PhotoLexicon, Volume 22, nr. 37 (September 2005) (en)

Ger Dekkers

Peggie Breitbarth


With photography, Ger Dekkers is an artist who has found the appropriate tool, and in conceptual art the right framework, for his landscape observations. Dekkers’ fascination is with the typical Dutch landscape as a land extracted from the sea in the initial phase of its creation: water, sky, and earth in s strict geometry of form designed on the drawing table. With his various series of photos—placed in a row or in a square—Dekkers has acquired substantial fame both in the Netherlands and abroad.




Gerrit Hendrik (Ger) Dekkers is born on 21 August in Borne. He grows up in nearby Hengelo, where his father runs a real estate agency.


With the founding of the AKI (Academie voor kunst en industrie, ‘Academy of Art and Industry’) in Enschede in 1949, Dekkers knows where his future lies. Dekkers is in the second year of students, along with Hilda Hartsuiker, who has now been has wife for more than a half-century. The couple produces two daughters: Henriëtte (1955) and José (1957).


Having obtained his final diploma in graphic design, Dekkers establishes himself as a graphic designer in Enschede in 1954. He begins his own design studio; initially with Kees van Barneveld and later with Chris Hein. Until 1970, the studio operates in Enschede under the name ‘Studio Vincent’. The collaboration as well continues after this point, but with each partner working under his own respective name.


In 1961, Dekkers is a co-founder of the ‘Eerste Enschedese Kunstenaars Sociëteit’ (‘First Enschede Artists Society’), together with Henk Schuring and Jan Bolink. The initiative sparks a great deal of creative energy in the provincial city of Enschede. The artists hold a series of highly imaginative parties, organises exhibitions and competitions with dedication, inventiveness, and mixed success on behalf of the preservation of numerous characteristic buildings, whether it be a manufacturer’s villa, a theatre, or a factory tower. A resounding product of their efforts is the founding of the ‘Kunstzaal Marktzeventien’ (‘Art Hall Market Seventeen’), which in the period 1966-’68 draws national attention with its innovative programming.


For his work, Dekkers travels across the country and takes in as much as he can. As a ‘free’ artist, he photographs objects alien to the landscape. Dekkers’ work draws the attention of Wim Beeren, curator of modern art at the Stedelijk Museum in Amsterdam. Beeren includes Dekkers’ work in a series of ‘Ateliertentoonstellingen’ (‘Studio Exhibitions’) at the museum, in which he signals new developments and young talent. Dekkers works with colour slides (6×6 cm), which he projects in large format.


Through his participation in the exhibition Sonsbeek Buiten de Perken (‘Sonsbeek Beyond Limits’), followed one year later by a solo exhibition at the Kröller-Müller Museum, Dekkers breaks through in the art world at both the national and international level. Dekkers finds his definitive form when he notices a zigzag path in the dunes near the Grevelingendam in the province of Zeeland. This image can only be captured through a series of photos, thereby giving rise to Dekkers’ typical landscape observations.


Dekkers moves to Dwarsgracht near Giethoorn, where he lives to this day. He makes a living from taking on photo assignments and develops his own autonomous work. Dekkers receives travel subsidies (1970 and 1975) and work subsidies (1971, 1976, and 1984) from the Ministry of Culture. Dekkers has always maintained a sharp distinction between his work as an autonomous artist and the photography he shoots on assignment. Dekkers produces countless photobooks concerning nature and culture (especially monuments), most often on assignment for the publishing house Waanders Uitgevers. To close off this period, Dekkers transfers his archive of commissioned work concerning the provinces of Overijssel and Flevoland to the foundation ‘Het Oversticht’ in Zwolle in 2002. Material related to all other provinces is transferred to the archive of Waanders Uitgevers in Zwolle.


Dokumenta 6 in Kassel, Germany, devotes significant attention to photography and new media. Dekkers is discernibly present with his continuous projection of twenty-five Planned Landscapes. His focus shifts more and more in the direction of the designed landscape: new land designed on the drafting tables of the engineers of Rijkswaterstaat (‘National Department of Public Works and Water Management’). Due to the growing interest of museums and galleries, Dekkers receives the financial wherewithal to have is photo series printed at a photo lab. Besides projections, this now facilitates series in wall mural format.


Having obtained his sport pilot certificate, Dekkers is now able to observe the new landscape from previously unseen angles. This literal expansion of his perspective has distinct consequences for his work. The tilted horizon is one of the most remarkable.


Dekkers designs four summer postage stamps and a ‘first-day envelope’ for the PTT (the Dutch national postal, telegraph, and telephone company). Prior to this time, the Nederlandse Spoorwegen (‘Dutch Railways’) had selected Dekkers’ work to adorn the interiors of its trains. During the 1980s and ’90s, Dekkers will incorporate his work as monumental art in numerous newly designed buildings.


Advanced plans for a Ger Dekkers Museum adjacent to the ‘J.W. Topshuis’ at Neeltje Jans, designed by the architect W. Quist, never come to fruition, as a result of disappointing financial developments at the Topshuis.


The Dutch pavilion at EXPO ’98 in Lisbon, Portugual, shows New Dutch Seascapes: ten series of nine slides in an alternating, continuous projection on a forty-metre wide screen.


Ger Dekkers celebrates his seventy-fifth birthday with a retrospective in the form of an exhibition at two locations in Hengelo as well as the presentation of a new book. He shows the latest development in his work: ‘recompositions’, which entail new and freer presentations of his material.


‘My actual subject is our culture’s influencing of the landscape’ is Dekkers’ summary description of his life-long fascination for newly created land. Water, sky, and earth: new land born by the grace of a man-made dike. In Ger Dekkers’ work, it concerns series of photos depicting a landscape determined by design. One sees little more than water, sky, and earth. No people, no buildings, no vehicles: if anything, a dike, a road, or a row of trees. Landscapes built by mankind, as straight as an arrow and on a grand scale—seen, framed, and photographed by Dekkers. He has photographed these landscapes in series according to a pre-conceived plan: always several steps closer, a couple of paces to the left or the right, with the effect that the viewer, as it were, walks with the photographer, or with a tilted camera, so that the horizon tilts and the viewer fancies he is flying in an airplane. The presentation preferably occurs in a row of five, seven, or nine, or in a square of three by three images.

Dekkers’ education as a graphic designer and book designer at the AKI (Academie voor kunst en industrie, ‘Academy of Art and Industry’) in Enschede provided him with the tools for his further development. Photography was a technique belonging unequivocally to the study programme. Compositional arrangement and correspondingly geometry were indispensible in graphic design. Of lasting importance was also an orientation towards art and society, as presented by the instructors Aldo van Eyck and Joop Hardy.

