Laura Samsom-Rous
Iris Dik
Abstract
Laura Samsom-Rous belongs to the generation of photographers in the Netherlands who experienced the shift from picturing (‘afbeelden’) to imagining (‘verbeelden’). Samsom-Rous has chosen for neither one nor the other, but instead allows herself the freedom to focus in on an intensified moment taken from reality or to narrow this down in the form of a personal idea. Combining both ‘found’ and staged material, Laura Samsom-Rous takes the tension that exists between true and false, between reality and fiction, and makes it tangible.
Discussion
Laura (Samsom-) Rous spent the earliest part of her youth in Indonesia. From her third to her sixth year, she lived in various Japanese internment camps on the island of Java. Laura’s father died as a prisoner of war on the Junyo Maru, a Japanese ship torpedoed by the British. Dr. L. de Jong described this incident as ‘the greatest maritime disaster that has ever taken place’. In spite of this, Samsom still has positive memories of her life in the camp. While her living space was cramped, in the absence of toys she created her own magical world with earth, beetles, and sticks. By her own account, it was in the camps that she learned ‘to obtain an eye for the ‘trivial’’. During her first years back in the Netherlands, she even felt homesick for the Japanese internment camp. ‘I missed the light, the outdoor air, and the soil. In Holland, everything looked grim and sad: the houses full of carpeting and curtains, trees without leaves, people leaning into the wind, walking like formless shadows. I felt closed in.’ Later on as a traveling photographer, Samsom’s familiarity with being uprooted allowed her to quickly feel at home wherever she was.
Samsom has incorporated her memories of her first years in Indonesia in a recent multimedia project that bears the working title of Constructie van Herinnering (‘Construction of Memory’).
Samsom became familiar with photography early on in life, through her work as a photo model and mannequin in Amsterdam, Brussels, and Milan in the 1960s. She began relatively late as an independent photographer.
Samsom worked as a model for Dutch photographers such as Paul Huf and Hans Dukkers. During these photo sessions, she introduced her own attributes and got involved in the styling. She often requested for a mirror to be placed diagonally behind the camera, in order to play an active role in assisting with the determination of a shot’s composition. Later on, Samsom’s own photos were characterised by a high degree of aesthetic, always in her own timeless style.
Once her time working as a model was over, Samsom followed a written course with the Famous Photographers School in New York. One of the instructors at this institution was Richard Avedon, whose raw portraits were to have a lasting influence on her work. After the completion of this course, Samsom decided on a study in cultural anthropology and continued to photograph for her own pleasure on the side.
In 1970, Laura (Rous) came into contact with Hans Samsom—one of the first photographers in the Netherlands to make use of multiple images. By this time, Hans had already earned a reputation based on his ‘multi-screen projections’: composing photographic visual narratives on three slide screens placed adjacent to each other, combined with sound and text. By working with different projectors on one screen, he was able to create an image that was continuously in motion.
Laura dropped her study to work on Samsom’s projects and so that they could travel together. When in the Netherlands, Hans and Laura lived in Alphen aan den Rijn. Following their marriage in 1971, Laura took on the surname ‘Samsom’ or ‘Samsom-Rous’. First Laura assisted Hans in selecting images for his multi-screen projections, publications, and other assignments, and she wrote the accompanying texts for these works. Gradually, Laura also began taking photographs herself together with Hans, learning the profession on her way. A well-known example of the Samsoms’ joint multi-screen projections was Schrijven met Licht (‘Writing with Light’). For the third part of this trilogy, entitled the De Japanse Steenhouwer (‘The Japanese Stone-Cutter’), Laura wrote the scenario in collaboration with the poet and writer Bertus Aafjes. Equally successful was the programme Genesis from 1979, which is still being shown in a church in the Frisian village of Allingawier to this very day (anno 2001). The Samsoms’ multi-screen projections were shown at various locations in the Netherlands and abroad: at universities and in both the business and art world. Many will still recall the two introductory films produced for IKON (Interkerkelijke Omroep Nederland, ‘Inter-Faith Broadcasting Company Netherlands’), compiled with photographed and (later) filmed faces of people living all around the world.
During her many trips together with Hans (and occasionally on her own), Laura became inspired to take photographs: ‘Because I grew up in two cultures, I have always felt a strong desire to see how things might be done differently. I easily feel at home with all kinds of people and can quickly immerse myself in a culture foreign [to me], perhaps because precisely the feeling of being uprooted is something familiar to me due to my background. Incidentally, I travel not to go in search of the exotic, but rather the day-to-day. As well on the street in Amsterdam, I often feel like I’m “on a trip”. It’s more about a state of mind.’
In the beginning, she photographed anything she encountered on the spot. While Hans was taking his photographs, Laura concentrated on details found in her own immediate surroundings. ‘In order to make something interesting, it’s enough just to look at it for a long time’, would later be her motto—a free translation of Flaubert. They are somewhat alienating images: portraits in which a mysterious threat lurks, such as that of a father and son, floating like dead bodies in the sea, or seemingly surrealistic still lifes, such as the early photo of a stone that strongly resembles a pyramid, when photographed from a certain point of view.
Japan, Indonesia, and the United States were the countries Laura and Hans Samsom visited most frequently, but they also worked in many African countries and in the Middle East. In addition to open assignments, they did commissioned work for organisations such as the Royal Tropical Institute and the United Nations.
