Anja de Jong
Tineke de Ruiter
Anja de Jong has achieved international notoriety as a black-and-white photographer with her analytical, abstract interpretations of architecture. These photos are taken during projects of her own initiation. She also does work on assignment. De Jong’s photos are characterised by their austerity and richness in detail. Since 1992, De Jong has been working on a long-term project involving landscape photography.
Johanna Pieternella (Anja) de Jong is born on 14 January in Scheveningen as the third child in the De Jong family.
The De Jong family moves to Dordrecht.
At the ABK (Academie van Beeldende Kunsten, ‘Academy of Fine Arts’) in Rotterdam, De Jong enrols in the study programme ‘visual communication’, with photography (instructor Frits van Santen) and illustration (instructor Peter Jansen) as her specialisations.
De Jong moves to Rotterdam.
Anja de Jong works as an autonomous photographer. She also does work on assignment.
De Jong moves to Dordrecht.
De Jong teaches several nights a week at De Werkschuit in Gouda.
De Jong works on the series Constructies (‘Constructions’), in which she analyses the spatial effects of surfaces through light and shadow.
De Jong travels to Paris, Bologna, Barcelona and Bazel (Switzerland) with a travel stipend of Dfl. 2,000 from the Ary Scheffer Fund.
De Jong is commissioned to make a photo reportage in a hospital in Dordrecht.
De Jong refers to her next series of still lifes as Composities (‘Compositions’). Everyday objects appear to be playing a game with gravity through the camera angle and lighting used.
In December and January, De Jong photographs a number of water embankments (‘waterkeringen’) in the Netherlands. The shots are made for a twelve-minute slide projection, entitled Argini in Olanda (‘Embankments in Holland’), which she produces for the XVII Triënnale di Milano (‘Milan Triennial Exhibition’).
On her own initiative, De Jong photographs the MUKHA (Museum van Hedendaagse Kunst Antwerpen, ‘Museum of Modern Art’) in Antwerp, the water purification centre in Rotterdam and the Waalkens Gallery in Finsterwolde.
On 7 April, the slide programme Argini in Olanda is shown at a meeting of SAM (Stichting Audiovisuele Manifestaties Dia-programma’s, ‘Audiovisual Manifestations Foundation Slide-Show Programmes’) at ‘t Spant in Bussum.
In Paris, De Jong photographs the Musée d’Orsay, which opened in 1986.
The city of Leiden (in cooperation with the Fotomania Gallery) commissions De Jong to photograph the Rijksmuseum van Oudheden (‘National Museum of Antiquities’). She also shoots photos of the museum’s storage depot (including sculpture casts), which is located in the Rijksmuseum van Volkenkunde (‘National Museum of Ethnology’). The results of this commission are shown along with the work of nine other photographers at the exhibition De Verbeelding van Leiden (‘The Representation of Leiden’). A book bearing the same title is also published along with this exhibition. De Jong is commissioned by the Rotterdamse Kunststichting (‘Rotterdam Art Foundation’) to photograph the architecture of Rotterdam, to be published in the form of a portfolio containing postcards: Rotterdamse Architectuur in kaart (‘Rotterdam Architecture Mapped Out’). In addition, she autonomously photographs the Lely pumping station on the edge of the Wieringermeer Polder, the Mesdag Panorama in The Hague, and the WRK III (waterzuiverings-installatie Rijn-Kennemerland, ‘Water Purification Installation Rhine–Kennemerland’).
The AFK (Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’) commissions De Jong to take shots of interior spaces in Amsterdam museums and the objects that are found in these spaces (Jewish Historical Museum, National Maritime Museum, Stedelijk Museum, Anne Frank House, Tropenmuseum and Museum ‘t Kromhout).
In Brussels, De Jong photographs the Royal Museum of the Armed Forces and Military History.
Anja de Jong is an instructor of photographic design at the KABK (Koninklijke Academie van Beeldende Kunst, Muziek en Theater, ‘Royal Academy of Art, Music and Theater’) in The Hague.
De Jong photographs the former broadcasting station ‘Radio Kootwijk’.
De Jong is commissioned by the ‘Maatschappij voor Bedrijfsobjecten N.V.’ to photograph the company’s buildings. Due to a change in the company’s management, a collection of photos/poetry that was planned—Om de Rechte Lijnen te Breken (‘To Break the Straight Lines’)—is never published.
On her own initiative, De Jong photographs the Oosterscheldewerken (‘Eastern Scheldt Storm Surge Works’) and the Meelfabriek (‘Flour Factory’) in Rotterdam.