Following the academy, the next step was for Dekkers to find his place in society. Together with Kees van Barneveld, he set up his own design agency: Studio Vincent in Enschede. Business picked up quickly. Dekkers did the graphic design and the photography. Photography began to gain the upper hand, once the two men came into contact with publishing companies, including that of Roelofs van Goor, who was publishing photobooks about the beauty of the Netherlands. Dekkers produced publications on Twente, Friesland, and the coastal areas. At a later point, Uitgeverij Waanders in Zwolle was the publishing company that hired him most frequently as a documentary photographer. Although he carried out all of his commissioned work for the publishing companies with pleasure and dedication—in his documentary photography even developing a recognisable profile of his own—Dekkers’ actual ambitions lay in the area of free art.

As a consequence of these assignments, Dekkers traveled throughout the country. This gave him the opportunity to develop his own perspective on the Dutch landscape. When approaching the landscape with a camera in the early 1960s, Dekkers went in search of alienation. He photographed objects left behind by people that gave the landscape a surrealistic tint, e.g. protective plastic covers or synthetic tubing. In no time, Dekkers had accumulated large quantities of slides at his disposal, which he then organised by theme and presented in blocks of four.

Because he walked about with the dream to project his slides in a large format in order to strengthen the effect of alienation, Dekkers decided to approach Wim Beeren, who at this time was a curator with the Stedelijk Museum in Amsterdam. Dekkers was assigned a place in Ateliers 6 (the sixth in a series of ‘Ateliertentoonstellingen’ = ‘Studio Exhibitions’). From that moment on, Dekkers’ entry into the art world was a fact. In his own mind, it had always been clear: his free work belongs in the field of the visual arts.

It was with these slide projections that Dekkers established his name. In the 1970s, large projectors and (when necessary transparent) screens were still at the cutting edge of what was technically and financially capable. Dekkers realised projections in the hall of Amsterdam Central Station (Sonsbeek Buiten de Perken [Sonsbeek Beyond Limits], 1971), at the Kröller-Müller Museum (1972), at the Stedelijk Museum (seen both inside the museum as well as outside on the Van Baerlestraat, 1974), in Cologne, Achen, Brussels, Boston, and finally Kassel, Germany, at Documenta 6. In the years that followed, the projections lost much of their magic due to the ever-continuing developments in the area of new media.

Notwithstanding, it turns out the formula still works well, albeit in an adapted form. In 1998, the Dutch pavilion at the EXPO held in Lisbon, Portugal, was the stage for an alternating, continuous projection of ten series, each comprising nine slides adjacent to each other on a forty-meter wide screen, shown under the title New Dutch Seascapes.

A viewing experience in 1972 sent Dekkers in a new direction. In the province of Zeeland, near what was then the just completed Grevelingen Dam, he observed a zigzag pathway, lined with vegetation to hold the sand in place. Dekkers realised his interest in a landscape—no matter how general in nature—was primarily devoted to the first phase of its genesis. Moreover, the man-made design in such landscapes was clearly evident, and yet at the same time, no people were meant to be seen. Dekkers also realised the only way he could do justice to such a find was to shoot a sequence of photos: a series of shots depicting a vantage point that shifts on a consistent basis. In this manner, Dekkers found his form in the series Dune.

To get closer to the new land—that was in the time that parts of the IJsselmeer were being reclaimed—Dekkers and his family moved to Dwarsgracht, a picturesque village in the vicinity of Giethoorn, in 1973. Showing his latest work at the 1977 Documenta in Kassel, Germany, Dekkers’ name was recorded in the annals of art history of the twentieth century definitively. It was there that he exhibited twenty-five sequences, each comprising seven photos, under the title Planned Landscapes: 25 Horizons. One might say that Dekkers’ characteristic approach to observing and working has never changed since.

Dekkers intensified his landscape observation by blowing his projections up to a format never previously encountered. In his sequences, he does this by capturing the action of observation, i.e. the movement made during observation as well as its duration. By shifting from a single striking image to a phased viewing experience, the format is no longer of importance. Dekkers’ series can be presented in any format: varying from monumental, e.g. when applied by the architect in the format of a wall mural, to the size of a postage stamp, and, if desired, accordingly as a projection.

What really matters is the manner in which Dekkers observes. When the location, the motif, and the right weather circumstances have been found, then it is the crop that counts the most. Dekkers looks not only for the new land’s abstraction, but he isolates this abstraction as well. He sees, for instance, that a concrete road moving towards the horizon ends at an angle of ninety degrees and that he can present this fragment as a white square in the landscape. Or that, when the horizon divides the surface of the image precisely into two parts and the dike touches the horizon exactly in the middle, an almost geometric composition of lines arises, which crosses through dikes, canals, breakers, ploughing tracks, and shadows. At the same time, sufficient space remains for increasingly larger discoveries, falling within the relatively strict set of rules Dekkers has laid upon himself. Or rather: the ever-diminishing differences come to play an increasingly important role. Such as the green that lingers on grey pavement or the strange white spots on the black stones of the dam. Sometimes there is the suggestion of a new form: it can then seem as if the dike is a pyramid or that other amazing forms are emerging. Ger Dekkers drapes that new—what many would consider tedious—landscape with the beauty of abstraction and adventure.

The core of Dekkers’ work has remained unchanged for years. He photographs the landscape in a state of genesis: more specifically, the typical Dutch landscape of sea, dikes, and sky. For this reason, blue is the predominant colour in his work. Nothing is trimmed, cut away, or in any way, shape, or form manipulated. The entire image is fixed from the moment Dekkers begins to photograph.

By Dekkers’ own account, his working method is uncomplicated: ‘The procedure I use is extremely simple. I work with a Hasselblad camera, using the entire surface of the slide in the format of 6×6 cm. Subsequently, I have the shots enlarged on cibachrome at a [photo] laboratory, the best image. Practically everything is shot with a moderate wide-angle lens of 50 mm. This minimally influences reality, which I take as a starting point. In the viewfinder there’s a framing grid, which helps me to orient and those are actually all of the tools I use.’

Dekkers is an artist strongly rooted in the tradition of Dutch painting. He feels an affinity both with the landscape painters of the seventeenth century, with their stunning cloud-filled skies and a low, tight horizon, as found with representatives of the De Stijl movement. Dekkers’ manner of observation is formed by the conventions of Western art—a tradition that is every bit a history of observation as it is the actual making of art (painting, sculpture, photography). If it specifically concerns this observation, the camera is a medium far surpassing the pencil or brush. In Dekkers’ working method, one as well finds the influence of later periods in art history. Where photo sequences are concerned, reference is often made to the groundbreaking work of Eadweard Muybridge—the first to capture the movement of a trotting horse in photographic sequences. With Dekkers, however, it is not his aim to capture the subject’s movement. On the contrary, the landscape lies there motionless. What shifts is the viewer’s vantage point. And naturally, the intensity of light, the clouds, and the billows of the water—though almost imperceptible—minutely registered by the camera. Dekkers’ decision to shoot a number of shots, one briefly after the other, evokes recollections of Impressionism and the series of paintings by Claude Monet rather than Muybridge’s photo sequences. With his choice for an alternating vantage point, Dekkers then stays somewhat apace with Cubism. His eye, trained in abstraction, assists him in choosing the fragment, i.e. the compelling frame. And even Surrealism can sometimes be found, for instance, such as when a breakwater takes on the shape of a jagged mountain, if viewed from a certain angle. Or when a bulging road comes across as a mysterious hill. The foreign objects that Dekkers encountered in the landscape and which he used in his photographic images during the first years of his career find their prehistory in the practice of the ‘objet trouvé’, placed once and for all on the map of the art world by Marcel Duchamp. Even forms of pop art are latently present in Dekkers’ early work.

