PhotoLexicon, Volume 12, nr. 25 (April 1995) (en)

Cary Markerink

Joyce Limburg


Cary Markerink is best known as a photographer who does commissioned work for architects and art institutions. Less familiar is his autonomous work, which features landscape as an important theme. Markerink avoids romantic imagery that depicts an atmosphere or a mood in his landscape photography. Instead, he captures the contemporary landscape in its true form. Possessing both an extensive knowledge of the history of photography as well as an avid interest in visual art, Markerink is continually in search of a personal visual language to give his subjects depth.




Cary (Charles Paulus) Markerink is born on 12 May in the Indonesian city of Medan on the island of Sumatra. Because Markerink’s father is a mediator working on behalf of business and governments, the family moves back and forth between the Netherlands and Germany on a regular basis.


The Markerink family resides in Erbach, Germany. Cary’s parents send him to a boarding school in Fulda, several hundred kilometres away from Erbach.


At the age of fourteen, Cary Markerink and his family move to the Netherlands permanently.


In Bussum, Markerink attends the MAVO (Middelbaar Algemeen Voortgezet Onderwijs, ‘Lower General Secondary Education’).


Markerink leaves home and starts living in Amsterdam. Shortly after, his parents bring him back home. Markerink draws on a frequent basis, which inspires his parents to enrol him at the St. Joost Academy in Breda.


Markerink attends night school at the St. Joost Academy in the department of ‘vrije grafiek’ (‘open graphic art’, painting and drawing). During the day he works for the company, Drameta, as a designer of utilitarian objects made from metal wire.


Markerink returns to Amsterdam and wishes to enrol in the department of painting and drawing at the Gerrit Rietveld Academy, but his application is turned down. He meets the pop musician and later photographer, Jan Voster, through whom he becomes friends with Sybrand Hekking and Hock Khoe. Markerink starts photographing on a serious basis with Khoe.


One year later, Markerink is this time accepted to the photography department of the Gerrit Rietveld Academy.


For his internship, Markerink travels to Suriname with various plans, which include making a fashion reportage together with a fellow student. His travelling companion introduces him to the architect, Lucien Lafour, from whom he receives his first photographic commissions. Markerink also meets the photographer, Michiel Kort. Through Kor, Markerink becomes familiar with the problematic issues surrounding the country’s oppressed populations (black woodsmen and Indians). Markerink gives an impression of the life of these people in his portraits and reportage photos.


Markerink’s final examination comprises his reportage work from Suriname, a series of still lifes and the series, Stadsstillevens (‘Urban Still Lifes’).


Markerink receives his first documentary photo commission from the AFK (Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’), with which he further develops his series, Stadsstillevens. In the same year, he collaborates with Sybrand Hekking and Harry Talsma on a loose-leaf publication about the photographer, Bernard F. Eilers, as well as an accompanying exhibition held in the Amsterdam City Archives. Thanks to the involvement of Markerink and Hekking, Eilers’ legacy of photos, prints and documentation are bequeathed to the Print Room of Leiden University in 1980.


On his own initiative, but with commissions from Dutch publications such as Vrij Nederland, Haagse Post and NRC Handelsblad, Markerink travels once again to Suriname to photograph the elections. In Suriname, however, the army leader Bouterse seizes power unexpectedly. Markerink arrives two days after the coup. He photographs Bouterse’s press conferences and the presentation of the first cabinet of Chin A Sen. He also photographs at Fort Zeelandia, where members of the military have taken refuge.


Markerink makes his third trip to Suriname, where the architecture duo, Lucien Lafour and Rikkert Wijk, commissions him to photograph all of their designed projects.


Sybrand Hekking, Gerard Polhuis and Markerink set up a publishing company specialised in photo books, Fragment Uitgeverij. Markerink is affiliated with the company as a publisher until 1985.


In the framework of the ‘Open Creative Commission’ for the AFK, Markerink works on a number of still lifes.


Markerink receives his third commission from the AFK. This time he records Amsterdam’s dynamic urban life in the series, Big City.


