaas Henneman Stichting) 1989, afb. 54.

Inez van Dullernen, Schrijf me in het zand, Amsterdam (International Film & Theatre Bookshop/Theater van het Oosten) 1989, omslag, p. 3, 15, 18, 25.

M. Veldhuizen, Leven van een Lady, Amsterdam (International Film & Theatre Bookshop/Theater van het Oosten) 1989, omslag, p. 106.

150Jaar Spoorwegen (jubileum magazine), Utrecht (Nederlandse Spoorwegen) 1989.

Catalogus tent. Kammen, Rotterdam (Stichting Kammen) 1989.

Focus (mei 1989) 5, p. 96-97.

Panorama (22 juni 1989) 26, p. 27.

Avenue (1989) 10, p. 6-7.

Vrij Nederland-Bijvoegsel (21 november 1989) 47, omslag, p. 18-37.

De Volkskrant 21 april 1990, p. 11, 47.

Karin van Gilst, Tiny Poppe en Andrea Tafoya (productie), Top 40 van de Nederlandse fotografie, in Nieuwe Revu (2-9 augustus 1990) 32, bijlage, p. 21.


in Onze Wereld (bij serie artikelen ‘De chatindofamilie’ geschreven door Angeline van den Berg):

32 (mei 1989) 5, p. 24-26.

32 (juni 1989) 6, p. 27-29.

32 (juli 1989) 7, p. 10-12.

32 (september 1989) 9, p. 16-18.

32 (oktober 1989) 10, p. 24-28.

32 (november 1989) 11, p. 27-29.

32 (december 1989) 12, p. 28-29.

Secondary bibliography

F.H. (=Fred Hazelhoff), Michel Szulc Krzyzanowski/Rudolf van Veggel, in Foto 25 (1970) 6, p. 302-313.

Auteur onbekend, Foto-evenement in Den Bosch, in Het Parool 20 augustus 1970.

J.M. (=Jacques Meijer), Michel Szulc-Krzyzanowski, in Fototribune (1971) 2, p. 14-19.

Auteur onbekend, Ik fotografeer veel, in Brabants Dagblad 9 april 1971.

F.H. (= Fred Hazelhoff), Fotografen en hun werk. Michel Szulc Krzyzanowski, in Foto 26 (1971) 8, p. 20-25.

Auteur onbekend, Krzyzanowski fotografeert De Poffer, in Brabants Dagblad 19 augustus 1971.

Auteur onbekend, Michel Szulc Krzyzanowski legt Baalhoek vast voor nageslacht, in De Stem 14 september 1971.

Auteur onbekend, Domien van Gent liet fotografie zien, in Foto 27 (1972) 1, p. 57.

J.M. (=Jacques Meijer), Michel Szulc Krzyzanowski, in Fototribune (1972) 6, p. 19-22.

Auteur onbekend, Bossche fotograaf toont werk in De Doelen, in Brabants Dagblad 16 juni 1972.

Auteur onbekend, Seriële fotografie van Michel Szulc Krzyzanowski, in Foto 27 (1972) 8, p. 55-57.

Auteur onbekend, Serifotografi, in Foto och Filmkritik 34 (1972) 12, p. 26-29.

Auteur onbekend, Foto pleidooi naar kamerleden, in Het Parool 1 december 1972.

Auteur onbekend, Fotografen willen geld voor creatief werk, in De Tijd 5 december 1972.

Heashmann, Knock knock snap snap, in Hampstead and Highgate Express 15 december 1972.

Henri van der Zee, Nederlander fotografeerde TV’s, in De Telegraaf 15 december 1972.

Guy Brett, What the camera saw, in The Times 19 december 1972.

Auteur onbekend, Dag In Dag Uit. Foto’s, in De Volkskrant 28 december 1972.

Marius van Rijn, Nederlanders tonen in Londen ‘fotoproject’, in Het Parool 29 december 1972.

Catalogus tent. Photography into Art, Londen (Camden Arts Centre) 1973, p. 18.

Auteur onbekend, Michel Szulc Krzyzanowski. Serial photography, in Creative Camera januari 1973, p. 24-27 (met foto’s).

Domien van Gent, Opnieuw succes voor Krzyzanowski, in Brabants Dagblad 20 januari 1973.

Auteur onbekend, Fotoproject in voetgangersgebied, in Brabants Dagblad 8 februari 1973.

Auteur onbekend, Straatmensen gefotografeerd op de Pensmarkt, in Brabants Dagblad 9 februari 1973.

Auteur onbekend, Fotoexpositie wordt zaterdag afgesloten, in Brabants Dagblad 24 maart 1973.

Auteur onbekend, Reeks ‘Straatfoto’s’ aan gemeente overgedragen, in Brabants Dagblad 26 maart 1973.