Anja de Jong starts working on a long-term project, Borderland. She spends July and August in Iceland, the project’s first location, through a grant from the Gerard Hordijk Reisfonds (‘Gerard Hordijk Travel Fund’, Prins Bernhard Fund), a project subsidy from the city of Dordrecht and Kodak.
On 17 November, De Jong presents her work at the artists society ‘De Illusie’ (‘The Illusion’) in Rotterdam during a theme night of the BNA (Bond van Nederlandse Architecten, ‘Royal Institute of Dutch Architects’, Branch: Rijnmond): Architectuurfotografie als afbeelding of verbeelding? (‘Architectural photography as Image or Imagination?’).
De Jong photographs the ‘Vier Noorder Koggen’ at Enkhuizen.
De Jong works on the project Getuigenissen (‘Testimonies’), which focuses on several asylum seekers in a refugee centre in ‘s-Gravendeel. The project is exhibited twice: at the exhibition ‘t Is een vreemdeling zeker… (‘I Bet it’s a Foreigner’) in Dordrecht; and in Rotterdam at the exhibition Strangers in Paradise.
In May, De Jong visits the second location for her project Borderland, the island of La Palma, one of the Canary Islands, made possible through a ‘transaction subsidy’ of the city of Dordrecht. She photographs various locations, including the highest crater (2,426 meter) in the Parque Nacional de Caldera de Taburiente, where a space observatory (El Observatorio del Roque de los Muchachos) is situated high above the clouds.
During the symposium ‘Ruimte in de Kunsten. De relatie kunstvorm, beschouwer en ruimte’ (‘Space in the Arts. The Relationship Art Form, Observer and Space’), organised by the Stichting Modulator (‘Modulator Foundation’), De Jong gives a lecture in the Gemeentemuseum in The Hague on 19 November.
On the occasion of ‘Dordrecht Zuidhollandse Cultuurstad 1995’ (‘Dordrecht South Holland Cultural City 1995’), De Jong photographs on commission for the Centrum Beeldende Kunst Dordrecht (‘Centre of Visual Art Dordrecht’), in collaboration with the Netherlands Photography Institute in Rotterdam, on the R.E.D. terrain (Regionaal Energiebedrijf Dordrecht, ‘Regional Energy Company Dordrecht’) and in the old electricity company on the Merwede Harbour, with ‘buildings, where she can visualise the past, present and future’. This results in a group exhibition and a book: De ontdekking van Dordrecht (‘The Discovery of Dordrecht’).
Through a working grant from the Fonds BKVB (Fonds voor Beeldende Kunst, Vormgeving en Bouwkunst, ‘Netherlands Fund for Visual Arts, Design and Architecture’) in connection with the Borderland project, De Jong works on Svalbard (Spitsbergen) at four locations in June, specifically: Longyearbyen, Ny-Alesund, Barentsburg and Pyramiden.
De Jong is a co-organiser of the (exchange) project ‘De klompen van Santa Claus’ (‘Santa Claus’ Wooden Shoes’), hosted by the KABK in The Hague and Hunter College in New York.
In June, De Jong works on the island of Hawaii, the fourth Borderland location. With an entry of photos from the Borderland project, De Jong is one of the twenty-five photographers nominated for the European Architectural Photography Prize at Bonn, Germany.
In September, an overview of the first four Borderland locations is presented in the small presentation room (‘kleine zaal’) of the Nederlands Foto Instituut (‘Netherlands Photography Institute’). Simultaneously, the publication Borderland 1992-1998. Anja de Jong appears, which features twenty photos from the project.
In January and February, De Jong travels to the scientific stations on Antarctica, the fifth location of the Borderland project.
From 1976 to 1981, Anja de Jong studied at the ABK (Academie van Beeldende Kunsten, ‘Academy of Fine Arts’) in Rotterdam in the study programme ‘Illustration and Photography’. Reflecting on this period, De Jong has said that the courses ‘platte vormstudie’ (‘planar form study’), taught by Marc Terstroet, and ‘ruimtelijke vormstudie’ (‘spatial form study’), taught by Kees Verschuren, were of great importance to her. During these classes, her ideas evolved concerning the dynamic relationship between planar and spatial design that was to influence her work for a long period of time. In 1981, De Jong completed her study with a project in which she photographed paper for the company ‘Proost en Brand’ in a space designed by the architect Wim Quist on the Berenplaat.
After graduating, De Jong began working as a freelance photographer, introducing a sharp distinction between her autonomous work and her photography done on assignment. Her work can be classified into three groups: architectural interpretations, still lifes, and landscapes. All share one important characteristic, i.e. there are no people appearing in any of her photos.