The Rijksmuseum in Amsterdam commissions Cary Markerink and Theo Baart to produce Wonen in naoorlogse wijken (‘Residing in Post-War Neighbourhoods’). It is while working on this project that the basis is laid for future collaboration and friendship between the two men. Markerink is the first photographer to work on the Rijksmuseum commission with colour film material. Wonen in naoorlogse wijken is exhibited in the Rijksmuseum in 1987. A catalogue with the same title appears simultaneously.


With his friend, Khoe, Markerink travels to the American West. He returns with a series of landscape photos made in the deserts of Joshua Tree State Park, Death Valley (California) and Mono Lake Park, outside the city of San Francisco. At the request of Dick Breebaart, the series is exhibited at the gallery of Hollandse Hoogte, a photo mediation agency.


Markerink takes a dye transfer workshop at Snowmass Village (Colorado, United States). In the same year, he and Theo Baart are commissioned by the Vereniging Dorpsbelang Nagele (‘Association Defending the Interests of the Village of Nagele’) to document life in the village of Nagele. This project results in the book, Nagele [NOP].


Markerink receives another commission from the AFK. The poets, Robert Anker and Tom van Deel, and the photographers, Cary Markerink, Theo Baart and Diana Blok, respond to one another’s work in the form of a chain letter.


Markerink is commissioned to photograph paintings for a book on the art collection of the Academic Medical Center in Amsterdam. This marks the beginning of his commissioned work in the Dutch visual art circuit.

1990 to present

Besides his commissioned work, Markerink works on various projects (separately or simultaneously), in which trees, shrubbery and vegetation growing on empty pieces of land are the main photographic subjects.


Once every two weeks, the Dutch newspaper, De Volkskrant, publishes a column in which writers such as H.C. ten Berge, Willem van Toorn and Louis Ferron describe their memories of special places in the Dutch landscape. Markerink is commissioned by De Volkskrant to photograph these locations. These panoramic landscape photos are published with the stories.


Markerink receives the Maria Austria Prize from the Stichting Foto-Archief Maria Austria (‘Maria Austria Photo Archive Foundation’) for his landscape oeuvre.


Cary Markerink’s work is diverse and multi-faceted. His commissioned photography primarily concerns architecture as well as artwork for art magazines, museums and galleries. In his autonomous work, landscape is a key theme. In his landscape photos, Markerink avoids images that reflect moods or an atmosphere. He portrays the landscape as the observable space in which we live.

As a student at the Gerrit Rietveld Academy, Markerink is considered to be a bit headstrong. His teachers, Hans Katan and Pieter de Groot, encourage his interest in and knowledge of art history. With other teachers, such as Jan Versnel and Cees van Heemskerk, Markerink’s relationship is less positive. He often refuses to follow the assignments given by these teachers, instead choosing to go his own way. Despite Versnel and Heemskerk’s negative opinion, Markerink spends his internship period in Suriname, where he documents the everyday life of the oppressed populations (black woodsmen and Indians), whose very existence is threatened there. Back in the Netherlands, these photos will be used by various (Surinamese) action groups and welfare institutions. Although he will eventually return to Suriname to work on reportage assignments for Dutch publications, such as Vrij Nederland, Haagse Post and NRC Handelsblad, Markerink consciously decides against furthering his career as a reportage photographer. He believes that many of the socially committed photographers of his day far too frequently –produce stereotyped images – in their effort to meet the media’s demands – that only serve to confirm (preconceived) notions. It is this critical stance towards social photography that leads Markerink to seek topics that are different. During his last years at the Gerrit Rietveld Academy, Markerink’s photographic production includes a number of abstract still lifes, as well as the series, Stadsstillevens (‘Urban Still Lifes’), in which he chooses the city, rather than its inhabitants, as his subject. Markerink by no means stands alone when it comes to his critique of social photography. Judging by a symposium held in Groningen in 1981, it turns out that other photographers, as well as photo historians, are voicing questions concerning the commitment of social photographers. This shift in attitude inspires photographers to seek out other subjects and gives rise to another visual language. As a result, the (urban) landscape and other topics are now becoming relevant.