They discovered that when Laura photographed people, they were quick to feel at ease with her. Consequently, they more and more started to each make part of the portraits in their own way. It was Laura who took most of the portraits for the book De Rechten van de Mens (‘The Rights of the People’, 1982). In 1980, she took her first ‘autonomous’ photo of a trailer in black-and-white with the silhouette of a tree and its shadow. It was a magical experience that gave her a sense of the power of having her own photographic vision. She discovered that ‘everything [was] worth photographing’ and that she could elevate the smallest or simplest aspects taken from day-to-day reality, creating magic with her camera.
Various events in the early 1980s allowed Samsom to trust her belief in a future working as an independent professional photographer, in addition to her collaborative projects with Hans. The portraits she made in 1981 in Manhattan of a striking pair of twins and a family all dressed in the same handmade suits resulted in an invitation for an exhibition at the KLM Plaza on Madison Avenue in New York. Here her work was shown alongside photos taken by the big names in Dutch photography, including Ed van der Elsken and Anton Corbijn. Samsom was proclaimed as the ‘new Diane Arbus’.
In 1982, Samsom became a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’). A move to Amsterdam in that same year also gave her a new impulse. She began making her own prints and started working in the studio. In 1984, she won first prize at the Rencontres Internationales in Arles, France, with her portraits taken in Manhattan.
The portraits that Samsom had taken along the way are full of respect for the individual. Through Samsom’s camera, people are portrayed as strong yet at the same time withdrawn characters. They appear to converge with their own unique being: something that any good portrait photographer manages to bring to the surface. The South African grape picker with her handbag is photographed with the same dignity encountered in Samsom’s shot of beautiful young girls on the Mississippi or an extremely impoverished young refugee girl in Jordan. Portraits of Portraits (1983) was Samsom’s first staged, conceptual series, consisting of subdued still lifes with objects in the Art Deco style. Samsom cleverly incorporated her existing portraits into seemingly nostalgic black-and-white images, such as in the portrait of Claudette Colbert on the cover of the magazine Cine Miroir or a photo portrait of an anonymous woman in a storefront display window. With these photos, she addressed the absolutely essential matter concerning the relationship between the original and the reproduction. It was a theme that would continue to play a role in all of her series to follow and one that was well suited to the ‘Appropriation Art’ movement—involving the reuse of pre-existing (visual) material—in the post-modern 1980s.
Els Barents, curator at the Stedelijk Museum in Amsterdam, acquired some of Samsom’s pieces and subsequently included them in an exhibition during the Foto ’84 event held in Amsterdam. In a sequel to this series, Samsom followed with Voyage d’un Visage, in which she edited the same face numerous times onto a single image. Photography readily lends itself to double images, as pioneers in the history of photography previously discovered when first producing photomontages. This theme of duplication is a common thread in Samsom’s portraits, as well encountered in her later serial portrayals of twins. Absolutely no manipulation is applied to any of these works. A photo betrays nuances that cannot be seen with the naked eye. The subtle differences—the ‘individual extra’ as Samsom calls it—between these two virtually identical persons becomes tangible. One wonders where the border of the individual lies, when there are others who are made up of almost the same genetic material.
Laura Samsom’s urban landscapes and images of nature are desolate, spatial, and serene. A single, lonely human being sometimes underscores the void. Samsom has removed these places from their original context, as stage decors, in order to allow them to lead an existence of their own. The issue at hand in these landscapes is not so much the depiction of reality, but rather the creation of a representation in the viewer’s imagination. What appears to be a peaceful square in a village right out of a book by Gabriel Garcia Marquez is in reality a busy traffic intersection in San Diego. Due to the absence of people, we must often resort to making guesses about the original scale of these landscapes. What looks like a kilometers-long ribbon wrapping around the crater of the volcanic landscape of Mount Etna is in fact a fence of merely several meters in length. Samsom’s crop of a photo taken in the Parisian neighbourhood of La Défense turns a building into a structure more closely resembling a strange sort of radiator or toaster. These are strange places where a threat prevails: the silence before the storm. This threat is enhanced by the prints themselves, which are rich in contrast with a predominance of black.
In the series Et in Arcadia Ego (‘Even in Paradise I will be present’, with the ‘I’ standing for Death), Samsom provided commentary on the tension between the living and the dead, between wild and cultivated nature. In this case, she mixed shots of existing nature with photos of plant and animal presentations in natural historical museums. Like one big ‘memento mori’, this series makes the threat of nature’s cycle of dying and coming to life palpable. And the realisation that humanity, in its desire to triumph over death, only does further harm to natural life.
Laura Samsom usually works with a 35mm camera, due to its ease of use and the large depth of field: a Nikon F3 and F4, later the Canon EOS-EN and 50E. She uses the low light-sensitive Velvia 50 ASA film, which she sets at 40 ASA. The film provides an extremely fine grain and intense colours. Considering that most of her subjects are themselves usually moving very little, Samsom’s images are often confused with large format shots because of their sharpness. When working with this film, Samsom uses a flash to add fill light to her portraits, consequently drawing the face forward and away from its surroundings. These days, she often uses a photocopying machine to make new prints from her original prints (PE or barite paper). This gives both a greater contrast and a graphic quality, a technique which she feels makes the photos look ‘more current’. Reproduction also allows her to achieve a certain critical distance from the image.