Dekkers stands at the heart of the cultural landscape of the second half of the twentieth century. Without falling for theories or movements, he joins up with the broad stream of conceptual art with his work. Dekkers evolved during the 1950s and ’60s, when the climate of conceptual and minimalist art was just beginning to make an initial breakthrough in the Netherlands. Dekkers’ work reveals tangents with abstract geometric art, Land Art, serial art, photo sequences, and fundamental art. He has been called a purist. On the scale of what is considered typically Dutch art, his work can be categorised with the benchmark Mondrian: austere, Calvinist, abstract. But when asked regarding his artistic preferences, Dekkers tenaciously cites Max Beckmann and Francis Bacon.

For Dekkers, ‘landscape observations’ is actually the best designation. As a conceptual artist, his work actually consists of the photographic session: observing, framing, determining camera angles, and photographing. That is his artwork. What comes after this is the finishing: the guidance of the photo laboratory and the presentation in sequences or squares. While Dekkers’ work has never been abstract, he is still able to address forms of abstraction superbly. Geometry is also often conspicuously present. Even though this work is perhaps always revolves around abstractions, such as observing and perceiving, the focus is most certainly on a specific motif.

Dekkers’ work is experienced by many as a confirmation of the Dutch identity, as an account of the heroic battle against the water, as an ode to the engineers who make this new land possible, and as an expression of amazement for the unremitting powers of nature. Without it being his intention, Dekkers has moreover become the chronicler of land reclamation in the second half of the twentieth century. After all, nowhere does the landscape change as quickly, as where new land emerges. Nevertheless, registration and documentation were never his points of departure. The source of these offshoots is the medium of photography.

The fascination for the new land is also related to the time in which Ger Dekkers was active. At that first moment—that clean slate—always lies a desire typical of the generation that began working in the aftermath of the war. Starting again, with a positive and a practical orientation. It was a clear choice. Some saw the innocence of children and primitives as the bud for a new beginning. For the deepest emotion: the scream of Cobra. Dekkers belongs to the other camp, that of the modernists, the engineers, the world of Mondrian, the ideals of De Stijl. Each new beginning holds the beauty of possibility. These are the moments that Dekkers is seeking.


Primary bibliography

Ger Dekkers, Planned landscapes. 25 horizons, Bentveld-Aerdenhout (Landshoff) 1977.

Ger Dekkers, New Dutch Landscapes, Zwolle (Waanders) 1986.

Ger Dekkers, Zee-lucht-land, Gersloot (De Drijvende Dobber) 1990.

R.W.D. Oxenaar (tekst), Ger Dekkers/Overzicht. 12 werken 1990-1994 [multiple t.g.v. expositie in De Beyerd, Breda], Breda/Kootwijk (De Beyerd/Pieter Brattinga) 1994.

Ger Dekkers, Horizons unlimited, Venlo (Van Spijk Art Projects) 2000 (serie: Kwadrant Art 1).

Ger Dekkers, Landschapswaarnemingen. Een retrospectief, Zwolle (Waanders) 2004.


(foto’s in boeken, tijdschriften en ander drukwerk)

Aar van de Werfhorst (tekst), Ger Dekkers, Kees van Barneveld en Nico Jesse (foto’s), Overijssel, Den Haag etc. (Van Hoeve) z.j. [1957].

Harriët Freezer (tekst), Kees van Barneveld en Ger Dekkers (foto’s), Van bombazijn tot fluweel. Honderd jaar Schuttersveld, de geschiedenis van Gebroeders Van Heek op het Schuttersveld te Enschede-Holland, z.p, z.j. [1959].

J. Mulder (tekst), Tjap-obelisk. Een stukje Twentse textielhistorie ter gelegenheid van het 10-jarig bestaan der N.V. Katoenmaatschappij voorheen Gebroeders Scholten en Compagnie, Enschede (Stichting De Tex) zj. [1959].

Joh. Buursink (inl.), Kees van Barneveld, Ger Dekkers en Frans C.D. Popken (foto’s), Twente. Land van natuur en arbeid, Meppel (Roelofs van Goor) z.j. [1960] (idem Engelse ed.: Twente. Country of fields and factories).

J. Cramer (inl.), Kees van Barneveld en Ger Dekkers (foto’s), Werken en wonen te Drenthe, z.p. [Assen] (Provinciaal Bestuur van Drenthe) z.j. [ca. 1961].

J.P. Wiersma (inl.), Kees van Barneveld en Ger Dekkers (foto’s), Friesland. Land van wijde verten, Amersfoort (Roelofs van Goor) z.j. [1961].

Maarten Ouweland (inl.), Kees van Barneveld en Ger Dekkers (foto’s), Gouden kunsten. Stranden en kuststrook van Nederland, Amersfoort (Roelofs van Goor) z.j. [1962] (idem Engelse ed.: Golden coasts. The coast and beaches of Holland; Duitse ed.: Goldene Küsten. Strand und Küstensaum in den Niederlanden).

Maarten Ouwehand, Naar en in de mooiste natuurgebieden. Een gids naar die landgoederen, streken, reservaten, bossen en duinen die hoogtepunten zijn van landschapsschoon, ruimte en rust in Nederland en België, Amersfoort (Roelofs van Goor) z.j. [ca. 1963], afb. 6.

Hans Wiersma (tekst) en Ger Dekkers (foto’s), Hengelo, Zwolle (Waanders) 1963.

Chris Hein (vormgeving) en Ger Dekkers (foto’s), Halen en vieren [uitgegeven t.g.v. het 10-jarig bestaan van de Twentse Schouwburg), z.p. [Enschede] (Twentse Schouwburg) z.j. [ca. 1965].

Hans Wiersma, H. Schelhaas en Ger Dekkers (red.), Overijssel ’65, Enschede (Van der Loeff) 1966 (serie: Jaarboeken Overijssel, ’65).

Jan van den Dungen (tekst) en Ger Dekkers (foto’s), Leer mij ze kennen… de Twentenaren, Leiden (Sijthoff) 1966.