Markerink makes a clear distinction between work done on commission and his autonomous work. With commissioned projects, he largely omits his personal interpretation of the photographic subject. In his architectural photos, Markerink captures the form and function of buildings in a clear and documentary way. His commissioned work in this area focuses exclusively on those architects whose work he admires, such as the architecture duo, Lucien Lafour and Rikkert Wijk, as well as Aldo van Eyck, Gunnar Daan and the recently deceased architect, Theo Bosch. He has also come into contact with other disciplines within the visual arts through the commissions that he has received, including Foundation De Appel, the Stedelijk Museum in Amsterdam, and the Kröller-Müller Museum. All serve as an important source of inspiration for Markerink’s autonomous work.

In his autonomous work, Cary Markerink is always searching for a personal way to represent his subjects. In finding a visual form of expression, he in no way wishes to limit himself to any one given approach or style. Consequently, his autonomous work therefore reveals a diversity in his expressive images as well as those that depict a more neutral registration.

In his early days as a photographer, the AFK (Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’) grants Markerink the opportunity to further complete his series of still lifes as well as his series, Stadsstillevens. These still lifes are produced with simple materials, such as paper and cardboard and exposed with projections of reworked slides and available daylight. In these abstract still lives, Markerink’s aim is to express his feelings by means of the forms, composition and the play of light. His inspiration for these works are still lifes by the Czech photographers, Josef Sudek and Jaromir Funke.

Cary Markerink also has an affinity with work done by photographers assembled for a 1975 exhibition held in New York, entitled: New Topographics. Photographs of a Man-Altered Landscape. This exhibition presented an image of landscape that was entirely different from what was being shown in traditional landscape photography, where landscape is usually portrayed as a synonym for (the experience of) nature. It was the first time that photographers ­– including Robert Adams, Lewis Baltz, Frank Gohlke and Stephen Shore – showed still images of urban construction, electricity poles and the industrial complexes that shape the landscape. Moreover, they depicted their subjects in a way that was both objective and documentary. Markerink sees these photos for the first time in 1982 during an exhibition in London at Gallery B2. His series, Stadsstillevens, portraying fragments of street life in Amsterdam, reveals similarities to the approach of the ‘New Topographers’. By capturing the ‘unconscious’ experience of the daily landscape – the decor – Markerink provides an image of a city in still photos, where people reside, work and live, without showing the actual inhabitants themselves.

The series, Big City, demonstrates an entirely different approach. For this series, it is precisely the inhabitants of Amsterdam that Markerink seeks. He photographs them in places where people gather in large numbers, such as the Kalverstraat, Amsterdam’s main shopping street, and Central Station. In order to express the city’s dynamic character, he works with colour material, applies techniques such as flashing artificial light on daylight film. and introduces (motion) blur.

In 1985, the Rijksmuseum commissions Cary Markerink and Theo Baart to make Wonen in naoorlogse wijken (‘Living in Post-War Neighbourhoods’). Here Markerink chooses for the architecture of post-war housing projects, with subjects taken from various locations across the Netherlands. Using a 6×6 camera, a technical camera, and a panorama camera, he captures the neatly organised housing developments in colour and black and white. He experiments frequently with the colour material, by using overexposure and flash and by manipulating colours when printing. The subjects captured in black and white are presented in a more neutral manner. In a review in Vrij Nederland under the title of ‘Klein, knap en kristelijk’ (‘Small, Pretty and Christian’), Mariëtte Haveman expresses her critique of the random way in which the assignment has been carried out. She also questions the policy of the ‘photo commission’ in general, without disclosing her own ideas regarding what a good and accurate description of such a commission might be. Markerink also agrees that the final product fails to form a unified whole. He blames this in part on the fact that his photographs were taken at too many different locations.