Even though Anja de Jong is seen as one of the best architectural photographers in the Netherlands, one may nevertheless question whether the work with which she achieved this renown can be rightfully viewed as architectural photography. Her photos are not of facades, stairways or kitchens; it is not her aim to photograph the function and location of architecture. De Jong analyses the visual qualities of photography in terms of form, lines and the play of light, with the construction and form of architectural spaces taken as her starting point. At the same time, her work is an analysis of the act of observation. A play of lines, surfaces and shadows emphasises the planar two-dimensional character of the image, followed directly, however, by an illusion of depth and three-dimensionality. This approach results in photos in which the interpretation of architecture is more important than the recognisability of the buildings.
Sometimes one encounters only a minimum of architectural information in De Jong’s photos: the play of lines that creates an intersection of surfaces, as well as the various nuances of white, can then become the subject of a shot. Through subtle differences in tone, spatial forms are analysed and abstracted. De Jong is not so much intrigued by details in the architectural space, but rather the effects of space, lighting and shadow. The curators of the exhibition Images et Imaginaires d’Architecture (‘Architectural Images and Illusions’), held at the Centre Pompidou in Paris in 1984, selected De Jong’s photos as examples of an abstract, representational vision of architecture.
De Jong’s work in this early period is comparable to that of the American photographer Judith Turner, who photographed the white, geometric architecture of the ‘New York Five’ (including Eisenman and Meyer). In Turner’s work as well, the photos are not taken to highlight the architecture. Instead, the architecture serves as source material for compositions that tend towards abstraction. Architects, in turn, often experience both De Jong’s and Turner’s compositions as an inspiration.
Around 1987, one can observe a certain shift in De Jong’s approach to photographing architecture taking place. At this time, she photographed several examples of civil-technical and industrial architecture, such as the former Gare d’Orsay (the Musée d’Orsay) in Paris and a water treatment facility for the district ‘Rijn–Kennemerland’ (WRK. III). While the play of light and shadow were still important, De Jong devoted less attention to the nuances of white. She allowed more grey tints, which were sometimes contrasted with a heavy black. The recognisability of the space, the location, and the placement of objects within the space, all came to play a greater role. In other words, De Jong’s photography of architecture began to appear more realistic, more documentary, when compared to those taken during her more abstract early period. The fascination with themes such as space, light and time in the context of photography, however, remained. The emphasis was still on straight lines, surfaces and shadows.
In the shots that De Jong took in the exhibition building of the Mesdag Panorama in The Hague, round forms began to play a prominent role in her compositions for the first time. Only later, in her landscapes, are these round forms encountered again.
Through the shift in her approach to architecture, the work that De Jong did autonomously and that which she produced on assignment became more similar. In her commissioned work, recognisability had always been more explicit than in her purely abstract shots in white. When, in 1988 and 1989, De Jong photographed objects in museums in Amsterdam and Leiden on assignment, her approach to these shots was scarcely indistinguishable from the photos that she had taken as an autonomous photographer in the Royal Museum of the Armed Forces and Military History in Brussels. When it came to commissioned work, De Jong indeed spent more time photographing the collections, providing her with access to museum depots in attics and basements. With the images that were taken in the exhibition spaces, the objects were related to the space in which they were hanging, standing or resting. De Jong sometimes toyed with format and proportion in the process, creating a kind of disorientation.
To get a better understanding of the representation of space, De Jong investigated the theme of ‘space versus surface’ in 1983, using self-made constructions with artificial lighting.
In this self-created ‘architecture’, spatial constructions are formed from opaque and transparent triangles, squares, and trapezoids. In the resulting series of photos, which De Jong refers to as Constructies (‘Constructions’), architecture is, as it were, abstracted. Through camera angle and lighting, the spatial white and black forms, along with their grey shadows, no longer retain their three-dimensionality. What remains are two-dimensional compositions, comprised of the distribution of surfaces and the play of lines. In these compositions, white predominates. The confusing relationship between the effects of depth and surface distribution highlighted the ontological possibilities obtainable through photography. After all, through the illusory effect of perspective it seems as if we sometimes forget that, in photography, forms are always reduced to two dimensions.
After this spatial investigation, De Jong put her new insights into practice in a series of architectural shots taken during a trip abroad to cities such as Basel, Bologna and Barcelona. Through this examination of space and surface distribution, these photos led to a new vision of architecture.
In 1985, De Jong once again turned to the relationship between composition and ordinance in a series of still lifes that she referred to as Composities (‘Compositions’). Just as with the series Constructies, she experimented indoors—introducing changing camera angles and various lighting situations—with the illusionism of photography.