Various contexts and influences can be identified in Samsom’s work. Richard Avedon’s influence on her portraits has been mentioned above. Especially her early portraits have often compared with the work of Diane Arbus, who was indeed an important influence in the beginning. Samsom was also inspired by the surreal atmospheric images of Ralph Gibson. Yet when examining her portraits and still lifes these days, one can observe that the alienation conveyed in her work is different than that of Arbus and Gibson. Although Samsom has a weakness for the eccentric and surrealistic, she has never resorted to the bizarre. Instead, she seeks out the extraordinary in the very ordinary. In terms of theme, Samsom’s shots taken in dioramas and natural historical museums are comparable to photos by Paul den Hollander. She herself says that it was chiefly Den Hollander’s earliest work that had served as a model. She was drawn to his series Moments in Time (1982) because of its surreal, slightly threatening atmosphere. Samsom’s preference for the sublime beauty of landscape as well as serene places photographed in aesthetic black-and-white places her in the tradition of American photographers such as Minor White and Robert Adams.
As mentioned before, the series Portraits of Portraits shows a conceptual association with the ‘Appropriation Art’ movement of the early 1980s instigated by American artists such as Sherrie Levine and Richard Prince. But here as well, the end result is entirely different. Samsom’s composition and finishing are more classical as opposed to (post-) modern.
Initially, Laura Samsom’s oeuvre comes across as highly diverse and even somewhat fragmented: portrait and landscape, documentary and staged work, colour and black-and-white. Yet there are so many constants found in her work, that one can still speak of a discernable photographic ‘vision’. She works on the basis that ‘everything and everybody is worth photographing.’ In Samsom’s photos of living and non-living nature, one can observe the same respect and the same absence of hierarchy as found in her portraits. One could explain this mentality based on a deep experience of nature, which may possibly have its roots in the Dutch East Indies: ‘When I am taking photographs, it seems as if I get back the innocent perspective of the child who as yet has no awareness of time and as yet attaches no names and values to beings and things,’ as she puts it. A dead rat with its crumpled feet, found along the side of the road is elevated—in part because of the enlargement—out of its lowly position and stripped of its stigma.
Samsom’s oeuvre can be seen as a quest in search of the unique essence of every human, plant, animal, and thing. She shares this passion with other photographers, yet with her images she also raises questions about whether photography can ever get to the core of the mystery of life. Are our visions not always interpretation, projection, construction?
Laura Samsom’s merit is that she has taken the essential trademark of photography—the tension between true and false, between reality and fiction—and made it the subject of her oeuvre, which consequently possesses many levels of meaning. Every photo appears as an authentic memory of that which has truly ever been, Roland Barthes’ ‘ça a été’ (‘It was’). But in fact, according to Samsom, all photos are a construction of the human spirit, of the photographer who selects the image, and of the observer, who augments the representation in his head with personal associations.
Because Samsom manages to seduce the observer with aesthetic compositions full of flowing lines, symmetry, and contrasts, complex themes remain clear and accessible.
In her ongoing research project, entitled Constructie van de Herinnering (‘Construction of the Memory’), Laura Samsom-Rous’ personal, atmospheric childhood memories are mirrored in her later experiences in the Netherlands, Indonesia, and Japan. Constructie van de Herinnering portrays many perspectives of one reality. It brings together all kinds of themes and images from Samsom’s past projects. In this project—begun in the late 1990s—she combines historical and staged imagery, as well as material filmed and photographed on location, with ‘de herinnering herinnert zich’ (‘memory recalls itself’) as its motto.
Documentation
Primary bibliography
Hans Samsom en Laura Rous, In den beginne, Amsterdam (Meulenhoff) 1973 (idem Engelse ed.: In the beginning, Amsterdam/Secaucus (N.J.) (Meulenhoff International/Derbibooks) 1974; Duitse ed.: “Und es ward Abend und Morgen …”, Wuppertal-Barmen etc. (Aussaat Verl. etc.) 1977; Franse ed.: “Il y eut un soir et il y eut un matin…”, Giessen/Wuppertal (Brunnen Verlag Bâle/R. Brockhaus Verlag) 1978).
Hans en Laura Samsom-Rous, (tekst, foto’s, red.), Schrijven met licht. Een audiovisueel programma over fotografie door Hans en Laura Samsom. Canon multi-vision show, Roelofarendsveen (Borsumij Foto BV) z.j. [ca. 1975].
Hans en Laura Samsom-Rous, (tekst, foto’s, red.), Writing with light. An audio-visual program, projected on three screens, Amsterdam (Canon) 1975.
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Max Dendermonde, 25 (juni 1990) 6, p. 68-71.
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Secondary bibliography
Programmaboekje Art Directors Club Nederland, Amsterdam (RAI Congrescentrum) z.j.
Brochure Kans op kunst met kwaliteit van Agfa-zwart/wit papier, z.p. (Agfa) z.j.
Auteur onbekend, Scheppingsverhaal beeldend verteld, in Algemeen Dagblad 27 maart 1973.
Auteur onbekend, Genesis 1 en 2 als fotoboek, in NRC Handelsblad 27 maart 1973.
P.L. van Vliet, In den beginne: Het scheppingsverhaal in foto’s verbeeld, in de Volkskrant 27 maart 1973.