As a result of the Rijksmuseum commission, Cary Markerink and Theo Baart are asked to document life in the Dutch village of Nagele by the Vereniging Dorpsbelang Nagele (‘Association Defending the Interests of the Village of Nagele’). Nagele was originally designed by the architects of ‘De Acht en Opbouw’ (‘The Eight and Construction’). With this commission, the photographers are given an opportunity to work together, this time limited to one specific location. Theo Baart chooses the lives of the village’s inhabitants as his topic. Markerink concentrates on the architecture and the landscape in and around the village. The photos are published in the book, Nagele [NOP] (‘Nagele [North-East Polder]’). Because Markerink and Baart portray their subjects in a documentary manner with a certain objectiveness and reserve, this series reveals a more consistent totality than the previous commission.

In Cary Markerink’s photos, the emphasis lies on the rectilinear structure of this space conceived by man. During a trip across America, he is fascinated by the ‘high desert’ in the West. After hours of walking in the hot and arid desert, this landscape almost seems unreal to him. In what he perceives as a metaphysical landscape, he aims his camera at the erratic sand and rock formations. Through their suggestive forms, these images often have erotic implications. In recent years, Markerink has been working on various projects – sometimes simultaneously – in which he focuses on trees, shrubbery and vegetation on fallow pieces of land. In these works he investigates the various possibilities of observing and experiencing a landscape in an image. Significant attention is given to the form of presentation in a manner that is different from his previous work. By combining the photos in diptychs and triptychs or in a block framework of different photos, the images as a whole prevail over the individual photo. Some of these diptychs and triptychs ­– taken from various camera angles – show the same groups of trees or bushes, such as with the triptych made in the French Camargue. This work depicts a wild and ravaged group of trees, as viewed through the eyes of an inquisitive hiker. The work, Botanica, shows vegetation on fallow pieces of ground in three photographs. Placed monumentally in the middle of each image is a berm plant in close-up. Another triptych consists of three bare trees, as well placed in the middle of the image. In both works, the emphasis is placed on the subjects’ forms, which can then be compared with each other. Such an approach is in line with a generation of contemporary American and German photographers who investigate the character and the mutual similarities of their subjects from a typological perspective. For Markerink, however, the social context of what he photographs is also important. A nuclear factory in the background, rubbish and garbage are matters that are kept visible in the image, indicating that his subject is situated in a modern landscape.

During various holiday trips across France, Markerink’s attention often returns to the Loire River. This has resulted in his choosing the Loire as his main focus in his most recent work, Album. This work consists of twenty-five photos. The images have been taken with a 6×12 panorama camera, printed as contact photos and placed horizontally, vertically and in a block format. To communicate the order in which the photos are to be ‘read’, the first photo in the upper-left corner of the block and the last photo in the lower-right corner are both in colour. The images depict the landscape along the river, often in a documentary manner. For Markerink, this work is a tribute to landscape and travel photography from the nineteenth century. Because of the unemphatic way in which photographers of this era portrayed landscapes, he sees this period as the golden age of landscape photography.

In Markerink’s landscape photography, there is no idealisation of the natural element. In his opinion, images of the idealised natural landscape do not correspond with the actual experience of our surroundings. He does not wish to be moralising in his visual language, as he puts it. While the subject lends itself readily to a critical stance, it is for precisely this reason that Markerink avoids instilling his images with a directly readable personal judgement regarding the situations they represent. In his work, a distinction can be made between Markerink’s ways of handling black-and-white versus colour material. When it comes to the former, he places high demands on the printing technique, requiring that all grey values be shown. In his treatment of the latter, he permits himself a greater freedom to experiment and manipulate.

The photography of the ‘New Topographers’ represents another approach in the theme of landscape. In the 1980s, an increasing number of photographers outside the Netherlands begin to portray landscape as the space that is actually observable. Through the influence of documentary photography outside the Netherlands and a number of other important conditions, such as the critical attitude towards social photography and a wider notion of landscape as ‘one’s own personal environment’, the cultivated landscape has also become a theme in Dutch documentary photography. Markerink’s series, Stadsstillevens, Wonen in naoorlogse wijken (‘Urban Still Lifes, Residing in Post-War Neighbourhoods’) en Nagele [NOP] can be seen as early examples of this development. He is as well the first photographer to work with colour material on commissions for the AFK and the Rijksmusem. Markerink’s recent work is more conceptual in character. In these projects, he focuses on the different ways to observe and experience his subjects.