Small everyday (utilitarian) objects—bolts, steel wire, balls of wool, spools of thread, matches, stones, pins, or a pair of glasses—are placed on a white surface. By lighting these elements in a way that shadows are eliminated and a high contrast is created between black and white, compositions emerge that are almost graphic in nature, i.e. as if trading in her camera for a pencil. The shots are characterised by a dynamic two-dimensional partitioning of the surface, which leads to a spatial experience only upon taking a second glance. Once, however, the forms are recognised as spatial dimensions, they appear—because of the special angle from which they are photographed—to be in conflict with gravity. Because these still lifes originated from architectonic constructions that De Jong created herself, this work has been associated with staged photography, a movement that was highly prominent in the Netherlands during this period. While one could very well profess a similarity based on her object-based orientation, De Jong’s still lifes are more academic studies intended to investigate a stated visual problem rather than scenes designed to create a new reality. These two interludes—during which De Jong researched the visual qualities of photography through still lifes that she constructed herself—definitely had repercussions for her approach to photographing of architecture.
At the time, De Jong’s architectural photography had become less abstract, in about 1987, exteriors and landscapes reluctantly began to emerge. In the series Panorama Mesdag of 1988, such a ‘faux terrain’ (‘illusionary world’)—with its specific ordering—already came to play a modest role. Later, in 1990, landscape and the exterior were assigned a much more prominent role when De Jong photographed the former broadcasting station ‘Radio Kootwijk’. It would take more than a year for landscape to displace architecture from its long-standing position. In the spring of 1992, De Jong began with the first phase of a major project, Borderland. In this project, De Jong wishes to document the tense dynamic that occurs between the raw, unkempt nature and landscapes (the ‘cultural landscape’) that are shaped by humanity.
By producing a visual document, De Jong hopes to draw attention to the vulnerability of a seemingly untouched nature in high-altitude regions, ranging from cold to extreme cold, and in rainforest environments, ranging from hot to extreme hot.
She seeks to find this dynamic in areas of transition: that no-man’s-land, where traces of human interaction with nature are found in the limitless space of the natural landscape.
In terms of style and theme, the photos form the project form a unity, although for each location, of course, the relationship between the natural and the cultural landscape is unique. Each observed area of transition manifests itself per region—through the differences in the natural environments as well as the kind of human intervention—entirely in its own way.
Iceland was the first target of Borderland, because it represents a region of coldness, where people are able to live and work on a permanent basis, but is also representative of a country with its own culture. The landscape is rough and deserted, without trees. With its overwhelmingly large scale, it is experienced as threatening and disarming. The insubstantiality of humanity in such desolate regions can be felt when, while examining a photo, one suddenly sees the two miniscule radar stations on the horizon of an expansive and abandoned area; while in another photo, the same stations appear as enormous reflecting watchmen built at the foot of a mountain range. The ingredients for capturing the ‘borderland’ in Iceland at first seemed to be in ample abundance. It turned out, however, that the only true areas of transition between the natural and the cultural landscapes were to be found on the outskirts of the cities. The images that De Jong made in Iceland do not reveal a conscious choice for either one of the two landscapes. Sometimes nature, but sometimes human intervention in the landscape, predominates in these photos. These two approaches illustrate De Jong’s fascination and amazement when it comes to the delicate balance between culture and nature that the people of Iceland have managed to achieve.
Svalbard (Spitsbergen) was chosen as an example of a cold region. This initially uninhabited island has only a few liveable towns and temporary shelters, from which people work in the areas of coal mining and scientific research. When these mining locations are no longer in use, they are left behind in this barren and empty landscape as traces of human activity. It is these abandoned places that form areas of transition, where the boundary between nature and culture gradually shifts until the decline has done its definitive work. It seems that De Jong has made a more deliberate choice in Spitsbergen than in Iceland: human intervention in the landscape is the primary topic. She presents a monumental depiction of the station that measures air pollution and the remnants of the mines. She guides our glance along the most prominent elements in the photos, leading it to a barren and seemingly endless landscape. The drama these compositions radiate is intensified by the almost theatrical clouds and the special way in which the light falls.
De Jong extended her fascination for empty and desolate landscapes as well to two islands with regions found at higher elevations: La Palma (Canary Islands) and Hawaii. The boundary between the natural and cultural landscapes manifests itself differently at both of these locations. Just as with Iceland, La Palma features a barren, volcanic region. On top of the highest crater (2426 meters) in the Parque Nacional de Caldera de Taburiente, one finds a double transitional area: besides the ‘borderland’ that bridges nature and culture, here there is also, as it were, the boundary between earth and the universe. Here, in the middle of a natural landscape, a space observatory has been built (El Observatorio del Roque de los Muchachos). High above the clouds, undisturbed by conditions brought on by mist and air pollution, one can look out into space. Shots of this observatory show how what at first seems to be a major intrusion in the natural landscape is, ultimately, only a minor intervention when viewing the vastness of the landscape. In doing so, people are reminded of their insubstantiality in two ways: in relation to nature and in relation to the universe.