Hans Kessens, Hans Samsom: gewoon laten zien hoe de wereld er uitziet. Zij fotografeerden “In den beginne”, in Nieuwsblad van het Zuiden 14 april 1973.
J.K., Gedicht in kleurenfoto’s op Genesis, in De Limburger 12 mei 1973.
Bas Roodnat, Fotografie van toen en van nu, in NRC Handelsblad 27 januari 1977.
Piet van der Vliet, Eresaluut aan de fotografie, in de Volkskrant 1 november 1977.
Auteur onbekend, Internationale Multivision Show “Schrijven met licht”, in Leidse Post/Zuid-Holland Post 9 november 1977.
Auteur onbekend, A legend comes to life, in Holland Herald 13 (1978) 6, p. 40-45.
Auteur onbekend, ‘Schrijven met licht’ in Onderwijsmuseum, in Het Binnenhof 28 juli 1978.
Terry James-Kester, Mankind in multivision, in Holland Herald november 1980.
Bas Roodnat, Scheppingsverhaal als dia-experiment, in NRC Handelsblad 16 april 1981.
Els Barents, Van afbeelden naar verbeelden, in Foto in vorm, Grafisch Nederland 1984, p. 37, 43.
Catalogus tent. Foto ’84, Amsterdam (Stichting Amsterdam Foto) 1984, p. 8, 60-61, 110.
Pauline Terreehorst, Negentien vrouwelijke fotografen, in Foto 39 (mei 1984) 5, Special, p. 3, 23.
Lorenzo Merlo, Tentoonstelling 19 Vrouwelijke Nederlandse hedendaagse fotografen. 19 mei- 14 juni 1984, 3 (mei-juni 1984) 14, p. 4-7.
Margaret Austin, Project Holland Calling, in Holland Herald. Special edition for Holland Calling, z.j. [ca. 1986], p. 3, 42-45 (met foto’s).
Auteur onbekend, Tentoonstelling Hans en Laura Samsom – Nederland. Winnaars van de Joop Alblas-prijs 1985. […], in Reflexions 5 (maart-april 1986) 25, p. 6-7.
Auteur onbekend, Hans en Laura Samsom-Rous winnen Joop Alblas-prijs, in Fotoprof 4 (april 1986) 2, p. 25.
Auteur onbekend, Joop Alblasprijs 1985: in handen van Hans en Laura Samsom-Rous, in Capi-Lux Vakkrant mei 1986, p. 4.
Charles Bels, Hans Samsom en Laura Samsom-Rous. “Wij voegen iets aan elkaar toe”, in Het Binnenhof 21 juni 1986.
Dirk van der Spek, Joop Alblasprijs voor Laura Samsom Rous en Hans Samsom. Waardering voor perfektie/Peter Kersten, [rapport van de jury van de Joop Alblasprijs], in Focus 71 (juli 1986) 7, p. 35-54 (met foto’s).
Amsterdams Jaarboek Beeldende Kunst/Amsterdam Art Annual/Annuaire des Beaux Arts d’Amsterdam/Jahrbuch Bildende Künste Amsterdam 1987, p. 108-109.
Auteur onbekend, Agfa biedt kans op kunst met speciale ‘fine-art’ drukken van Rutger ten Broeke, Anja de Jong, Toon Michiels, Laura Samsom, in P/F Aktueel (1987) 9, p. 6.
Auteur onbekend, Laura Samson-Rous [sic]. Fotomania, in De Nieuwe Weelde (1988) 7, ongepag.
Ellen Kok, Fotograaf Laura Samsom: “Om iets interessant te maken is het genoeg er lang naar te kijken”, in Utrechts Nieuwsblad/NZC 4 februari 1988, p. 25.
Auteur onbekend, ‘Kinderen in beeld’ voor Rode Kruis, in Trouw 27 februari 1988, p. 4.
[advertentie ‘Profs in Fuji Laura. Samsom-Rous], in Focus (december 1988) 12, p. 26-27.
Ingeborg van Teeseling, Laura Samsom-Rous. De wereld is mijn voorstelling, in Humanist 43 (december 1988/januari 1989) 12/1, p. 14-19.
I.v.B. [= Irma van Bommel], Laura Samsom-Rous, in Rijksaankopen 1988.
Werk van hedendaagse beeldende kunstenaars, Den Haag (Rijksdienst Beeldende Kunst/SDU) 1989, p. 182, 313.
Catalogus Internationale Fotoveiling Amsterdam. Zondag 26 februari 1989, Amsterdam (Stichting Canon Image Centre/Stichting F 32/Hotel Pulitzer) 1989, lot 176-178.
Catalogus tent. Inzicht-Uitzicht. ‘Ruimte’ in het werk van negen hedendaagse fotografes, Amsterdam (Stichting Vrouwen in de Beeldende Kunst) 1989, p. 9, 22-23.
Auteur onbekend, Fotograferende vrouwen exposeren, in Aspekt 20 september 1989, p. 503.
Godertvan Colmjon, Fotografes ten strijde tegen oud vrouwbeeld. Amazone-expositie in kader 150 jaar fotografie bij B.A.F., in Amersfoortse Courant 8 november 1989.
Catalogus Internationale Fotoveiling Amsterdam. Zondag 25 februari 1990, Amsterdam (Stichting Canon Image Centre/Stichting F32/Hotel Pulitzer) 1990, lot 201-204.