Hans Wiersma (tekst) en Ger Dekkers (foto’s), Kampen. Suite in 5 delen, Kampen (Gemeentebestuur) z.j. [1966].

H. Wiersma, H. Schelhaas en Ger Dekkers (red.), Overijssel ’66, Enschede (Van der Loeff) 1966 (serie: Jaarboeken Overijssel, ’66).

H. Schelhaas, Ger Dekkers en Hans Wiersma (red.), Overijssel ’67, Enschede (Van der Loeff) 1967 (serie: Jaarboeken Overijssel, ’67).

Adriaan Buter (tekst) en Ger Dekkers (foto’s), Hengelo. Stad in beweging, z.p. [Hengelo] (Gemeente Hengelo) 1968.

Jaap Romein (inl.), Kees van Barneveld en Ger Dekkers (foto’s), Curiosa in Nederlandse Musea/dans les musées des Pays-Bas/in Niederländischen Museen/in Dutch museum, Den Haag (Van Hoeve) 1968 (serie: Kramers pocket van formaat, 50).

H. Schelhaas, Ger Dekkers en Hans Wiersma (red.), Overijssel ’68, Enschede (Van der Loeff) 1968 (serie: Jaarboeken Overijssel,’68).

H. Schelhaas (tekst) en Ger Dekkers (foto’s), Zwollerkerspel rond, Zwolle (Waanders) 1968.

A.A.C. Maaskant (samenstelling) en Ger Dekkers (foto’s), Oude boerderijen, Deventer (Kluwer) 1969.

H. Schelhaas, Ger Dekkers en Hans Wiersma (red.), Kastelen en historische landhuizen, Enschede (Van der Loeff) 1969 (serie: Jaarboeken Overijssel, 1969).

Hans Wiersma (tekst) en Ger Dekkers (foto’s), Overijssel, Zwolle (Provinciaal Bestuur van Overijssel) z.p. [1969].

Ab Klaassens (tekst) en Ger Dekkers (foto’s), Deventer mensen, Deventer (Gemeente Deventer) 1970.

Kees Post, De kop van Overijssel, Haren (Knoop & Niemeijer) 1970, omslag, p. 4, 8, 12, 15, 17, 21, 32, 46, 54, 59, 61, 63, 69, 75. 78, 82, 85, 92, 105-106, 108 (serie: Triangelreeks).

H. Schelhaas e.a. (red.), Het Overijsselse landschap. Landschappen en landgoederen in Overijssel, Zwolle (Waanders) 1970 (serie: Jaarboeken Overijssel, 1970).

H.M. Stegeman, Enschede, Enschede (Gemeente Enschede) z.j. [1970].

K. Wiekart (red.), Kleur, Amsterdam (Vettewinkel) z.j. [ca. 1970].

Dick Bruna e.a. (red.), Liber Amicorum. Steendrukkerij De Jong & Co. 1911-1971, Hilversum (Steendrukkerij De Jong & Co.) 1971, ongepag. (serie: Kwadraatbladen, [26]).

Catalogus tent. Sonsbeek 71. Sonsbeek buiten de perken. Deel 2/Part 2, Arnhem 1971, p. 37.

Ab Klaassens (tekst) en Ger Dekkers (foto’s), Deventer, Deventer (Kluwer) 1971.

Jan Peters (tekst) en Ger Dekkers (foto’s), Dag THT. Uitgegeven t.g.v. het 2e lustrum, Enschede (Technische Hogeschool Twente) 1971.

Fred Pfeifer (tekst) en Ger Dekkers (foto’s), Zwolle, Zwolle (Waanders) 1971.

Klaas Vos (tekst) en Ger Dekkers (foto’s), Beeldenroute Overijssel, Heino (Stichting Beeldenroute Overijssel) z.j. [1971].

H. Schelhaas, Ger Dekkers en C.J. Post (red.), Molens in Overijssel, Zwolle (Waanders) 1972 (serie:Jaarboeken Overijssel, 1971/1972).

Hans Wiersma (tekst) en Ger Dekkers (foto’s), Overijssel, Zwolle (Provinciaal Bestuur van Overijssel) z.p. [1972].

Kees Post (tekst) en Ger Dekkers (foto’s), Steenwijk, Steenwijk (Gemeente Steenwijk) z.j. [ca. 1972].

F. Gribling, Kunst maken van landschapsfoto’s en amateurkiekjes, in De Groene Amsterdammer (3 januari 1973) 1, p. 15.

A.A.C. Maaskant (samenstelling) en Ger Dekkers (foto’s), Kastelen, Deventer (Ankh-Hermes) 1974.

H. Schelhaas, Ger Dekkers en Bert Tichelaar (red.), Historisch kerken in Overijssel, z.p. (Waanders) 1974 (serie: Jaarboeken Overijssel, 1973/1974).

Fred Pfeifer (tekst) en Ger Dekkers (foto’s), Zwolle, Zwolle (Waanders) 1975.

A.A.C. Maaskant (samenstelling) en Ger Dekkers (foto’s), Historische landhuizen, Deventer (Ankh-Hermes) 1975.

H. Schelhaas, Bert Tichelaar (red.) en Ger Dekkers (foto’s), Monumenten in Overijssel, Zwolle (Waanders) 1975 (serie:Jaarboeken Overijssel 1975/1976).

Hans Wiersma (tekst) en Ger Dekkers (foto’s), Overijssel, Zwolle (Waanders) 1975.

Ger Dekkers (foto’s), Zwolle. Drie gebouwen, één stadhuis, Zwolle (Gemeentebestuur van Zwolle) z.j. [1976].

Fotografen 1976, Geïllustreerde ledenlijst van de beroepsvereniging van fotografen GKf, Amsterdam (GKf) 1976, p. 16-17.

J.C. de Wit, A.A.C. Maaskant (red.) en Ger Dekkers (foto’s), Het Oversticht na vijftig jaar. Nog steeds in de bres voor de “bevordering en de instandhouding van het landelijk en stedelijk schoon in de provincie Overijssel”, Zwolle (Waanders) z.j. [1976].

Catalogus tent. Visies op het landschap 2, Delft (De Volle Maan) 1977, ongepag. (serie: De Volle Maan 25).

H. Schelhaas, Hans Wiersma (red.) en Ger Dekkers (foto’s), Gevelstenen en opschriften in Overijssel, Zwolle (Waanders) 1977 (serie:Jaarboeken Overijssel, 1977).

Catalogus tent. Foto ’78, Amsterdam (Nederlandse Kunststichting) 1978.

Fred Pfeifer (tekst) en Ger Dekkers (foto’s), Zwolle gespiegeld, Zwolle (Waanders) z.j. [1978].

H. Schelhaas, Bert Molenaar (red.) en Ger Dekkers (foto’s), Rivieren en beken in Overijssel, Zwolle (Waanders) 1978 (serie: Jaarboeken Overijssel, 1978).