Willem K. Coumans, Krzyzanowski informeert over mensen, in Foto 28 (1973) 5, p. 30.

Auteur onbekend, Michel vraagt Utrechters: Zet uw huis op de plaat, in Utrechts Nieuwsblad 3 mei 1973.

Auteur onbekend, Wilt u voor mij uw huis even kieken?, in Nieuw Utrechts Dagblad 5 mei 1973.

Auteur onbekend, Vijftig Utrechters zetten hun huis op de foto: unieke tentoonstelling, in Utrechts Nieuwsblad 23 mei 1973.

Auteur onbekend, Ontmoeting, in Algemeen Dagblad 26 mei 1973.

Betty van Garrel, Het kastenwezen in interieurs, in Haagse Post, 15 september 1973, p. 40-41.

Auteur onbekend, Tweemaal Janine, in Het Vrije Volk 24 september 1973.

René de Vos, Thuis is het zo gezellig, in Nieuwe Revu (6-12 oktober 1973) 41, p. 54-59.

Marenne Terlingen, Kijkje door de gordijnen, in NRC Handelsblad 16 oktober 1973.

Willem K. Coumans, Thuis in Rotterdam, in Foto 28 (1973) n , p. 52-53.

Carole Naggar, Michel Szulc Krzyzanowski, in Zoom (1974) 23, p. 76-95.

Auteur onbekend, Deux expériences photographiques vont être réalisées par M. Krzyzanowski, in Le Meridional la France 12 mei 1974.

Auteur onbekend, Le Festival, in Le Meridional la France 13 juli 1974.

Martine Voyeux, Enquête photographique en milieu local, in Quotidien de Paris 29 juli 1974.

Auteur onbekend, Bossche fotograaf wint prijs in Freibourg, in Brabants Dagblad 18 maart 1975.

Auteur onbekend, Internationale prijs voor Krzyzanowski, in Adformatie 27 maart 1975.

Auteur onbekend, Krzyzanowski en De Nooijer, in Foto 30 (1975) 5, p. 18.

FXP Internationale Triënnale der Photographie, in Neue Zürcher Zeitung 23 juni 1975.

Catalogus tent. Fotosequenties, Amsterdam (Stedelijk Museum) 1976 (catalogus nr. 608), p. 60-61.

Auteur onbekend, Hollandse Week, in De Volkskrant 4 juni 1976.

Auteur onbekend, Orgie, in Hollands Diep 19 juni 1976.

Antje von Graevenitz, Een fietsende artieste op zoek naar gevlekte koeien, in Vrij Nederland 26 juni 1976.

Michel Nuridsany, Krzyzanowski: le plaisir d’inventer, in Le Figaro 12 juli 1976.

Martine Voyeux, Michel Krzyzanowski, phénoménoloque…, in Le Quotidien de Paris 12 juli 1976.

Auteur onbekend, Naakt als kunst, in Nieuwe Revu (16 juli 1976) 29, p. 58-59.

Auteur onbekend, Krzyzanowski in Parijs, in Foto 31 (1976) 8, p. 22.

Alois Ginjaar, Krzyzanowski: Naakt zijn, in Foto 31 (1976) 8, p. 74-77.

Carole Naggar, Michel Szulc Krzyzanowski, in Zoom augustus/september 1976, p. 28-33 (met foto’s).

W. Jungman, 25 Jaar televisie: een namaakfeest, in Het Parool 28 september 1976.

J. Werkman, Stuitend, in Foto 31 (1976) 10, p. 51.

Alois Ginjaar, Michel Szulc Krzyzanowski, in Foto 31 (1976) 12, p. 40-47.

C.N. (= Carole Naggar), Photo-sequences, in Zoom maart 1977, p. 6.

Susanne Piet, Met eigen ogen televisie kijken, in NRC Handelsblad 2 april 1977.

Gerton van Wageningen, Kritische kijkers en Krzyzanowski, in NRC Handelsblad 7 mei 1977.

Ad Marefkens, Neem nou Henny, in Brabants Dagblad 13 mei 1977.

Carole Naggar, Henny, in Contrejour (juni/juli 1977) 12, p.13.

Ton Elias, Cahier, in NRC Handelsblad 7 juni 1977.

Auteur onbekend, Neem nou Henny, in 1-2-I Bulletin 24 juni 1977, p. 249.

Auteur onbekend, Ik ben Henny, in Nieuwe Revu (1 juli 1977) 26, p.48-53.

Bas Roodnat, Kijken naar Henny, in NRC Handelsblad 8 juli 1977.

Auteur onbekend, Neem nou Henny, in De Tijd 22 juli 1977.

Auteur onbekend, Henny, zomaar een werkende jongere, in Het Vrije Volk 27 augustus 1977.