Tineke de Ruiter, Laura Samsom-Rous, in Catalogus tent. Capi-Lux Alblas Prijs 10 jaar, Amsterdam (Capi-Lux Alblas Stichting) 1990, p. 66-79 (met foto’s).
Auteur onbekend, Overzichtstentoonstelling ’10 jaar Capi-Lux Alblas Prijs’, in La Ligna 3 (maart 1990) 2, p. 3, 11, 16.
MRZ, Tien jaar Capi-Lux Alblasprijs. Prijswinnaars exposeren in Posthoornkerk, in De Telegraaf 30 maart 1990.
Wilco Kalbfleisch en Herman Keppy, Contrasten in Zuid-Afrika. Laura Samsom Rous, in Focus 75 (september 1990) 9, p. 45-47 (met foto’s).
Catalogus Fotofestival Naarden, Naarden 1991, p. 2, 58-59 (met foto’s) (idem: in Focus 76 (mei 1991) 5).
Henk Gerritsen, 32 Fotografen die hun persoonlijke voorkeur in beeld brengen oog in oog met fotograaf Henk Gerritsen, Zoetermeer (P/F Publishing) 1991, p. 20-21, 73.
Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw/The Decisive image. Dutch Photography from the 20th Century, 1991, Amsterdam (BIS) 1991, p. 165, 209-210.
Philip P. Kruijer, Fotofestival Naarden. Niet te missen trefpunt voor fotografie, in F+D. Foto+Doka (mei 1991) 5, p. 14-17.
Hans Samsom, Druiven der gramschap, in De Anti Apartheidskrant 2 (mei/juni 1991) 6, p. 7.
Auteur onbekend, Vesting Naarden middelpunt van fotofestival, in NRC Handelsblad 14 mei 1991, p. 6.
Catalogus Internationale Fotoveiling Amsterdam. Zondag 23 februari 1992, Amsterdam (Stichting Canon Image Centre/Hotel Pulitzer) 1992, lot 215-217.
Maartje van den Heuvel en Anneke van Veen (samenst.), Foto’s voor de stad. Amsterdamse documentaire fotoopdrachten 1972-1991/Leontine Coelewij, Haro Plantenga en Anneke van Veen (samenst.), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1989-1991, Amsterdam (Gemeentearchief Amsterdam) 1992, ongepag., no. 123 (met foto’s).
Linda Roodenburg, Fotowerk in opdracht 1986-1991, Rotterdam (010/Perspektief) 1992, p. 56-57, 155, 159.
Rianne van Dijck, In gesprek met Laura Samsom-Rous. Soms denk ik “wat heb ik toch een leuk vak”, in Fotoprof 9 (februari 1992), p. 4-6.
Huub Kohnen, Leda en de zwaan, in Fotoprof 10 (april 1992) 1, p. 9.
Gallery. An occasional series featuring one work by a Dutch photographer, in Holland Herald 27 (juli 1992) 7, p. 80.
Iris Dik (red.), Ver=Hier. Uit de collectie van het Nederlands Fotomuseum, Sittard (Nederlands Fotomuseum) 1993, p. 8, 31.
Iris Dik, Et in Arcadia Ego. Laura Samsom, in Ideas of Nature [uitgave van Artoteek Zuidoost] (1993) 1, p. 14-19 (met foto’s).
Anoniem [= Veronica Hekking], De beteugelde natuur, in GKf bulletin (1993) 2, p. 3-4.
Catalogus International Photo-Auction, 21 February 1993, Hotel Pulitzer, Amsterdam 1993, lot 185-186.
Anita Baars, Het Arcadië van Laura Samsom, in Focus (april 1993) 4, p. 4, 43-45 (met foto’s).
Wim Broekman, Laura Samsom-Rous, in Foto 48 (september 1993) 9, p. 3, 24-29.
Auteur onbekend, Gon Buurman/Laura Samsom, in Professionele Fotografie (1994) 2, p. 71.
Programmaboekje Melkweg 17-30 oktober 1994.
Catalogus tent. Vijftig Jaren van Toekomst, Groningen (Stichting Aurora Borealis) 1995, ongepag.
Jan Koekebakker (eindred.), Werk/work. De Randstad fotocollectie/ The Randstad Collection of Photographs 1988-1995, Amsterdam (Randstad Holding) 1995, p. 68-69, 120.
Ruud Spruit (eindred.), Spelen met onzichtbare dingen. Over kunst maken en beleven, Haarlem (Becht) 1995, omslag, p. 40-46 (met foto’s).
Robbert Bodegraven, de Bewondering. Laura Samsom Rous over haar bewondering voor Bertien van Manen, in Hollands Licht (1995) 3, p. 31.
Auteur onbekend, Gemini, in F+D. Foto+Doka (juli 1995) 7, p. 8.
Auteur onbekend, Doublé exposure, in Time Out Amsterdam juli 1995, p. 14.
Paola van de Velde, “Het is alsof het ene gezicht een masker is van het andere”, in Algemeen Dagblad 22 juli 1995, p. 19.
Auteur onbekend, [zonder titel], in Capi (najaar 1995) 3, p. 30-34.
Auteur onbekend, Kinderen voor de lens, in Intermediair 31 (29 december 1995) 52, p. 33-39.