Several observatories are as well found on the island of Hawaii, on the mountain Mauna Kea. Here, however, the elevation is 4,205 meters. Just as with La Palma, the observatory domes appear merely as small disturbances of the natural order in this desolate, volcanic region. In spite of the infrastructure that has been built at this elevation, nature has not lost its predominance. As with most of the Borderland photos, there is virtually always some kind of architectural element present that figures as an echo of man’s intervention in nature. Traces of this are found everywhere in the landscape depicted in these Hawaiian photos. But here too the rule applies: though the photos clearly depict human intervention, nowhere does one encounter an actual living being.
Representing regions of extreme cold in this project is Antarctica. Those areas where people are no more than visitors: the scientist as investigator and the tourist as observer of the natural landscape. Because the Netherlands is one of the few countries belonging to the Scientific Committee on Antarctic Research (SCAR) that does not have its own scientific station on Antarctica, De Jong was obliged to rely completely on the permission of other countries, resulting in a delay of the preparation for her work. Climatological conditions and damage occurring during the actual trip as well created serious hindrances that frustrated her photographic work.
For many years, De Jong photographed in a square format using 6×6 cm Hasselblad negatives. She wishes to avoid making crops of these negatives, instead preferring to print the entire negative. While the square format is difficult to work with compositionally, De Jong still manages to create a dynamic distribution of tones and surfaces within these boundaries. She almost always works with a wide-angle lens. She prefers available light, except for her still lifes. In her early work, this light was meant to be diffused, in order to preserve a subtle contrast. When making prints in the darkroom, De Jong works very precisely in order to achieve the appropriate tonal scale, with the white in the photo actually approaching the white of the paper.
In the Borderland project, a remarkable break from De Jong’s earlier work occurs. Besides the thematic difference—i.e. a closed, interior space always organised by people versus the vast, unlimited exterior space found in the Borderland project—there is also a formal distinction: here she switches from the square format to an oblong format (on the basis of 4×5 inch Cambo negatives).
These two differences—theme and format—result in an entirely different compositional scheme, i.e. from closed compositions to extremely open compositions. In her landscapes, the horizon often lays at the halfway point. As such, the landscape itself, but also the sky and the light, are what significantly determines the photo. Light and the fall of light, which play such a prominent role in De Jong’s architectural photos, are therefore still very important elements in the Borderland photos. Here too, the relationships between light and dark, between form and counter-form, are investigated visually. A remark that De Jong made back in 1990 still applies: ‘What continues to intrigue me the most about photography, that you can suspend time and light within a space, and simply take the result home with you under your arm.’
The Borderland photos still preserve that typical De Jong quality: the stunning, cool light and the incomparable mastery of the tints. At the same time, the eye for detail and the authority that characterise her photography are just as discernable as before. Aesthetic, mood, and atmosphere are emphatically present.
Anja de Jong’s oeuvre is defined by its frugal, personal style. Her analytical and abstract interpretations of architecture, with images composed of white surfaces with occasional nuances of grey, are known to have inspired a number of epigones working in amateur circles during the 1980s.
In the field of professional photography, De Jong’s work is sometimes compared to that of Wijnanda de Roo: the architectural interior serves as the starting point for both photographers. At the same time, however, the differences are so marked that one can hardly speak of a mutual influence.
In terms of theme, De Jong’s landscapes are in line with descriptive landscape photography, which has been widely disseminated internationally in the wake of the exhibition New Topographics. Photographs of a Man-Altered Landscape, held in 1975. Since then, a concern for landscape and the urban environment has come to play a role landscape photography. With some, this concern is depicted in rhetorical fashion, using dramatic contrasts; with others, this occurs in a more neutral, almost careless manner.
What distinguishes Anja de Jong from other ‘descriptive’ photographers is that she does not question the landscape photography tradition. In terms of design, her work is representative of the more classical, romantic approach to the landscape. Without suggesting any direct influence, her photos give rise to associations with the work of Gustave Le Gray and Ansel Adams. De Jong’s preference for black and white and an interest in aesthetic qualities, e.g. light and dark contrasts and form versus counter-form, are signs of a completely personal idiom in contemporary landscape photography.
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Henk Gerritsen, 32 Fotografen die hun persoonlijke voorkeur in beeld brengen oog in oog met fotograaf Henk Gerritsen, Zoetermeer (P/F Publishing) 1991, p. 66-67.