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

Bert Molenaar (tekst) en Ger Dekkers (foto’s), Streekplan IJsselvallei. Populaire versie, z.p. [Zwolle] (Provinciaal Bestuur van Overijssel) z.j. [1979].

H. Schelhaas, Bert Molenaar (red.) en Ger Dekkers (foto’s), Steden en dorpen in Overijssel, Zwolle (Waanders) z.j. [1979] (serie: Jaarboeken Overijssel, uitg. 1980).

H. Schelhaas, Bert Molenaar (red.) en Ger Dekkers (foto’s), Boerderijen in Overijssel, Zwolle (Waanders) 1979 (serie: Jaarboeken Overijssel, 1979).

A.A.C. Maaskant, Kees Post (tekst) en Ger Dekkers (foto’s), Woonboerderijen, Zwolle (Waanders) 1980.

Gait L. Berk, Adriaan Buter (tekst) en Ger Dekkers (foto’s), Landschappen in Overijssel, Zwolle (Waanders) z.j. [1981].

Hans Nieuwenhuis (tekst) en Ger Dekkers (foto’s), Stijltumen. Vijf eeuwen Nederlandse tuinkunst, Zwolle (Waanders) 1981.

H. Schelhaas, Bert Molenaar (red.) en Ger Dekkers (foto’s), Graven en begraven in Overijssel, Zwolle (Waanders) 1981, (serie: Jaarboeken Overijssel, uitg. 1981).

H. Schelhaas, Bert Molenaar (red.) en Ger Dekkers (foto’s), Klederdrachten in Overijssel, Zwolle (Waanders) 1981 (serie: Jaarboeken Overijssel, uitg. 1982).

Harry Wonink (tekst) en Ger Dekkers (foto’s), Het landschap van Twente, Zwolle (Waanders) 1981.

W.A.G. van Burgeler en H. Wonink (tekst) en Ger Dekkers (foto’s), Langs de Linge. Bloeiende boomgaarden en oude stadjes, Zwolle (Waanders) 1982.

Adriaan Buter (tekst) en Ger Dekkers (foto’s), Dorpen en stadjes van Twente, Zwolle (Waanders) 1982.

Peter Nijhof (tekst) en Ger Dekkers (foto’s), Watermolens in Nederland, Zwolle (Waanders) 1982.

H. Schelhaas, Bert Molenaar (red.) en Ger Dekkers (foto’s), Musea en oudheidskamers in Overijssel, Zwolle (Waanders) 1982 (serie: Jaarboeken Overijssel, uitg. 1983).

Peter Nijhof (tekst) en Ger Dekkers (foto’s), Windmolens in Nederland, Zwolle (Waanders) 1983.

Harm Schelhaas, Ger Dekkers en Gerrit Gerritsen (red.), Vogels in Overijssel, Zwolle (Waanders) 1983 (serie: Jaarboeken Overijssel, uitg. 1984) (met foto’s).

Adriaan Buter (tekst) en Ger Dekkers (foto’s), Regge en Dinkel. Land van levend water, Zwolle (Waanders) z.j. [1984].

J.B. Keuter (tekst) en Ger Dekkers (foto’s), Overijssel onze provincie, Zwolle (Provinciaal Bestuur van Overijssel) 1984.

Harm Schelhaas, Ger Dekkers en Hans Wiersma (red.), Schipvaart en schepen in Overijssel, Zwolle (Waanders) z.p. [1984] (met foto’s) (serie: Jaarboeken Overijssel, uitg. 1985).

Adriaan Buter (tekst) en Ger Dekkers (foto’s), Langs de Geul, Zwolle (Waanders) 1985.

Catalogus tent. Kunstwerk. Elf bedrijven te gast bij de jubilerende Peter Stuyvesant Stichting, z.p. 1985, p. 66, 68-69.

Anne Mieke Backer en Arij de Boode, De schoonheid van hoogspanninglijnen in het Hollandse landschap, Rotterdam (De Hef) 1986, p. 34-35.

Ger Dekkers en Hans Wiersma (red.), Oude fabrieks- en bedrijfsgebouwen in Overijssel, Zwolle (Waanders) 1986 (met foto’s) (serie: Jaarboek Overijssel, uitg. 1986).

Gertrudis A.M. Offenberg (tekst) en Ger Dekkers (foto’s), Gevelstenen in Nederland, Zwolle (Waanders) 1986.

Kees Post, Gerrit Gerritsen (tekst) en Ger Dekkers (foto’s), Een beeld van Noordwest-Overijssel, z.p. [Zwolle] (Provinciaal Bestuur van Overijssel) 1986.

Gerrit van der Heide (tekst) en Ger Dekkers (foto’s), Langs het Noordhollands-en Noordzeekanaal, Zwolle (Waanders) 1987.

Gerrit van der Heide (tekst) en Ger Dekkers (foto’s), Langs de Waddenzee, Zwolle (Waanders) 1987.

Hans Wiersma (red.) en Ger Dekkers e.a. (foto’s), De lakens uitdelen in Overijssel. Over burgers en bestuurders, Zwolle (Waanders) 1987 (serie: Jaarboek Overijssel, uitg. 1987).

Klaas Goïnga (tekst) en Ger Dekkers (foto’s), Een beeld van Twente, Zwolle (Provinciaal Bestuur van Overijssel) 1989.

Gerrit van der Heide (tekst) en Ger Dekkers (foto’s), Langs de Zuiderzee, Zwolle (Waanders) 1989.

Gerrit van der Heide (tekst) en Ger Dekkers (foto’s), Flevoland. Land van mensenhand, Zwolle (Waanders) 1990.

Gerrit van der Heide (tekst) en Ger Dekkers (foto’s), Langs de Zeeuwse en Zuidhollandse wateren, Zwolle (Waanders) 1990.

H.H ter Balkt e.a. (tekst) en Ger Dekkers (foto’s), Het Overijsselse landschap, [Dalfsen]/Zwolle (Stichting Het Overijssels Landschap/Waanders) 1991.

G. Smienk, A. Geuze en R. van Leeuwen, Nederlandse landschapsarchitectuur. Tussen traditie en experiment, Amsterdam (Thoth) 1993.

Taco Anema e.a. (red.), 50 Jaar fotografie GKf 1945-1995, Amsterdam (De Verbeelding) 1995, p. 141.

Catalogus tent. GKf. Vijftig jaren van toekomst, Groningen (Stichting Aurora Borealis) 1995, ongepag.

Willem Wilmink (tekst) en Ger Dekkers (foto’s), Twente. Mens en landschap, Zwolle (Waanders) z.j. [1995].

Frits David Zeiler, Gerrit J. Perfors (tekst) en Ger Dekkers (foto’s), De wind- en watermolens in Overijssel, Zwolle/Dalfsen (Waanders/Stichting ‘De Overijsselse Molen’) 1995.