Primary bibliography

Cary Markerink en Sybrand Hekking, Bern. F. Eilers fotograaf, Den Helder (Hekking & Talsma) 1979 (serie: De geschiedenis van de Nederlandse fotografie in monografiën).

Werk van fotograaf Bernard F. Eilers, in Ons Amsterdam 31 (september 1979) 9, p. 232-234.

S. Hekking e.a., Cas Oorthuys fotograaf 1908-1975, Amsterdam (Fragment) 1982 (serie: De geschiedenis van de fotografie 2).

Gesprek met Lucien Lafour, in Adek. Suriname periodiek voor Amsterdam 10 (9 februari 1983) 1 ,p. 15-17.

Hans Aarsman en Cary Markerink, Ouwehoeren met Cor Jaring, in Plaatwerk 1 (november/december 1983) 4, p. 16-17.

Marie-José Creemers e.a. (red.), Amsterdam 1950-1959 20 fotografen, Amsterdam (Fragment) 1985.

Theo Baart en Cary Markerink, Wonen in naoorlogse wijken, Amsterdam (Fragment) 1987.

Anneke van Veen (tekst en red.), Theo Baart en Cary Markerink (foto’s), Nagele. [NOP], Amsterdam (Fragment) 1988.


images in:

Jere (uitgave van Welsuria Amsterdam) 1977-1983.

Suriname Bulletin (uitgave van het Suriname Comité Amsterdam) 1978-1982.

Adek. Suriname periodiek voor Amsterdam 1979/1983.

Rudie Kagie, Een gewezen wingewest, Suriname voor en na de staatsgreep, Bussum (Het Wereldvenster) 1980, p. 47, 75, 82, 111, 117.

Vrij Nederland 15 maart 1980.

Vrij Nederland 22 maart 1980.

Forum 27 (juni 1982), p. 28-39.

Vrij Nederland 18 december 1982.

Vrij Nederland 25 december 1982.

Vrij Nederland 8 januari 1983.

Vrij Nederland 12 februari 1983.

Vrij Nederland 30 juni 1983.

Vrij Nederland 24 september 1983.

Ruud de Wit, Suriname, Den Haag (NOVIB) 1984.

Anne Marie Janssen, Suriname. Ontwikkelingsland in het Caraïbisch gebied, Amsterdam (Uitgeverij SUA) 1986, omslag.

Architectuur in Nederland. Jaarboek/Achitecture in the Netherlands. Yearbook 1988-1989, p. 108.

E.M.H. van Dooren en W.H. Brummelkamp, Vijftien stromingen in de AMC collectie. Nederlandse schilderkunst na 1945 uit de collectie van het Academisch Medisch Centrum, Wageningen (Veenman & Zonen) 1989.

De Architect. Vaktijdschrift voor architectuur november 1989, p. 47-53.

De Architect. Vaktijdschrift voor architectuur december 1989, p. 52-54.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1989/1990 p. 52-57.

Catalogus tent. Art meets science and spirituality in a changing economy, Amsterdam (Museum Fodor) 1990, p. 361, 370.

Catalogus tent. Cristina Iglesias, Amsterdam (Stichting De Appel) mei 1990.

Catalogus tent. Bustamante, Amsterdam (Stichting De Appel) augustus 1990.

De Architect. Vaktijdschrift voor architectuur juni 1990, p. 27.

De Architect. Vaktijdschrift voor architectuur september 1990, p. 101-105.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1990/1991, p. 40-42, 140-145,148-153.

M. Kloos, Lafour & Wijk. Architects. Winners of the Merkelbach Prize, Amsterdam (Architecture & Nature Press) 1991 (serie: Arcam pocket nr. 2).