Catalogus tent. Doublé vie, doublé vue, Parijs (Fondation Cartier pour 1’Art Contemporain) 1996, p. 11 (met foto’s).
Catalogus tent. Fotodiffusione ’96 – Olanda. Mostra e incontri dedicati alla fotografia in Olanda, Turijn (Fondazione Italiana per la Fotografia) 1996, p. 34, 38.
Maro Ziegler, De bakkersdochter en de zwaan, in Weekeinde [bijlage bij] De Telegraaf/De Courant Nieuws van de Dag 23 maart 1996, p. 2.
Auteur onbekend, Camera’s eye. KLM E&M through the camera’s eye, in Engineering Edge 2 (juni 1996) 2, p. 9-14.
Herman Keppy, Mois de la Photo a Paris. Laura Samsom prominent in Parijs, in Focus 83 (november 1996) 11, p. 12-15 (met foto’s).
Auteur onbekend, Quand les photographes voient doublé. La gémillité a la Fondation Cartier, in Le Journal des Arts (november 1996) 30, p. 16.
Maro Ziegler, De bakkersdochter en de zwaan, in Melkweg Jaarverslag 1996, p. 32-33.
Catalogus tent. De hof van Eden/The garden of Eden [Noorderlicht 1997], Groningen (Stichting Aurora Borealis) 1997, p. 28-29, 70, 81, 117-119, 121-122, 134, 248-249.
Auteur onbekend, Werk/work. De Randstad fotocollectie, in Randstad Data (1997) 2, p. 18-19.
Ineke Bijnagte, Randstad collectie, in Hollands Licht 3 (1997) 4, p. 4-7.
Iris Dik en Peter Henkes (red.), Formule 2. Kunstenaars en wetenschappers in dialoog [begeleidende publicatie bij Formule2, een project van Stichting Formule2 met medewerking van newMetropolis science and technology center en de Universiteit van Amsterdam], Amsterdam (Stichting Formule2) 1998, omslag, p. 42-47, 76 (met foto’s).
Veronica Hekking, Spiegeling, montage, herinnering en stilstand. Tussen fotobeeld en filmscène, in Hollands Licht 4 (1998) 1, p. 10-14.
Auteur onbekend, “GKf Ontmoetingen”, in GKf Berichten (1998) 8, omslag, ongepag. (idem, in GKf Berichten (1998) 9, met andere foto).
Andrea Bosman, ‘Er gaat in de wereld niets verloren’, in Trouw 31 januari 1998, p. 21.
M.L., Leven & sterven, in Uitkrant voor Amsterdammers februari 1998, p. 30.
Simon Knepper, Terug naar Da Vinci, in Status 7 (februari 1998) 2, p. 16-17.
Heikke Dander e.a. (red.), Formule2. 1, Berlijn (Vice Versa Verlag) 1999, p. 38-43, 118 (met foto’s).
Anja Novak en Debbie Wilken, Eeuwige jeugd. 100 Jaar kinderportretten in de Nederlandse fotografie, z.p. (Spaarnestad Fotoarchief/Gorcums Museum/Huizer Museum Het Schoutenhuis) 2000, p. 47, 56.
Herman Hoeneveld, Duotoon. Laura Samsom-Rous, in P/F. Vakblad voor fotografie en imaging (2000) 6, p. 51-58 (met foto’s).
Veilingcatalogus Sotheby’s. Modern & Contemporary Art including Photographs, Sale AM0768, 7 juni 2000, Amsterdam (Sotheby’s) 2000,lot 405, 449, 478.
Veilingcatalogus Glerum Auctioneers. Photography 1850-2000. Veilingnr. 194, 3 juli 2000, Amsterdam (Glerum) 2000, lot 75-76.
Veilingcatalogus Glerum Auctioneers. Dutch Photography 1900-2000. Veilingnr. 202, 27 november 2000, Amsterdam (Glerum) 2000, lot 133-135.
Veilingcatalogus Sotheby’s. Modern & contemporary Art including Photographs. Sale AM0788, 6 december 2000, Amsterdam (Sotheby’s) 2000, lot 536, 538, 608.
Auteur onbekend, ‘Travelling light’. Laura Samsom-Rous, in P/F-Vakblad voor fotografi en imaging (2000) 9, p. 85.
sk, Verrassend informeel, in Status 9 (december 2000) 20, p. 18.
Veilingcatalogus Sotheby’s. Modern & Contemporary Art including Photographs, Sale AM0810B, 11 juni 2001, Amsterdam (Sotheby’s) 2001, lot 434, 495.
Anna Kroon en Sandrine van Noort, Het licht verhevene en de impuls om ‘het te doen’, in Kunstblad (augustus 2001) 4, [middenkatern] SBK Amsterdam (augustus 2001) 4, p. 1, 10-11.
Memberships
GKf, vanaf 1982.
Awards
1984 Eerste prijs in fotowedstrijd tijdens Rencontres Internationales de la Photographie, Arles.
1986 Capi-Lux Alblas prijs 1985 (uitgereikt 17 april 1986 aan Laura en Hans Samsom)
1987 Eerste prijs SAM (Stichting Audiovisuele Manifestaties) festival voor multiscreen projectie Mirrors of Life (samen met Hans Samsom).
1988 Trophée de la Qualité 1988 (onderscheiding ingesteld door de Franse papierfabriek Arjomari-Prioux), voor kalender KLM 1988 met foto’s van Hans en Laura Samsom-Rous.