Herman Pijfers en Jan Roes (samenstelling), Memoriale. Katholiek leven in Nederland in de twintigste eeuw, Zwolle (Waanders) 1996, p. 262.

Erik Draaijer e.a. (red.), Fotografie van de 20e eeuw. Museum Ludwig Keulen, Keulen/Hedel (Taschen/Librero) 1997, p. 126-127.

Adriaan Geuze e.a. (tekst), 90.000 pakjes margarine, 100 meter vooruit! West 8 over landschap in acceleratie, Groningen (Groninger Museum) 1997.

Maarten Lubbers (samenstelling), Laat de kust met rust, Amsterdam (Bas Lubberhuizen) 1997, p. 14.

Frits David Zeiler (tekst) en Ger Dekkers (foto’s), Sporen van de Hanze. Glorie van een gouden eeuw, Zwolle (Waanders) 1997.

Creëren komt voor recreëren. Kunst bij de ANWB, Den Haag (ANWB) z.j. [ca. 1999].

H.J.A. Hofland (tekst) en Ger Dekkers (foto’s), Magisch Flevoland/Magical Flevoland, Zwolle (Waanders) 1999.

Jolanda de Kruyf, Rolof Tienkamd (tekst) en Ger Dekkers (foto’s), Brederwiede 1973-2001, z.p. (Gemeente Brederwiede) 2000.

Rabobank Kunstagenda 2000.

Secondary bibliography

Anoniem, Fotograaf Ger Dekkers bekijkt Kampen uit een ongewone hoek, in Nieuw Kamper Dagblad 18 augustus 1964.

Anoniem, Schilderijen van Henk Schuring en foto’s van Ger Dekkers, in Twents Dagblad Tubantia 24 november 1964.

Catalogus tent. Atelier 6, Amsterdam (Stedelijk Museum) 1969.

Catalogus tent. Nederlandse beeldhouwkunst ’64/’69, Utrecht (Centraal Museum) 1969, p. 84-85, 256 (afb. 190).

Kees Post (tekst) en Ger Dekkers (foto’s), Oude boerderijen, Deventer (Kluwer) 1969.

Catalogus tent. Sonsbeek 71. Sonsbeek buiten de perken. Deel 1/Part 1, Arnhem (Park Sonsbeek) 1971, p. 98-100, 198.

Willem K. Coumans, Fotografie buiten de perken. Ger Dekkers, in Foto 26 (december 1971) 12, p. 39.

Catalogus tent. Ger Dekkers, Groningen (Galerie De Mangelgang) 1972.

Catalogus tent. Ger Dekkers. Landscape perception, Otterlo (Rijksmuseum Kröller-Müller) 1972.

Frans Duister, Ger Dekkers verhouding met het landschap, in De Tijd 19 december 1972, p. 5.

R.H. Fuchs, Een geval van esthetiek, in NRC Handelsblad 22 december 1972, Cultureel Supplement p. 6.

T.F., Kröller-Müller, in Nieuwsblad van het Zuiden 29 december 1972.

Catalogus tent. Ger Dekkers. Landscape perception/Landschaftserfahrung, Aken (Neue Galerie-Sammlung Ludwig) 1973.

Catalogus tent. Ger Dekkers. Landscape perception, Bochum (Museum Bochum-Kunstsammlung) 1973.

Catalogus tent. Ger Dekkers. Landscape perception. Wood near Krabbendijke, Z, Groningen (Galerie De Mangelberg) 1973.

Willem K. Coumans, De waargenomen landschappen van Ger Dekkers. “Landscape perception” in Kröller-Müller, in Foto 28 (februari 1973) 2, p. 41-43 (met foto’s).

Anoniem, Ger Dekkers. Landscape perception, in Fototribune 35 (september 1973) 9, p. 26-31 (met foto’s).

Catalogus tent. Ger Dekkers. Landschapwaarneming 1968-1975, Den Haag (Haags Gemeentemuseum) 1974.

Hans Gercke en Otfried Rautenbach (red.), Demonstrative Fotografie, Heidelberg (Heidelberg Kunstverein) 1974, p. 28-31.

Albert Schug (red.), Kunst bleibt Kunst. Catalogus Projekt ’74. Aspekte internationaler Kunst am Anfang der 70er Jahre, Keulen (Kunsthalle) 1974, p. 28-29, 174-177.

Catalogus tent. Plantation near Biddinghuizen. Landscape perception, Amsterdam (Stedelijk Museum) 1974 (serie: Catalogus Stedelijk Museum Amsterdam, nr. 558).

Anoniem, Stedelijk Museum Schiedam, in Museumjournaal serie 19 (1974) 6, p. 287-288.

Hans Gercke, Ger Dekkers, in Das Kunstwerk. Zeitschrift für bildende Kunst 27 (mei 1974) 3, p. 48, 67.

Jan Juffermans, Het landschap naar het vogeltje kijken, in Wonen-TA/BK (mei 1974) 10, p. 23-26 (met foto’s).

Klaas Goinga, Ger Dekkers ontdekt landschap op geheel eigen wijze. Fascinerende foto-series brengen internationale bekendheid, in Het Binnenhof 13 juni 1974.

Anoniem, Aanwinsten moderne kunst, in Bulletin. Museum Boymans-van Beuningen Rotterdam (augustus 1975) 18, p. 142-143.

Catalogus tent. Meer dan een foto, Amsterdam (Nederlandse Kunststichting) 1975. ongepag.

Catalogus tent. New Media 1, Malmö (Konsthall) 1975.

Catalogus tent. Perception du paysage/Landschapswaarneming/Landscape perception, Brussel (Paleis voor Schone Kunsten) 1975.

Catalogus tent. Landskabserkendelse 1972-1976, Aarhus (Kunstmuseum) 1976.

Bas Roodnat, De nieuwe landschappen van Ger Dekkers, in NRC Handelsblad 14 februari 1976.

Frans Duister, Keuze kalender, in Kunstbeeld 3 (december 1976) 3, p. 21.

Catalogus tent. Documenta 6. Band 2. Fotografie Film Video, Kassel 1977, p. 158-159.

Catalogus tent. Ger Dekkers. ‘Plastic’. 26 Series of colourslides, Rotterdam (Museum Boymans-van Beuningen) 1977 (idem: Arnhem (Gemeentemuseum Arnhem) 1978.

Catalogus tent. New Dutch Landscapes, Boston (Hayden Gallery MIT) 1977.

Catalogus tent. Sequenzen, Hamburg (Kunstverein) 1977, ongepag. (met foto’s).

Saskia Bos (eindred.), Kunst en tijd, in Openbaar Kunstbezit 21 (1977) 1, p. 24-25.