Catalogus tent. Ninaber, Peters, Krouwel. Functie vormt stijl, Amsterdam (Stedelijk Museum) 1991, schutbladen.

Catalogus tent. Parler Femme, Amsterdam (Museum Fodor) 1991.

Catalogus tent. Amsterdam koopt kunst/Amsterdam buys art, Amsterdam (Museum Fodor) 1991.

Archis. Architectuur. Stedebouw. Beeldende Kunst (januari 1991) 1, p. 44-45.

De Architect. Vaktijdschrift voor architectuur januari 1991, p. 63-73.

Catalogus tent. Grenville Davey, Amsterdam (Stichting De Appel) februari 1991.

Catalogus tent. Frans West/Otto Zitko, Amsterdam (Stichting De Appel) maart 1991.

Archis. Architectuur. Stedebouw. Beeldende Kunst (mei 1991) 5, p. 2-3.

Catalogus tent. Miroslaw Balka, Amsterdam (Stichting De Appel) juni 1991.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1991-1992, p. 102-103, 140-145, 148-153.

de Volkskrant (om de twee weken een foto) 19 oktober 1991 – 6j uni 1992.

M. Brouwer en R. Brouns, Sculptuur, Beeldhouwwerken van het Rijksmuseum Kröller-Müller, Amsterdam (Joh. Enschedé) 1992.

Catalogus tent. Amsterdam koopt kunst. Gemeentelijke kunstaankopen 1992/Municipal Art Acquisition 1992.

Amsterdam buys art, Amsterdam (Stedelijk Museum) 1992.

Catalogus tent. ‘Tentoonstellingen’, Amsterdam (Museum Fodor) 1992.

Catalogus tent. Gerard Polhuis, Utrecht (Centraal Museum) 1992.

Catalogus tent. Through the viewfinder, Amsterdam (Stichting De Appel) 1992.

Catalogus tent. Thomas Locher, Amsterdam (Stichting De Appel) augustus 1992.

M. Kloos, Rudy Uytenhaak. Architect. Winner of the Wibaut Prize 1993, Amsterdam (Architecture & Nature Press) 1993 (serie: Arcam pocket nr. 5).

M. Kloos, Public Interiors. Architecture and public life inside Amsterdam, Amsterdam (Architecture & Nature Press) 1993 (serie: Arcam pocket nr. 6).

Rietveldprijs 1993. Bouwen aan de stad Utrecht 1991-1992, Bussum (Thoth) 1993, p. 32-36.

Catalogus tent. Ton van Summeren, Leiden (Stedelijk Museum De Lakenhal) 1993.

Catalogus tent. Aanwinsten/Acquisitions. Stedelijk Museum 1985-1993, Amsterdam (Stedelijk Museum) 1993, p. 42-43, 60, 65, 80, 93, 99-100, 108-109, 121, 143, 185, 208, 212, 251, 264-294,361,364.

Catalogus tent. Amsterdam koopt kunst. Gemeentelijke kunstaankopen 1993/Municipal Art Acquisition 1993.

Amsterdam buys art, Amsterdam (StedelijkMuseum) 1993.

Catalogus tent. Marcel Odenbach, Amsterdam (Stichting De Appel) 1993.

Prix de Rome 1993, Rotterdam (Uitgeverij 010) 1993.

Catalogus tent. Jeroen Snijders, Amsterdam (Stichting De Appel) februari 1993.

Catalogus tent. Evi Goldstein, Amsterdam (Stichting De Appel) april 1993.

Catalogus tent. Avis Newman, Amsterdam (Stichting De Appel) juni 1993.

Catalogus tent. Mischa Kuball, Amsterdam (Stichting De Appel) oktober 1993.

Het Hollands landschap als kunstwerk, in Forum 37 (november 1993) 1, p. 30-31,48-49.

Architectuur in Nederland. Jaarboek/Architecture in the Netherlands. Yearbook 1993-1994, p. 105-107.