Wim Broekman, Ik voel me belazerd, in Foto 32 (1977) 10, p. 25.

Ingeborg Th. Leijerzapf, Onze belangrijkste fotografen, in Foto 32 (1977) 12, p. 67.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 35-37, losse biografie.

Brochure tent. Michel Szulc Krzyzanowski.Foto-sequenties, Den Bosch (De Moriaan) 1978.

Geri Glastra, Ik voel me niet belazerd, in Foto 33 (1978) 1, p. 63.

Auteur onbekend, Kunst uit de regio in het Kruithuis, in Brabants Dagblad 3 januari 1978.

Auteur onbekend, Kunstenaars uit de regio, in Stadsblad (Den Bosch) 19 januari 1978.

Maarten Beks, Heerlijke expositie in Kruithuis, in Brabants Dagblad 21 januari 1978.

Frans Haks, Ik voel me belazerd, in Foto 33 (1978) 2, p. 76.

Ferd op de Coul, Krzyzanowski maakt sequensen, in Brabants Dagblad 18 februari 1978.

Auteur onbekend, Tentoonstellingen, in Kunstbeeld maart 1978, p. 27.

Auteur onbekend, In iedere foto zelf aanwezig, in Stadsblad (Den Bosch) 10 maart 1978.

Auteur onbekend, Fotografie, in De Volkskrant 17 maart 1978.

Marius Boender, Foto-sequenties, in De Stem 22 maart 1978.

Maarten Beks, Foto sequenties van Szulc Krzyzanowski, in Brabants Dagblad 25 maart 1978.

Peter Weiermair (red.), Kunst als Photographie 1949-1979, Innsbruck (Allerheiligenpresse) 1979, p. 112-113.

Catalogus tent. Michel Szulc Krzyzanowski, Amsterdam (Stedelijk Museum) 1979 (catalogus nr. 655).

Auteur onbekend, Michel Szulc Krzyzanowski, in Le Nouvel Observateur 26 februari 1979.

Michel Nuridsany, Krzyzanowski et la réalité de la réalité, in Le Figaro 27 februari 1979.

J-P.G, Voyages aux frontieres du réel, in Le Nouvel Espoir maart 1979.

Hervé Guibert, Michel Szulc Krzyzanowski chez Zabriskie, in Le Monde 7 maart 1979.

Christian Caujolle, Bord de mer par M.S. Krzyzanowski, in Liberation 14 maart 1979.

Auteur onbekend, Expositions, in Figaro Magazine 17 maart 1979.

Peter Dekkers, Vijftien Nederlandse fotografen exposeren, in Trouw 27 maart 1979.

Ingeborg Leijerzapf, Vijfjaar Canon Photo Gallery, in Foto 34 (1979) 4, p. 42-43.

Auteur onbekend, Op de foto, in De Leidse Post 4 april 1979.

Auteur onbekend, Bossche fotograaf in Stedelijk Museum, in Brabants Dagblad 14 april 1979.

Bas Roodnat, Stedelijk Museum toont elementaire fotosequenties, in NRC Handelsblad 28 april 1979.

Auteur onbekend, Voice choices, in Voice 30 april 1979.

A Propos, Genève (Canon Photo Gallery) mei 1979, p. 2.

Ton Frenken, Foto-sequenties van M. Krzyzanowski, in Brabants Dagblad 5 mei 1979.

Ben Lifson, A few rites and a little spring, in Voice 7 mei 1979, p. 96.

Auteur onbekend, Krzyzanowski, in Foto 34 (1979) 6, p.27.

Willem K. Coumans, Het andere gezicht van Krzyzanowski, in Foto 34 (1979) 7, p. 25.

Rommert Boonstra, Niets blijft geheim, in Elseviers Magazine 11 augustus 1979, p. 60-62.

Auteur onbekend, Forum, in Provinciaal Zeeuwse Courant 19 oktober 1979.

Auteur onbekend, A voir cette semaine, in Le Figaro 28 mei 1980.

Auteur onbekend, Le jour de la photo, in Le Monde 4 juni 1980.

Michel Nuridsany, Répétitions et invention, in L’aurore 4 juni 1980.

Rommert Boonstra, Het strand als kosmos, in Elseviers Magazine 7 juni 1980, p. 118-119.

Auteur onbekend, Photo, in Liberation 7 juni 1980.

Aad Flapper, Portretfoto’s vol afwisseling, in Het Parool 15 juli 1980.

Froukje Hoekstra, Het Portret, 35 visies op één onderwerpen Nieuwsblad van het Noorden 21 juli 1980.

Mathilde Visser, Het Fotoportret, in Financieele Dagblad 25 juli 1980.

Auteur onbekend, Fotosequenties te zien in de Librije, in Zwolse Koerier 2 september 1980.