Rolf Bos, Lievelingsfoto’s en hun makers, in de Volkskrant 2 november 1991.
Infoblad Kunsthal (bij tentoonstelling Camera Femina, acht vrouwelijke fotografen), Almelo (Kunsthal Hof 88) 1992.
Anneke van Veen (red.), Foto’s voor de Stad 72-91, Amsterdamse documentaire foto-opdrachten 1972-1991, Amsterdam (Gemeentearchief Amsterdam) 1992, ongepag.
Leontine Coelewij, Haro Plantenga en Anneke van Veen (red.), Foto’s voor de Stad 89-91, Amsterdamse documentaire foto-opdrachten 1989-1991, Amsterdam (Gemeentearchief Amsterdam/ Museum Fodor) 1992, ongepag.
Linda Roodenburg, Fotowerk. Fotografie in opdracht 1986-1992, Rotterdam (010) 1992, p. 45.
Hélène Damen, Architectuurfotografie: Afbeelding of verbeelding? Verslag van de BNA thema-avond van 17 november 1992, in Periodiek Speciaal (Kring Rijnmond BNA) maart 1993.
Maria van Berge-Gerbaud en Maartje Verscheure-Nelissen (red.), Institut Néerlandais Paris 1957-1992, Parijs (Institut Néerlandais) 1993, p. 70.
Frits Gierstberg, ‘Fotografie en beeldende kunst’, in W. Stokvis en K. Zijlmans (red.), Vrij Spel. Nederlandse kunst 1970-1990, Amsterdam (Meulenhoff) 1993, p. 120.
Wim Broekman, Anja de Jong. Borderland in het Nederlandse Fotomuseum. Portfolio, in Foto 49 (april 1994) 4, p. 70-74.
Anoniem [= Herman Hoeneveld], Anja de Jong, in P/F-Professionele Fotografie (1994) 7, p. 51-58.
Herman Hoeneveld, Anja de Jong in Borderland, in Kunstbeeld 18 (1994) 4, p. 51.
[Festivalkrant] Photo International Rotterdam 29 september tot en met 6 november 1994, p. 5-6, 31, 33.
Mirjam Keunen, Rotterdam als fotostad, in Algemeen Dagblad 29 september 1994.
Anja de Jong – Marijke de Goey. [Vouwblad bij gelijknamige tentoonstelling], Dordrecht (Dordrechts Museum) 1994.
Gabi Prechtl, De ontdekking van Dordrecht. Zeven zwerftochten over het eiland, Dordrecht (Centrum Beeldende Kunst) 1995, p. 36-43.
Eddie Marsman, Dordrecht per foto opnieuw ontdekt. Stad geeft opdracht aan zeven fotografen, in NRC Handelsblad 22 december 1995.
Harry J. Kraaij, Ary Schefferfonds, Dordrecht (Vereniging Dordrechts Museum) 1996, p. 30-31.
Leo Delfgaauw, Weatherview. Coast to Coast. Exchanging Views. Norwich in Den Haag. Den Haag in Norwich, Den Haag/Norwich (Koninklijke Galerie, Koninklijke Academie van Beeldende Kunsten/Norwich School of Art and Design) 1996.
Marten de Jong e.a. (red.), Exploring the Darklands. INDESEM International Design Seminar 1996, Delft (Deltech) 1996, p. 112-117.
Torn Sijtsma, Na Scheffer, in Bulletin Dordrechts Museum 21 (maart/april 1996) 2,p. 1-5.
Mirelle Thijsen, Bedrijfsfotocollecties. BNA: autonome fotografie associërend met architectuur, in Het Financieele Dagblad 11 augustus 1997.
Herman Hoeneveld, SubUrban Options, fotografie en verstedelijking. Anja de Jong: Borderland. Dubbeltentoonstelling NFI, in P/F-Professionele Fotografie (1998) 7, p. 8-10.
Josephine van Bennekom, Onbestemde sferen op eenzame hoogten. Anja de Jong fotografeert niemandslandgebieden, in Foto 53 (oktober 1998) 10, p. 58-61 (met foto’s).
Eddy Marsman, Landschapsfoto’s met de opgeheven vinger. Foto Instituut toont de toenemende verstedelijking van Nederland, in NRC Handelsblad 2 oktober 1998.
André Oerlemans, Menselijke sporen in het niemandsland, in De Dordtenaar 14 oktober 1998.
Frits Baarda, Borderland [recensie], in Focus 85 (december 1998) 12, p. 61.
Andrea Bosman, Niet de mens, alleen zijn sporen, in Trouw 1 oktober 1998.