M. Kloos, Amsterdam Architecture 1991-1993, Amsterdam (Architecture & Nature Press) 1994.

Prix de Rome 1994, Rotterdam (Uitgeverij 010) 1994.

Catalogus tent. The Spine, Amsterdam (Stichting De Appel) januari 1994.

Archis. Architectuur. Stedebouw. Beeldende Kunst (maart 1994) 3, p. 10-11.

Archis. Architectuur. Stedebouw. Beeldende Kunst (mei 1994) 5, p. 14.

Archis. Architectuur. Stedebouw. Beeldende Kunst (juli 1994) 7, p. 14-16, 76-77.

Secondary bibliography

Catalogus tent. De stad in zwart/wit. 5 Jaar Amsterdamse dokumentaire foto-opdrachten, Amsterdam (Museum Fodor) 1981, p. 6-g, 34 (Skrien (juni 1981) 108, bijlage).

Anneke van Veen, Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1983-1985, in Fodor 5 (mei/juni 1986) 3, p. 3-4.

Mariëtte Haveman, Reportagefotografie: het belang van de stad, in Fodor 5 (mei/juni 1986) 3, p. 5-10.

Willem Ellenbroek, Amsterdam in vijftien beeldverhalen. Gemeentearchief laat foto-opdrachten zien, in de Volkskrant 1 mei 1986.

Bas Roodnat, Vijftien fotografen legden drie jaren Amsterdam vast, in NRC Handelsblad 3 mei 1986.

Auteur onbekend, Foto’s en facetten in Rijksprentenkabinet, in de Volkskrant 18 december 1986.

W. Broekman e.a., Achter het beeld, Amsterdam (Makkom) 1987, p. 52-55, 114-115 (met foto’s).

Catalogus tent. Het subjektieve objectief. Werk van studenten/docenten fotografie, Amsterdam (Rijksacademie) 1987, p. 14-15.

Bas Roodnat, Foto’s van de wurgend eentonige architectuur in Nederland, in NRC Handelsblad 3 januari 1987, p. 5.

Mariëtte Haveman, Klein, knap en kristelijk. De jaarlijkse documentaire foto-opdracht van het Rijksmuseum, in Vrij Nederland/Boekenbijlage (17 januari 1987) 3, p. 11.

Ton Hendriks en Josephine van Bennekom, De beperkingen van vrijheid. Ervaringen van fotografen met documentaire opdrachten, in Perspektief (juni 1987) 28/29, p. 18-23.

W.Janssen, Vormen die geen mens kan bedenken, in Trouw 13 augustus 1988, p. 20.

Hans Aarsman, Denken is moeilijk, niet denken is moeilijker. Elf serieuze fotografen en de aanloopstrook, 2 delen, Amsterdam (Riba-pers) 1988, (met foto’s).

Mattie Boom, Foto in omslag. Het Nederlandse documentaire fotoboek na 1945, Amsterdam (Fragment) 1989, p. 44-45.

Anneke van Veen, Amsterdam bevor’s vor bei ist, in Catalogus tent. Stadtfotografie Berlin, Berlijn (Neue Gesellschaft für Bildende Kunst) 1989, p. 8-15.

Hans Aarsman e.a., Foto’s in schrift, Amsterdam (Bezige Bij) 1990, (met foto’s) (serie: Raster 49).

De kunstprijzen 1991. Juryrapport Stichting Amsterdams Fonds voor de kunst, 1991.

Ursula den Tex, Fotoboeken. ‘De oudere garde maakt nu verstilde kunstfoto’s’. De uitgevers van Fragment: geen fototalent blijft onopgemerkt, in Vrij Nederland (20 juli 1991) 29, p. 44-47.

Auteur onbekend, Fotoprijzen toegekend, in Algemeen Dagblad 10 september 1991.

N. Baartman, Lief rotsje met plantje aan de lippen, in de Volkskrant 13 september 1991.

Anneke van Veen (red.), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991, Amsterdam (Gemeentearchief Amsterdam) 1992, ongepag.