W.J. van der Beek, Verrassende nevenverschijnselen, in Zwolse Courant 11 september 1980.

R. van Groningen, Kijk op kunst, in Deventer Dagblad 16 september 1980.

Winkler Prins Encyclopedisch Jaarboek, Amsterdam/Brussel (Elsevier) 1981, p. 176.

Thomas Albright, Photography of Europeans, in San Francisco Chronicle 18 mei 1981, p. 45.

Ted Hedgpeth, Traditions extended, in Artweek 23 mei 1981, p. II.

Abigail Solomon-Godeau, Photographing the Photographic, in Photo Communiqué 3 (zomer 1981) 2, p. 26-30.

Marleen Kox, Verslag onderzoek fotoarchieven. (Samengesteld in opdracht van de Stichting Nederlands Foto-Archief), Amsterdam, juli 1981.

Ron Held, Sequenties, in Zero (winter 1981/1982) 8, p. 126.

Ingeborg Th. Leijerzapf, Niederlande: Die Emanzipation der kreatieven Fotografie nach 1945, in Andreas Müller-Pohle (samenstelling), Fotografie in Europa heute, Keulen (DuMont) 1982, (dumont foto 4), p. 56, 58-59, 234-235 (met foto’s).

Brochure tent. Michel Szulc Krzyzanowski, Den Bosch (Kruithuis) 1982.

Pauline Terreehorst, Een vermogen voor een foto met een handtekening, in De Volkskrant 10 september 1982.

Ferd op de Coul, Foto-processen en projekten van Michel Krzyzanowski, in Brabants Dagblad 15 september 1982.

Rob Schoonen, Dubbelrol, in De Stem 29 september 1982.

Pauline Terreehorst, Fotografie is een middel tot communicatie, in De Volkskrant 5 oktober 1982.

Willem Kuipers, Wat opdoemt uit het onherkenbare, in De Volkskrant 8 oktober 1982.

F.H. Bool, Michel Krzyzanowski: fundamenteel vormonderzoek, in Foto 37 (1982) 11, p. 28-35.

Martin Schouten, Het belang van een bijschrift, in Haagse Post 20 november 1982, p. 75.

Eric van der Schalie, Michel Krzyzanowski, the way without compromise, in European Photography (1982/1983) 13, p. 6-11.

Catalogus tent. Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden, Nijmegen (Nijmeegs Museum ‘Commanderie van Sint Jan’, 1983, p. 56-57, 88.

Catalogus tent. 2 = 1 . Over de som der delen. Foto’s in combinatie, Amsterdam (NKS) 1983.

Chris Bergman, Vijf fotografen in Kultureel Sentrum, in Nieuwsblad van het Zuiden 9 februari 1983.

Auteur onbekend, Exposities, in Trouw 2 juni 1983.

S.N., Mooie werkelijkheid van Krzyzanowski, in De Journalist 23 juni 1983, p. 12.

Auteur onbekend, Ik ben Henny, in Nieuwe Revu (30 september 1983) 39, p. 46-49.

Ineke Jungschleger, Neem nou Henny nog eens, in De Volkskrant 3 oktober 1983.

Auteur onbekend, Henny, een vrouw, in Nieuwe Revu (7 oktober 1983) 40, p. 38-45.

Auteur onbekend, Foto-sequenties in Hoevelaken, in Edese Post 31 december 1983.

Catalogus tent. Construire les paysages de la photographie,Metz (Metz pour la photographie) 1984.

Catalogus tent. La Photographie Creative. Les collections de photographies contemporaines de la Bibliotheque Nationale, Parijs (Contrejour) 1984.

Auteur onbekend, Fotograaf exposeert series bij Bouwfonds, in Barneveldse Courant 11 januari 1984.

Anneke Marleni, Foto-tentoonstelling in het Bouwfonds, in Hoevelakens Nieuwsblad 11 januari 1984.

Th. v.d. B., Fotosequenties van Krzyzanowski, in Uit in Arnhem maart 1984, p. 19.

Auteur onbekend, Schilderijen en fotografie in Gemeentemuseum, in De Nieuwe Krant Arnhem 2 maart 1984.

Pauline Terreehorst, Een absoluut heerser in zijn schaduwrijk, in De Volkskrant 6 maart 1984.

Marjo van der Meulen, In een leeg decor gebeurt iets, in Het Parool 7 maart 1984.

Auteur onbekend, Nieuwe werkelijkheid van Krzyzanowski-foto’s, in Deventer Dagblad 27 maart 1984.

Jan van Krieken, Beweging in de tijd in foto’s van Krzyzanowski, in Arnhemse Courant 29 maart 1984.

Auteur onbekend, Twee Poolse fotografen, in De Telegraaf op maart 1984.

Anneke van Steijn, De sequenties van Krzyzanowski, in Avenue (april 1984), p. 7.