1992 Nominatie voor de PANL Photography Awards of the Netherlands.
1994 Merit award. PANL Photography Awards of the Netherlands.
1997 Nominatie voor de European Architectural Photography Prize, Bonn.
1981 (g) Rotterdam, Kunstzaal Zuid, Debuut ’81.
1982 (g) Den Haag, Galerie Kiek, Anja de Jong, Chris Verschoor.
1982 (e) Rotterdam, Architectenbureau Hoogstad, Weeber, Schulze en van Tilburg, Anja de Jong.
1982 (e) Rotterdam, Galerie Bender, Anja de Jong. Fotografische Architectuur-Interpretaties.
1982 (e) Rotterdam, Galerie Clara (St. Clara Ziekenhuis), Anja de Jong. Fotografische Architectuur-Interpretaties.
1982 (g) Rotterdam, Galerie Delta, Function follows form, Jan Hoogstad – Anja de Jong.
1982 (g) Rotterdam, HIC (hal van het postkantoor Coolsingel), Fotografische visies op Rotterdamse Architectuur (Architecture International Rotterdam).
1983 (g) Amsterdam, Stichting Beeldende Kunst, Fotografie in Nederland.
1984 (g) Amsterdam, Canon Photo Gallery, 19 Vrouwelijke Nederlandse hedendaagse fotografen (Foto ’84).
1984 (e) Amsterdam, Galerie Algemene Bank Nederland, Anja de Jong.
1984 (e) Amsterdam, Galerie Fiolet, Anja de Jong (Vlak/vormstudies en interpretatie van de Architectuur).
1984 (g) Enschede, Fotobiennale Enschede. Amerikaanse en Nederlandse Fotografie.
1984 (g) Parijs, Centre National d’Art et de Culture Georges Pompidou, Images et Imaginaires d ‘Architecture.
1985 (e) Dordrecht, Dordrechts Museum, Anja de Jong-fotografie.
1985 (g) Fribourg, Musée d’art et d’histoire, TIP 85 Fribourg. Quatrième Triënnale Internationale de la Photographie.
1985 (g) Wijchen, Foto en Vormen. (Foto ’85 Wijchen).
1986 (e) Amsterdam, Canon Photo Gallery, Anja de Jong – Recent fotowerk.
1986 (g) Apeldoorn, Gemeentelijk Van Reekummuseum, Visualisering Gebouwde Omgeving (BNA) (Anja de Jong en Tirza Verrips).
1986 (g) Apeldoorn, Gemeentelijk Van Reekummuseum, Eigen collectie/ Vluchtwegen van de verbeelding.
1986 (g) Leiden, Pesthuis, Eerste Zuidhollandse Kunstbeurs.
1986 (g) Milaan, Palazzo della Triënnale, ‘II Luogo del Lavoro’ XVII Triënnale di Milano.
1986 (g) Rotterdam, Galerie Perspektief, Recente Nederlandse Architectuurfotografie.
1986 (g) Tilburg, Schouwburg, Recente Nederlandse Architectuurfotografie.
1987 (g) Delft, Vrije Akademie, Recente Nederlandse Architectuurfotografie.
1987 (g) Dordrecht, Stichting Verenigde Beeldende Kunstenaars Dordrecht (V.B.K. Dordt), Anja de Jong, Menno van der Weerd en Matthijs Reppel.
1987 (g) Dordrecht, Stichting Verenigde Beeldende Kunstenaars Dordrecht (V.B.K. Dordt), Tien vierkante meter ansichtkaarten.
1987 (e) Arnhem, Gemeentemuseum, Anja de Jong – Fotowerken.
1987 (g) Metz, Caves Sainte-Croix, La Photographie hollandaise.
1988 (g) Dordrecht, Artotheek, Kaaklijnen, in de buurt van het tekenen (Marijke de Goey, Anja de Jong en Michaël Winkel).
1988 (g) Hastings, Photogallery, Dordrecht Festival.
1988 (g) Leiden, De Waag, De Verbeelding van Leiden.
1988 (g) Parijs, Institut Néerlandais, Contrepoints. Anja de Jong – Teun Hocks.
1988 (e) Rotterdam, Galerie Tussenwater, Anja de Jong (Fotografie Biënnale Rotterdam).
1989 (g) Amsterdam, Posthoornkerk, Inzicht-Uitzicht. ‘Ruimte’ in het werk van negen hedendaagse fotografes (Stichting Vrouwen in de Beeldende Kunst).
1989 (g) Apeldoorn, Gemeentelijk Van Reekummuseum, Fotografie van A tot Z, eigen collectie.
1989 (g) Den Haag, Grafiekwinkel Inkt 2, 22 Fotografen uit Den Haag, Amsterdam, Rotterdam en Dordrecht.