Linda Roodenburg (samenstelling), Fotowerk. Fotografie in opdracht 1986-1992, Rotterdam (uitgeverij 010) 1992, p. 25-26, 146.

Catalogus tent. Wasteland. Landscape from now on. Fotografie Biënnale Rotterdam 111, Rotterdam (Uitgeverij 010) 1992, p. 37, p. 68-69 (met foto’s).

Catalogus Nederlandse Kunst Rijksaankopen 1992, Den Haag/Zwolle (Rijksdienst Beeldende Kunst/Waanders) 1993, p. 114-115.

B. Ockers, Leven in Nederland. Twintig jaar fotografie in Nederland, Arnhem (Nederlands Openlucht Museum) 1994, p. 52-54.

M. Behm e.a., Een natuurlijke Verzameling, in Ideas of Nature (Artoteek Zuid-Oost) 2 (mei 1994) 2,p. 13-14.


Jury Vrije Creatieve Opdrachten, Amsterdams Fonds voor de Kunst, 1984-1985.

Beroepskostencommissie Algemeen en Fotografie 1990-1991.

Beroepskostencommissie Film en Video 1990-1991.

Basisbeurscommissie (hieraan verbonden als fotografiedeskundige), 1994.


1991 Maria Austriaprijs.


1977 (e) Amsterdam, Galerie Srefidensi, Surinaamse Impressies.

1981 (g) Amsterdam, Museum Fodor, De stad in zwart/wit.

1983 (e) Amsterdam, De Moor, Stads-/stillevens.

1983 (e) Amsterdam, De Verbeelding, Surinaamse architectuur van Lucien Lafour.

1986 (g) Amsterdam, Museum Fodor, Foto ‘s voor de stad.

1986/1987 (g) Amsterdam, Rijksmuseum, Wonen in naoorlogse wijken.

1987 (e) Amsterdam, Stichting Makkom, Achter het beeld.

1987 (g) Rotterdam, Oude Gemeente Bibliotheek, Fotografie in opdracht.

1987 (g) Amsterdam, Rijksacademie, Het subjektieve objektief.

1988 (e) Amsterdam, Hollandse Hoogte, High Desert Foray.

1988 (g) Nagele, ‘t Schokkererf, Nagele NOP.

1989 (g) Amsterdam, Canon Image Centre, Nagele NOP.

1989 (g) Berlijn, Neue Gesellschaft für Bildende Kunst, Stadtfotografie Berlin und Amsterdam.

1989 (g) Haarlem, Galerie Tanya Rumpff, Fotowerken.

1992 (g) Amsterdam, Museum Fodor, Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991.

1992 (g) Amsterdam, Museum Fodor, Salon Spectacle ‘Wat Amsterdam betreft..?’.

1992 (g) Amsterdam, Beurs van Berlage, Fotowerk. Fotografie in opdracht 1986-1992.

1992 (g) Rotterdam, Studio Waterstad, Wasteland. Landscape from now on (Fotografie Biënnale Rotterdam III).

1993 (g) Velsen, Museum Beeckestijn, Waaiers. Kunstuiting van vroeger en nu.

1994 (g) Rotterdam, Nederlands Foto Instituut, Hallo Rotterdam.

1994 (g) Arnhem, Nederlands Openlucht Museum, Leven in Nederland.

1994 (g) Amsterdam, Artoteek Zuid-Oost, Een natuurlijke verzameling.

1995 (g) Almere, De Paviljoens, Cary Markerink fotografie.


Amsterdam, Joyce Limburg (ongepubliceerde doctoraalscriptie kunstgeschiedenis: Visie op Ruimte. Hedendaagse Nederlandse landschapsfotografie, Rijksuniversiteit Leiden 1993).

Amsterdam, Cary Markerink, documentatie en mondelinge informatie.


Amsterdam, Gemeentearchief.

Amsterdam, Rijksmuseum.

Amsterdam, Stedelijk Museum.

Den Haag, Rijksdienst Beeldende Kunst.

Rotterdam, Museum voor Volkenkunde.