Dirk van der Spek, Michel Szulc Krzyzanowski, in Foto 38 (1984) 4, p. 42-49.

Marijke Prins, Bouwfonds, in Amersfoortse Courant 11 april 1984.

Nieuwe boeken, in De Tijd 13 april 1984.

Jan Bik, De fotoreeksen van Krzyzanowski, in De Nieuwe Krant 17 april 1984.

Roei Sandvoort, Henny, een vrouw, in Bevrijding 28 (22 april 1984) 3.

Hripsimé Visser, Michel Szulc Krzyzanowski, Sequences, in European Photography (1984) 18, p. 3-36.

Hripsimé Visser, Sequences/Henny, een vrouw, in Perspektief (juli/augustus/september 1984) 17, p.42.

Hennie van de Louw, Fotokunst bloeit als nooit tevoren, in Boekblad 3 augustus 1984.

Ella Reitsma, Kunstwerken 9, in Vrij Nederland 1 september 1984.

Auteur onbekend, Wel heel bijzonder lijfelijk kontakt, in Naturisme herfst 1984, p. 7-8.

Ellen Kok, Orde scheppen door middel van sequenties, in Utrechts Nieuwsblad 20 december 1984.

Catalogus tent. Signs of the Times; some recurring motifs in twentieth century photography, San Francisco (San Francisco Museum of Modern Art) 1985, p. 53.

Hans Rombouts, Krzyzanowski, fotograaf van deze tijd, in VRIJ. (Bijlage Haarlems Dagblad) 4 januari 1985.

Auteur onbekend, European art comes to San Diego, in Blade Tribune 11 april 1985.

William Sullivan, Exhibit represents Europeans’ scrapbook, in Times Advocate (San Diego) 2 mei 1985.

Mark Elliott Lugo, European photos showcased, in The Tribune 3 mei 1985.

Robert L. Pincus, Photographs lack emotional ‘Edge’, in San Diego Union 9 mei 1985.

Matt Damsker, Photography exhibition edge dull, in Los Angeles Times 24 mei 1985.

Bas Roodnat, Het Rijk neemt met kunstaankopen weinig risico, in NRC Handelsblad 30 mei 1985.

Mark Johnstone, Photography’s new European trends, in Artweek 16 (juni 1985) 22, p. 1.

A day in the Life of America, New York (Collins) 1986, p. 252, 286.

Catalogus tent. Gezichtspunten, drie fotografen. Michel Szulc Krzyzanowski, Rob Nypels, Sanne Sannes,Groningen (Academie Minerva) 1986.

Auteur onbekend, Nieuwe Revu journalist 4 dagen gevangen op Sri Lanka, in Nieuwe Revu (14-21 maart 1986) 12, p.43.

Auteur onbekend, Say cheers PB! America will be looking at you, in Palm Beach News 1 mei 1986, p. 1, 11.

Amy Dunn, Day in the life of Palm Beach caught on film, in The Miami Herald 3 mei 1986.

Riek Ackermann, Palm Beach gets in the Pictures, in The Post 3 mei 1986, p. B11, B16.

Auteur onbekend, Day in the life of PB., in Palm Beach News 5 mei 1986, p. 1.

Ernst Gottlieb (red.) Bert Nienhuis & Michel Krzyzanowski, in Professionele Fotografie (1986) 6, p. 43-46.

Ton Hendriks, Infrastructuur fotografie in Nederland, in Perspektief (september 1986) 25, p.46.

Wim De Jong, Een verboden fotoreportage over de rijkste rijken van Amerika, in Het Vrije Volk 10 september 1986.

Auteur onbekend, Foto-expositie als inzamelingsactie, in Bredase Krant 1 oktober 1986.

Auteur onbekend, Foto’s Truus Quak druk bekeken, in De Stem 4 oktober 1986.

Henk van Gelder, Foto’s taboe, in De Tijd 10 oktober 1986, p. 66.

Auteur onbekend, Expositie foto’s rond ‘Hollandse Moeder Theresa’, in De Stem 12 oktober 1986.

Wim de Jong, Portretten van Krzyzanowski, in Focus (1986) 12, p. 25-34.

Catalogus tent. Facets of the collection, San Francisco (San Francisco Museum of modern art) 1987.

R.D.E Oxenaar (voorwoord), Michel Szulc Krzyzanowski, in io 45 Magazine, Kunst en Techniek 1987, p. 46-49.

Rommert Boonstra, Portretten zonder gezicht, in Avenue 22 (januari 1987), p. 122.

Rolf Bos, Het resultaat shockeerde de meeste geportretteerden, in De Volkskrant 7 januari 1987.

Auteur onbekend, Zilveren Camera voor Krzyzanowski, in De Stem 21 maart 1987.