Exhibitions
1982 (g) New York, KLM Plaza, In my View.
1984 (g) Amsterdam, Canon Photo Gallery, 19 Vrouwelijke Nederlandse hedendaagse fotografen (Foto ’84).
1984 (g) Amsterdam, Nieuwe Kerk, 7 Hedendaagse Nederlandse fotografen (Foto ’84).
1984 (g) Amsterdam, Nieuwe Kerk, In voor- en tegenspoed (Foto ’84).
1984 (g) Arles, Rencontres Internationales de la Photographie [presentatie van de fotowedstrijd].
1985 (e) Amsterdam, Canon Photo Gallery.
1986 (e) Amsterdam, Olympus Gallery, Laura Rous Samsom – fotografie, zwart/wit en kleur.
1986 (g) Amsterdam, Canon Photo Gallery, [expositie van werk van de winnaars van de Joop Alblas-prijs 1985: Hans en Laura Samsom].
1986 (g) Amsterdam, Koninklijk Instituut voor de Tropen, [expositie van werk van de winnaars van de Joop Alblasprijs 1985: Hans en Laura Samsom].
1987 (g) Den Haag, Provinciehuis, Dutch Photography (Stichting Dunhill Dutch Photography).
1988 (g) Amsterdam, Stedelijk Museum, Geliefde personen. Foto ‘s van de GKf. Beroepsvereniging van fotografen.
1988 (g) Amsterdam, Focus Gallery.
1988 (g) Fribourg, Musée d’Art et d’Histoire, La Triënnale internationale de la photographie/5th International Triennial Exhibition of Photography.
1988 (e) Leiden, Fotomania, Le voyage d’un visage.
1988 (g) Leningrad, Central Exhibition Hall, (Stichting Dunhill Dutch Photography).
1988 (e) Utrecht, Pantafos Fotogalerie.
1989 (g) Amersfoort, Studio BAF, Projectie/Reflectie.
1989 (g) Amsterdam, ‘Focus on Photography’ Gallery, Erotiek, twee vrouwen, twee visies.
1989 (g) Amsterdam, Posthoornkerk, Inzicht-Uitzicht. ‘Ruimte’ in het werk van negen hedendaagse fotografes (Stichting Vrouwen in de Beeldende Kunst).
1989 (g) Amsterdam, Stichting Amazone, Projection/Reflection.
1989 (g) Enschede, Rijksmuseum Twenthe, Rijksaankopen 1988.
1989 (g) Haarlem, Provinciehuis, Projektie/Reflektie.
1990 (g) Amsterdam, Posthoornkerk, 10 jaar Capi-Lux Alblas Prijs.
1990 (g) Sittard, Kritzraedthuis, Zonder namen.
1991 (g) Amsterdam, Museum Fodor, [Amsterdamse documentaire foto-opdrachten].
1991 (g) Amsterdam, Nieuwe Kerk, Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw (Stichting Dunhill Dutch Photography).
1991 (g) Amsterdam, Stedelijk Museum, Nederland, O Nederland {GM).
1991 (g) Naarden, [opgesteld in de grachten rond de muren van de vesting], [waterproject] (Fotofestival Naarden).
1991 (e) Naarden, ‘t Packhuis, Natura (Fotofestival Naarden).
1992 (g) Amsterdam, Beurs van Berlage, Fotowerk, fotografie in opdracht 1986-1992.
1992 (g) Amsterdam, Museum Fodor, Foto ‘s voor de Stad. Amsterdamse documentaire foto-opdrachten 1972-1991.
1992 (g) Amsterdam, Stedelijk Museum, Klein voorwerp van verlangen (GKf).
1993 (g) Amsterdam, Amsterdams Historisch Museum, Tijd van leven.
1993 (e) Amsterdam, Artoteek Zuidoost, Et in Arcadia Ego (expositie i.k.v. het project Ideas of Nature).
1993 (g) Amsterdam, Bloem Gallery, Every child is of marble.
1993 (e) Hoensbroek, Kasteel Hoensbroek (Ilford Fotogalerie 68), Veduta.
1993/1994 (g) Sittard, Nederlands Fotomuseum, Ver=Hier.
1994 (g) Amsterdam, Melkweg Galerie, Picture me blue. Tentoonstelling over Toto Frima en haar hond Blue.
1994 (g) Amsterdam, Melkweg Galerie, Verzamelde Portretten. Een fototentoonstelling van Gon Buurman & Laura Samsom.
1994 (g) Amsterdam, De Moor. Amsterdams Centrum voor Fotografie, Mijn belangrijkste foto in 1993.
1995 (g) Amsterdam, Melkweg Galerie, Gemini [Laura Samsom-Rous en Elina Söyri].
1995 (g) Amsterdam (Amsterdam-Buitenveldert), Rothmansgebouw, Het Vervolg… (Stichting Dunhill Dutch Photography).
1995 (g) Groningen, Der Aa-Kerk, Vijftig Jaren van Toekomst (GKf) (fotomanifestatie Noorderlicht).
1995 (g) Groningen, USVA Noorderlicht Fotogalerie, De Ketting (II & III) (fotomanifestatie Noorderlicht).
1995 (g) Hoorn, Oog van Hoorn, De Versierde Mens.