Philip Peters, Ger Dekkers: fotograferen in de Hollandse traditie, in NRC Handelsblad 2 februari 1977.

Nico Scheepmaker, Landschapswaarnemingen van Ger Dekkers tonen het aan: Onze polders zijn mooi, in Avenue (juli 1977) 7, p. 98-191.

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

Ole Berserik, Storing en ontstoring in ‘ontworpen landschappen’, in Nieuwsblad van het Noorden 30 juni 1978.

Floris M. Neusüss (samenstelling), Fotografie als Kunst, Kunst als Fotografie. Das Medium Fotografie in der bildenden Kunst Europas ab 1968, Keulen (DuMont) 1979, p. 58.

Karl Ruhrberg (red.), Handbuch Museum Ludwig. Kunst des 20 Jahrhunderts. Gemälde. Skulpturen. Collagen. Objekte. Environments, Keulen (Museum Ludwig) 1979, p. 156-157,848.

Peter Weiermair (red.), Kunst als Photographie 1949-1979, Innsbruck (Allerheiligenpresse) 1979, p. 58-59.

Aad Flapper, Te veel missers op fototentoonstelling, in Het Parool 19 juli 1979.

Kees van Barneveld, Markt 17: Ger Dekkers en documentaire fotografiek, in Dagblad Tubantia 20 mei 1980.

Fred Hazelhoff, Ik voel me meer beeldend kunstenaar dan fotograaf. Fred Hazelhoff in gesprek met Ger Dekkers, in Foto 35 (september 1980) 9, p. 50-57 (met foto’s).

Jörg Krichbaum, Lexikon der Fotografen, Frankfurt am Main (Fischer Taschenbuch Verlag) 1981, p. 52.

Rolf H. Krauss e.a., Kunst mit Photografie. Die Sammlung Dr. Rolf Krauss, Berlin (National Galerie) 1983, p. 108-109, 309, 328.

Catalogus Rijksaankopen 1984. Werk van hedendaagse beeldende kunstenaars, Den Haag/Amsterdam (Rijksdienst Beeldende Kunst) 1985, p. 88.

Ruurd van der Noord, Percentage regelingen en fotografie, in Perspektief (winter 1984) 16, p. 3-5.

Reinhold Misselbeck, Photosammlung Museum Ludwig, Keulen (Museum Ludwig) 1986, p. 90, 218.

Catalogus tent. Estructuras repetitivas, Madrid (Fundación Juan March) 1986.

Hedie Meyling e.a. (red.), Achter het beeld, Amsterdam (Makkom) 1987, p. 26-29, 109 (met foto’s).

Brigitte van der Sande (eindred.), De best verzorgde boeken 1986/The best book designs 1986, Amsterdam (Stichting Collectieve Propaganda van het Nederlandse Boek) 1987.

Bas Roodnat, Het verdwijnpunt van de polderblindheid, in NRC Handelsblad 2 januari 1987, Cultureel Supplement. Catalogus tent. Asparagus Asparagus, Venlo (Museum Bommel van Dam) 1988, p. 66-69.

Heleen Geluk e.a. (samenstelling), Verbeelding in Flevoland. Een nieuwe cultuur in een nieuwe provincie/Imagemaking in the new polder Flevoland, Amsterdam (Ploegsma) 1988, p. 66-67.

Colin Naylor (ed.), Contemporary photographers, Chicago/Londen (St. James Press) 1988, p. 232-234.

Greet Sickinghe-ten Holte en Henk Slim, Bouwfonds Kunstcollectie, Hoevelaken (Bouwfonds Nederlandse Gemeenten) 1988, p. 142-143, 228.

R.W.D. Oxenaar e.a., Kröller-Müller. Honderd jaar bouwen en verzamelen, Haarlem (Enschedé) 1988, p. 120, 127-128.

Jeroen Wolf, Ger Dekkers, in Holland Herald 24 (september 1989) 9, p. 32-35 (met foto’s).

Anne Dary, Collection des oeuvres photographiques, La Roche-sur-Yon (Musée de la Roche-sur-Yon) 1990.

Bas Roodnat, Verschuivende verdwijnpunten en zuivere diagonalen in het koolzaad. Ger Dekkers blijft dichter en ingenieur, in NRC Handelsblad 26 mei 1990.

WE, Zee-Lucht-Land. Ger Dekkers, in de Volkskrant 16 juni 1990.

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, Amsterdam (BIS) 1991, p. 162, 188-189.

Willem Ellenbroek, Onaangeraakte natuurpracht en de achteloze zelfzucht van de mens, in de Volkskrant 23 mei 1992.

Marcel Vleugels, Nieuw land. Vorm en contravorm, in ABP wereld (december 1992) 7, p. 20-25 (met foto’s) (idem Engelse ed.: New land. Form and counterform, in ABP world (1994) 1, p. 36-39).

Iris Dik en Koen Eggen (red.), Ver = Hier. Uit de collectie van het Nederlands Fotomuseum Sittard, Sittard (Nederlands Fotomuseum) 1993, p. 6-7, 29.

Menno Schenke, Bezeten van de horizon. Ger Dekkers laat landschap zien zoals hij het aantrof, in Algemeen Dagblad 7 juni 1994.

Mik Thoomes en Jan Geurt Gaarlandt (eindred.), Verborgen Collectie/A hidden collection, Den Haag (KPN, Koninklijke PTT Nederland) 1995, p. 261 (262), 169-170.

Wilma Jansen, Kunstopdrachten Rijksgebouwendienst na 1945, Rotterdam (Uitgeverij 010) 1995, p. 56 (no. 1003), 77 (no. 1032), 102 (no. 1593), 104 (no. 1713), 109, 113 (no. 1778).

Piet de Jonge en Gerard Forde (red.), Album. De fotoverzameling van/The photographic collection of Museum Boymans-van Beuningen, Rotterdam (Museum Boymans-van Beuningen) 1995, p.66, 81-82, 166-167.

M. Piller, Nederlandse kunst bij de gasknop, in Het Financieele Dagblad 7 oktober 1995.

Holland Agenda, Den Haag (Ministerie Buitenlandse Zaken) Den Haag 1996 (met foto’s).

Tracy Metz (eindred.), Twintig jaar verzamelen/Twenty years of collecting, Hoevelaken (Bouwfonds Kunststichting) 1996.

Bas Roodnat, De fotografische meetkunde van Ger Dekkers, in NRC Handelsblad 17 mei 1996.

Jan van IJzendoorn (eindred.), Kunst in de bajes, Rotterdam (Uitgeverij 010) 1997

Monica Poalas (samenstelling), Kunst im Europäischen Patentamt, München (EPO) 1997.

Chris de Boer en Jan Hekman (samenstelling en red.), Bovengronds bezit. 15 jaar kunst bij Gasunie, Groningen (Gasunie) 1997.