Margot de Jager, Mirelle Thijsen, Monumentale foto-opdrachten, in Perspektief (1987) 28/29, p. 108-109, 120-121.

Anna van der Burgt, Trap op. Trap af. Foto’s van Krzyzanowski in belastingkantoor, in Eindhovens Dagblad 4 april 1987, p. 23.

Hans Boerrigter, De trappen van Michel Szulc Krzyzanowski, in Het Vrije Volk 30 april 1987, p. 17.

Paul Hefting, Michel Szulc Krzyzanowski, in Ingeborg Leijerzapf e.a., Roots & Turns. 20th Century photography in The Netherlands, Den Haag (SDU Publishers) 1988, p. 126-131.

Catalogus tent. FOCO 88, Madrid (Circulo de bellas artes) 1988, p. 11-13, 26-35, 93.

Catalogus tent. Vormen van Nederlandse landschapsfotografie, Maastricht (Gouvernement) 1988.

Mirelle Thijsen, Please Disturb, in Foto 43 (1988) 1/2, p. 53-60.

Auteur onbekend, Henny, in Focus (1988) 3, p. 94.

Ton Hendriks, Tien jaar Henny, in Plug maart 1988.

Auteur onbekend, Fotografen in VS, in De Volkskrant 4 maart 1988.

Auteur onbekend, Tien jaar uit haar leven, in Welzijnsweekblad (4 maart 1988) 9, p. 18.

Anita Zijlstra, Door tegenslagen heb ik leren genieten van fijne dingen, in De Telegraaf 5 maart 1988.

Claudia Berse, Treffend beeldverhaal van dagelijks bestaan, in De Waarheid 5 maart 1988.

Stevo Akkerman, Tien jaar vrouwenleven. ‘Het valt steeds zo tegen’, in Het Binnenhof 11 maart 1988.

Ellen Kok, Donderwolken boven het leven van het meisje van de koekjesfabriek, in Utrechts Nieuwsblad 14 maart 1988.

Auteur onbekend, Het verhaal van Henny: tien jaar vrouwenleven, in Nieuwe Apeldoornse Courant 15 maart 1988.

Bas Roodnat, Het moeras van de zorgzame samenleving, in NRC Handelsblad 25 maart 1988.

Hans Boerrigter, Henny blijft ondanks alles op de been, in Het Vrije Volk 31 maart 1988.

Johan de Vos, De mensen vergelijken ons altijd met Turken, maar dan omgedraaid, in De Morgen 2 april 1988.

Mariëtte Haveman, Series uit een leven, in Vrij Nederland-Boekenbijlage 9 april 1988.

Rolf Bos, Je moet elkaar in de ogen kijken, in De Volkskrant 26 augustus 1988.

Ellen Kok, Krzyzanowski in Pantafos, in Utrechts Nieuwsblad 15 september 1988.

Ineke Jungschleger, Als je niets hoeft te verbergen gaat het gemakkelijk, in De Volkskrant 5 maart 1989.

Auteur onbekend, Introspektie en konfrontatie, in NS (Nait Soez’n) 7 maart 1989, p. 12.

Manuel Falces, El narcisismo ante la cámara. Krzyzanowski fotógrafo de las conductas, in El Pais 22 juli 1989.

Huub Jansen, Affiniteit met de speelsheid van fotografie, in Fotoprof 7 (september 1989) 4, p. 40-45.

Henk Egbers, Ik richt mij nu op goed nieuws. Michel Krzyzanowski: 20 jaar fotograferen in De Beyerd, in De Stem 20 september 1989.

Chris Reinewald, Twintig jaar therapie in aards paradijs, in De Journalist 25 september 1989, p. 39.

Henk Egbers, Het dagelijks leven in Nederland in fotoboeken, in De Stem 30 september 1989.

Leo Divendal, Michel Szulc Krzyzanowski wil van fictie realiteit maken, in Haarlems Dagblad 19 oktober 1989.

Auteur onbekend, Wat ons opviel, in Rondom Osno november 1989, p. 21.

Ton Wegman, Vormgeving en produktie van een ‘ander’ jaarboek, in Graficus (januari 1990) 3, p. 20-21.

Alois Ginjaar, Citaat van het jaar, in Foto 45 (1990) 1/2, p. 7.


GKf, van 1971-1981, vanaf 1990.


1975 Tweede prijs zwart/wit fotografie, 1e Triënnale Internationale de la Photographie, Fribourg.

1987 Eerste prijs in de categorie portretten, De Zilveren Camera, Amsterdam.


1971 (g) Den Bosch, Noordbrabants Museum, Keuze ’71.

1972 (e) Londen, Camden Arts Centre, Photography into Art.

1972 (g) Eindhoven, Stedelijk Van Abbe Museum, Triënnale der Zuidelijke Nederlanden.