1995 (g) Naarden, Spaanse Huis, Werk-Work. Randstad Fotocollectie 1988-1995 (Fotofestival Naarden).
1995 (g) Rotterdam, Nederlands Foto Instituut, Lichtjaren. 50 jaar GKf-fotografie.
1996 (g) Amsterdam, Amsterdams Centrum voor Fotografie, 17 Amsterdamse fotografen fotograferen 17 Amsterdamse 17jarigen.
1996 (g) Amsterdam, Melkweg Galerie, Betond Reality. Mythos-Dreams and Fantasy-Fiction.
1996 (g) Amsterdam, Vakbondsmuseum, Werk/Work (Randstad fotocollectie).
1996 (g) Hasselt, Cultureel Centrum Hasselt, Fotografie als beeldende kunst.
1996 (g) Rome, Sala 1, La Fotografia Contemporanea in Olanda.
1996-1997 (g) Parijs, Fondation Cartier pour 1’Art Contemporain, Doublé Vie,Doublé Vue.
1996 (g) Stuttgart, Volkshochschule, Lichtjaren. 50 jaar GKf-fotografie (Festival der Niederlande).
1996-1997 (g) Turijn, Fondazione Italiana per la Fotografia, Fotodiffusione ’96. Panorama della fotografia storica e contemporanea dei Paesi Bassi.
1997 (g) Groningen, Der Aa-Kerk, De hof van Eden/The garden of Eden (Fotomanifestatie Noorderlicht).
1998 (g) Amsterdam, Flat Frissenstein, Privé Domein (GKf).
1998 (g) Amsterdam, newMetropolis, Formule 2.
1999 (g) Berlijn, Künstlerhaus Bethanien, Formule2.
2000 (g) Haarlem, Spaarnestad Fotoarchief, Eeuwige jeugd. 100 Jaar kinderportretten in de Nederlandse fotografie.
2000 (g) Gorcum, Gorcums Museum, Eeuwige jeugd. 100 Jaarkinderportretten in de Nederlandse fotografie.
2000/2001 (e) Amsterdam, Brummelkamp Galerie (AMC), ‘Travelling light’. Laura Samsom-Rous.
2001 (g) Amsterdam, SBK Centrum, Weekend van de fotografie # 5. Laura Samsom-Rous en Annie van Gemert.
2001 (g) Huizen, Huizer Museum Het Schoutenhuis, Eeuwige jeugd. 100 Jaar kinderportretten in de Nederlandse fotografie.
2001 (g) New York, Galerie Holland Tunnel, Work (Randstad Fotocollectie).
Multiscreen projections by Hans Samsom and Laura Samsom-Rous:
1972 In den Beginne (in 4 talen); in opdracht van Holland-Amerika-Lijn, New York.
1975 Writing with light (lange versie), bestaande uit drie delen: Het fototoestel, Fotograferen, De Japanse steenhouwer (in 5 talen); in opdracht van Canon Europa, Amsterdam.
1978 Luwu/Mensen van Java; in opdracht van Koninklijk Instituut voor de Tropen, Amsterdam.
1979 Genesis, gebaseerd op oorspronkelijk diaprogramma van Hans Samsom; in opdracht van Ald-Faers-Erf, Allingawier, Friesland.
1980 The Human City; in opdracht van UNFPA, New York.
1985 Holland Calling; in opdracht van KLM, Nederland.
1987 Mirrors of Life; in opdracht van Canon Europa, Amsterdam.
1988 The Canon Family; in opdracht van Canon Europa, Amsterdam.
1988 Oranda Nippon; in opdracht van KLM, Tokyo.
1991 ION. A new way to remember; in opdracht van Canon Europa, Amsterdam.
2000 Teken de liefde (in 3 talen); in opdracht van Canon Europa, n.a.v. nieuw Nederlands-Japans woordenboek [geprojecteerd in de Pieterskerk te Leiden en Paleis op de Dam, Amsterdam].
Installations and interactive projections by Hans Samsom and Laura Samsom-Rous, at Canon Europa, Century Plaza, Amstelveen:
1994 A sign of love.
1995 Writing with light (korte versie).
1998 Digital solution forum London.
1999 The image is the information.
2001 Canon Expo 2000 @ Paris.
Video
1998 Second original, door Laura Samsom-Rous en prof. dr. T. Voûte.
Sources
Amsterdam, Laura Samsom-Rous.
Leiden, Studie en Documentatie Centrum voor Fotografie, Prentenkabinet
Universiteit Leiden.
Leusden, Jan Wingender (collectie nederlands fotoboek).
Collections
Amsterdam, AMC Kunstcollectie.
Amsterdam, Capi-Lux Alblas Stichting.
Amsterdam, Gemeentearchief Amsterdam.
Amsterdam, Hollandse Koopmansbank nv.
Amsterdam, Huis Marseille.
Amsterdam, Randstad Collectie.
Amsterdam, Stedelijk Museum.
Amsterdam, Stichting Dunhill Dutch Photography.
Fribourg, Musée d’Art et d’Histoire.
Leiden, Studie en Documentatie Centrum voor Fotografie, Prentenkabinet Universiteit Leiden.
Parijs, Maison Européenne de la Photographie.
Rijswijk, Instituut Collectie Nederland (ICN).
Sittard, Stedelijk Museum Het Domein.