1989 (e) Rotterdam, Galerie Fotomania, Anja de Jong.
1989 (g) Rotterdam, Galerie Fotomania, 11 Stock-Exposanten.
1989 (g) Rotterdam, Oude Binnenweg 113, Geschiedenis van de Nederlandse architectuurfotografie.
1990 (g) Den Haag, Informatiecentrum Nieuwbouw VROM, Nederlandse architectuurfotografie 1930-1990.
1990/1991 (e) Sittard, ‘Den Tempel’. Limburgs Centrum voor Fotografie, Anja de Jong. Ruimtes.
1992 (g) Almelo, Kunsthal Hof 88, Camera Femina acht vrouwelijke fotografen.
1992 (g) Amsterdam, Beurs van Berlage, Fotowerk, fotografie in opdracht 1986-1992.
1992 (g) Amsterdam, Canon Image Centre, Photography Awards of the Netherlands.
1992 (g) Amsterdam, Museum Fodor, 20 jaar Foto’s voor de Stad. Amsterdamse documentaire foto-opdrachten 1972-1991.
1992 (g) Den Haag, Artoteek, Presentatie aankopen Dordrecht 1991.
1993 (g) Rotterdam, Galerie Fotomania, 75 x recent werk.
1994 (g) Apeldoorn, Gemeentelijk Van Reekummuseum, Eigen collectie.
1994 (g) Londen, The Association Gallery, Photography Awards of the Netherlands.
1994 (g) Dordrecht, Dordrechts Museum, Anja de Jong – Marijke de Goey.
1994 (g) Dordrecht, Teekengenootschap Pictura, ‘t Is een vreemdeling zeker…. Anja de Jong, Frans van Lent, Anna Pool.
1994 (g) Hoorn, Parkgallery (Schouwburg ‘het Park’), 1994 Preview 1995. (Ku(n)stlijn/Coast(art)LINE/CALprojekt 94/95).
1994 (g) Rotterdam, Nederlands Foto Instituut, 5 jaar/years Photography Awards of the Netherlands.
1994 (g) Rotterdam, Nederlands Foto Instituut, Strangers in Paradise (Photo International Rotterdam) (met project Getuigenissen).
1994 (e) Sittard, Het Domein. Het Nederlands Fotomuseum, Borderland.
1995 (g) Leiden, Kunsthistorisch Instituut van de Rijksuniversiteit, Ruimte in de kunsten.
1995/1996 (g) Dordrecht, Centrum Beeldende Kunst, De ontdekking van Dordrecht. Een foto-tentoonstelling over het Eiland.
1996 (e) Delft, Het Paviljoen van de Faculteit der Bouwkunde, Borderland (Indesem 1996, Exploring the Darklands’).
1996 (g) Dordrecht, Centrum Beeldende Kunst, Transactiesubsidies 1994.
1996 (g) Dordrecht, Dordrechts Museum, Na Scheffer.
1996 (g) Norwich, Norwich Gallery, Weatherview.
1997 (g) Amersfoort, Elleboogkerk, De Zaaiers (Stichting Fotoforum).
1997 (g) Bonn, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, DB Architekturbild. Architektur schwarzweiss. Europdischer Architekturfotografie-Preis 1997 (rondreizende tentoonstelling).
1997 (g) Den Haag, Galerie van de Koninklijke Academie van Beeldende Kunsten, Tarwe op de Prinses.
1997 (g) Den Haag, Willem Witsenplein 6, XXL Tentoonstelling van Zuidhollandse kunstenaars.
1998 (g) Rotterdam, Nederlands Foto Instituut, Borderland 1992-1998.
Photographers Encyclopaedia International from its beginnings to the present, door Michèle en Michel Auer, Parijs 1997.
5 oktober 1998 Ophef en Vertier, waarin interview met Anja de Jong (VARA).
Dordrecht, Anja de Jong.
Leiden, Prentenkabinet, bibliotheek en documentatiebestand.
Apeldoorn, Gemeente Apeldoorn.
Apeldoorn, Gemeentelijk Van Reekummuseum.
Brussel, Trenité van Doorne.
Den Haag, Bank voor Nederlandse Gemeenten.
Fribourg, Musée d’art et d’histoire.
Leiden, Prentenkabinet Universiteit Leiden.
Leiden, Centrum Beeldende Kunst.
Parijs, Bibliothèque Nationale.
Parijs, Maison Européenne de la Photographie.
Rotterdam, Moret en Limperg.
Sittard, Stedelijk Museum Het Domein (voorheen: Het Domein. Het Nederlands Fotomuseum)