1972 (e) Rotterdam, Schouwburg De Doelen.

1973 (e) Den Bosch, Kunstzaal De Moriaan, Straatmensen.

1973 (e) Rotterdam, Lijnbaancentrum, Thuis in Rotterdam.

1973 (g) Antwerpen, ICC, Triënnale der Zuidelijke Nederlanden.

1973 (g) Amsterdam, Stedelijk Museum.

1973 (e) Utrecht, Cultureel Centrum ‘t Hoogt, Woonontmoetingen.

1973 (g) Glasgow, University Gallery.

1973 (g) Parijs, Bibliothèque Nationale.

1974 (g) Arnhem, Gemeentemuseum.

1974 (e) Arles, Festival Rencontre Internationale de la Photographie.

1974 (g) Maastricht, Bonnefan ten Museum.

1975 (g) Amsterdam, Stedelijk Museum.

1975 (g) Parijs, Salon de la Photographie.

1975 (g) Fribourg, Musée d’Art et d’Histoire, Triënnale Internationale de la Photographie.

1976 (g) Amsterdam, Stedelijk Museum.

1976 (e) Bollwiller, Galerie Nicéphore.

1976 (e) Parijs, Bibliothèque Nationale.

1976 (e) Den Bosch, Kruithuis.

1976 (g) Keulen, Photokina.

1976 (e) La Grande Motte, Galerie J. Lips.

1976 (e) Cuyk, Stadsschouwburg.

1976 (g) Amsterdam, Stichting De Appel, Naakt zijn.

1977 (g) Kassei, Fotoforum.

1977 (g) Wenen, Internationale Kunstmesse.

1977 (e) Wenen, Künstlerhaus.

1977 (g) Bordeaux, Centre d’Arts Plastiques Contemporaines, Laphoto comme photographie.

1977 (g) Parijs, Centre Beaubourg.

1977 (g) Op de foto (rondreizende NKS-tentoonstelling).

1978 (e) Den Bosch, Kunstzaal De Moriaan, Fotosequenties.

1978 (g) Soisy, Rencontres Photographique de Soisy.

1978 (e) Amsterdam, Canon Photo Gallery.

1978 (e) Den Bosch, Kruithuis.

1978 (g) Bologna, Arte Fiera.

1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.

1979 (g) Venetië, Biennale.

1979 (e) Amsterdam, Canon Photo Gallery.

1979 (e) Genève, Canon Photo Gallery.

1979 (g) Amsterdam, Canon Photo Gallery, Nederlands landschap.

1979 (e) Amsterdam, Stedelijk Museum.

1979 (e) New York, Zabriskie Gallery.

1979 (e) Parijs, Galerie Zabriskie.

1980 (e) Zwolle, De Librije, Sequenties.

1980 (g) Amsterdam, Canon Photo Gallery, Het portret.

1980 (e) Den Bosch, Kruithuis.

1980 (e) Parijs, Institut Néerlandais.

1981 (e) Amsterdam, Exposorium van de Vrije Universiteit, Polen 1981.

1981 (g) Parijs, Centre Georges Pompidou.

1981 (g) San Francisco, Museum of Modern Art.

1981 (e) Rotterdam, Galerie Perspektief.

1982 (g) Tokyo, Seibu Museum of Art, 20th Century Photographs from the Museum of Modern Art, New York.

1982 (e) Amsterdam, Galerie Fiolet, Sequenties.

1982 (e) Den Bosch, Kruithuis, Overzichtsexpositie projecten, sequenties.

1982 (e) Chicago, Art Institute.

1982 (e) Baltimore, Dalsheimer Gallery.

1983 (g) Nijmegen, Nijmeegs Museum ‘Commanderie van Sint Jan’, Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden.

1983 (e) Amsterdam, Galerie Fiolet, Neem nou Henny. Henny, een vrouw. Een keuze uit beide boeken.

1983 (g) Amsterdam, Stichting Beeldende Kunst.

1983 (e) Stockholm, Galerie Camera Obscura.

1983 (e) Hilversum, Cultureel Centrum De Vaart.

1983 (e) Amsterdam, Exposorium van de Vrije Universiteit, Sequenties.

1983 (e) Emmerich, Galerie Vanille.

1983 (e) Tilburg, Cultureel Centrum.

1983 (g) Rotterdam, ‘Westersingel 8’.

1983 (g) Parijs, Centre George Pompidou.

1983 (g) Honolulu, University of Hawaii Art Gallery.

1983 (e) Groningen, Cultureel Centrum De Oosterpoort.

1984 (g) Metz, Centre Culturelle Caves Sainte Croix, Construire les paysages de la photographie.

1984 (g) New York, Photography Dealers Fair.

1984 (g) Parijs, Pavillon des Arts, Photographie Creative. Les collections de photographies contemporaines de la Bibliotheque Nationale.

1984 (e) Franeker, Franeker Gemeentemuseum ‘t Coopmanshüs.

1984 (e) Sittard, Kritzraedthuis.

1984 (e) Chicago, Art Institute.

1984 (e) New York, Laurence Miller Gallery.

1984 (e) Amsterdam, Olympus Gallery.

1984 (e) Arnhem, Gemeentemuseum, Sequenties.

1984 (e) Hoevelaken, Bouwfonds Nederlandse Gemeenten, Sequenties.

1985 (e) Hamburg, Olympus Gallery.

1985 (e) Denver, Ginny Williams Gallery.

1985 (g) San Francisco, San Francisco Museum of Modern Art, Extending The Perimeters of Twentieth Century Photography.

1985 (e) Amsterdam, Olympus Gallery.

1985 (g) Chicago, International Art Exhibition.

1985 (g) San Diego, Museum of Photographie Arts.

1985 (g) Tours, Museé des Beaux Arts.

1986 (e) Amsterdam, Olympus Gallery, Portretten.

1986 (e) Alkmaar, Cultureel Centrum De Vest.

1986 (g) Groningen, Academie Minerva, Gezichtspunten. Drie Fotografen.

1986 (e) Almere, Cultureel Centrum De Roestbak.

1987 (g) (rondreizende tentoonstelling in kader van de Zilveren Camera).

1987 (g) Amsterdam, Entrepotdok, Kunst over de vloer.

1987 (g) Amsterdam, Rijksmuseum Nederlands Scheepvaart Museum, Kunst over de vloer.

1987 (g) Den Bosch, Het Kruithuis.

1987 (g) Rotterdam, Oude Gemeente Bibliotheek.

1987 (e) Amsterdam, Galerie Hollandse Hoogte, Marokkaanse landschappen.

1987 (g) Amsterdam, Galerie Hollandse Hoogte, Zwart/wit.

1987 (g) San Francisco, Museum of Modern Art, Facets of the collection.

1988 (g) Keulen, Museum Ludwig.

1988 (g) Maastricht, Provinciehuis, Vormen van Nederlandse Landschapsfotografie.

1988 (e) Utrecht, LOKV.

1988 (e) Utrecht, Galerie Pantafos.

1988 (e) Montpellier, Journées internationales de la Photo.

1988 (e) Madrid, FOCO. Circulo de bellas artes.

1988 (g) Houston, Sarah Campbell Blaffer Gallery, Roots & Tums. 20th Century photography in The Netherlands.

1988 (e) Tilburg, Schouwburg.

1988 (g) Amsterdam, Stedelijk Museum, Roots & Turns. Traditie en vernieuwing van de fotografie in Nederland vanaf 1900.

1988 (e) Amsterdam, Canon Image Centre, Please Disturb.

1988 (g) Apeldoorn, Gemeentelijk Van Reekum Museum.

1989 (g) Apeldoorn, Gemeentelijk Van Reekum Museum, Fotografie van A tot Z (eigen collectie).

1989 (e) Breda, Museum De Beyerd.

1989 (e) Groningen, USVA Galerie, Volkskrantportretten.

1989 (e) Alkmaar, Cultureel Centrum De Vest, Volkskrant portretten.

1989 (g) Amsterdam, Stichting De Moor, Het andere gebouw.

1989 (e) Breda, De Beyerd, De eerste 20 jaar.

1990 (e) Amsterdam, Tropeninstituut, Gewoon Afrika.

Radio programs

1984 (1 april) De wereld op donderdag (gesprek met Michel Szulc-Krzyzanowski over het boek Sequences) (KRO).


Amsterdam, Michel Szulc-Krzyzanowski, documentatie en mondelinge informatie.

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.


Albuquerque, University of New Mexico.

Amsterdam, Gemeente Amsterdam.

Amsterdam, Stedelijk Museum.

Amsterdam, Stichting Dutch Photography.

Apeldoorn, Gemeentelijk van Reekum Museum.

Atlanta, High Museum of Art.

Chicago, Art Insitute.

Den Bosch, Gemeente Den Bosch.

Den Bosch, Noordbrabants Museum.

Den Haag, Haags Gemeentemuseum.

Den Haag, Rijksdienst Beeldende Kunst.

Hoevelaken, Bouwfonds Nederlandse Gemeenten.

Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.

Londen, Victoria and Albert Museum.

Madrid, Foco. Circulo des Bellas Artes.

Marseille, Musée Cantini.

New York, Chase Manhattan Bank.

New York, Museum of Modern Art.

Parijs, Bibliothèque Nationale.

San Francisco, Museum of Modern Art.

Sittard, Limburgs Centrum voor Fotografie.

Stanford (USA), Stanford University.