Wim van der Beek, Expo ’98 Lissabon, in Kunstbeeld 22 (1998) 6, p. 12-15.

Ad de Visser, De tweede helft. Beeldende kunst na 1945, Nijmegen (SUN) 1998, p. 268.

Han van Gessel, Gouden Eeuw van de IJsselsteden, in de Volkskrant 13 februari 1998.

Wim van der Beek, ‘Panorama Dekkers’ in Lissabon. Negendelige series van fotograaf in Nederlands paviljoen van Expo 98, in Leidsch Dagblad 30 mei 1998.

Peter Sierksma, Magisch Flevoland blijkt vooral schraal polderland, in Trouw 29 mei 1999.

P. Charpentier, Geometrie in het Nederlandse landschap, in Hasselblad Magazine september 1999, p. 4-7 (met foto’s).

Jan Torringa en Mabel Hoogendonk, Verzameld. Collectie moderne kunst Frans Halsmuseum, Haarlem. 65, Haarlem (Frans Halsmuseum) 1999, p. 242-245, 325.

Catalogus Fonds régional d’art contemporain de Bourgogne 1984-2000, Dijon (FRAC de Bourgogne) 2000.

Jeanne Hoogers (eindred.), Als de kunst erom vraagt. Sonsbeektentoonstellingen 1971, 1986, 1993, Amsterdam (Stichting Tentoonstellingsinitiatieven) 2001.

Catalogus tent. Art Twente 2 (Agenda 2001), Holten 2000.

Peggie Breitbarth, Ger Dekkers en de abstractie van het nieuwe land, in Jaarboek Twente 40 (2001), p. 50-59 (met foto’s).

Reinhold Misselbeck (samenstelling), Prestel-Lexikon der Fotografen von den Anfängen 1839 bis zur Gegenwart, München etc. (Prestel) 2002.

Catalogus tent. Les années 70. L’art en cause, Bordeaux (Musée de Bordeaux) 2002.

Erik Beenker e.a., AKI, academie voor beeldende kunst en vormgeving, Enschede. Vijftig jaar kunstonderwijs, Rotterdam (Uitgeverij 010) 2002, p. 60, 230.

Catalogus tent. Art Twente 4 (Agenda 2003), Holten 2002.

Ellen Kok e.a. (samenstelling), GKf Fotografen 2003-2004, Amsterdam (GKf, beroepsvereniging voor fotografen) 2004, p. 53, 223.

Barbara Rollmann-Borretty, Art in the Hinge. The collection of the Royal European Patent Office in The Hague, München (European Patent Office) 2004.

Peggie Breitbarth, De magische ontmoeting van lucht, water en aarde. Landschappen van Ger Dekkers in Hengelo, in de Roskam. Onafhankelijk weekblad voor Twente 10 (2 april 2004) 14, p. 20-21.


GKf 1969-heden.


1976 Prijs van de stad Amsterdam.


1964 (e) Zwolle, Hopmanhuis, Contrast [Ger Dekkers en H. Schuring].

1969 (g) Almelo, De Waag.

1969 (g) Amsterdam, Stedelijk Museum, Atelier 6.

1969 (g) Utrecht, Centraal Museum, Nederlandse beeldhouwkunst ’64/’69).

1970 (g) Almelo, De Waag , Situaties in De Waag.

1971 (g) Amsterdam, Centraal Station Amsterdam, Sonsbeek 71. Sonsbeek Buiten de Perhen.

1972 (e) Amsterdam, Galerie 20.

1972 (e) Groningen, Galerie De Mangelgang.

1972/1973 (e) Otterlo, Rijksmuseum Kröller-Müller, Ger Dekkers. Landscape perception.

1973 (e) Aken, Neue Galerie-Sammlung Ludwig, Ger Dekkers. Landscape perception/Landschaftserfahrung.

1973 (e) Bochum, Museum Bochum-Kunstsammlung, Ger Dekkers. Landscape perception.

1973 (e) Groningen, Galerie De Mangelgang, Ger Dekkers. Wood near Krabbendijke, Z.

1973 (e) Keulen, Kunstmarkt (Projection Gallery).

1973 (g) Hovikodden, Henie Onstadt Kunstsenter.

1974 (e) Amsterdam, Galerie Seriaal, Ger Dekkers. Wood near Biddinghuizen.

1974 (e) Amsterdam, Stedelijk Museum, Plantation near Biddinghuizen. Landscape perception.

1974 (g) Basel, Art Fair (Bernard Jacobson Gallery).

1974 (e) Groningen, Galerie De Mangelgang.

1974 (g) Heidelberg, Heidelberger Kunstverein, Demonstrative Fotografie.

1974 (g) Keulen, Kunsthalle, Projekt ’74.

1974/1975 (e) Den Haag, Gemeentemuseum, Ger Dekkers. Landschapswaarneming 1968-1975.

1975 (g) Amsterdam, Nederlandse Kunststichting, Meer dan een foto (reizende tentoonstelling).

1975 (e) Arnhem, Gemeentemuseum.

1975 (e) Brussel, Palais des Beaux-Arts, Perception du paysage.

1975 (g) Den Haag, Galerie m.

1975 (g) Keulen, Kunstmarkt (Galerie m).

1975 (g) Malmö, Konsthall, New Media 1.

1975 (e) Venetië, Galleria del Cavallino.

1976 (e) Aarhus (Denemarken), Kunstmuseum.

1976 (g) Düsseldorf, Kunstmarkt (Galerie m).

1976 (g) Kyoto, (Self-)Portraits.

1976/1977 (e) Bochum, Haus Weitmar, Ger Dekkers. Planned Landscapes.

1977 (e) Amsterdam, Print Gallery Pieter Brattinga [Prinsengracht 628].

1977 (g) Bern, The Museum of Drawers.

1977 (e) Boston, Hayden Gallery M.I.T.

1977 (g) Delft, De Volle Maan, Visies op landschap 2.

1977 (g) Hamburg, Hamburger Kunstverein, Sequenzen.

1977 (g) Kassel, Documenta 6.

1977 (e) Otterlo, Rijksmuseum Kröller-Müller, Ger Dekkers, planned landscapes, 25 horizons.

1977/1978 (e) Rotterdam, Museum Boymans-van Beuningen, ‘Plastic’ continue groolbeeld-projectie 26 series kleurendia’s van Ger Dekkers.

1977/1978 (e) Haarlem, [projecties van landschapswaarnemingen; tentoonstelling Nederlandse Kunststichting] (reizende tentoonstelling: Zwolle, Hasselt en andere steden).

1978 (g) Amsterdam, Nederlandse Kunststichting, Foto ’78.

1978 (e) Arnhem, Gemeentemuseum.

1978 (e) Emmen, Theater De Muzeval, Ger Dekkers. Planned landscapes.

1978 (e) Schiedam, Stedelijk Museum, Ger Dekkers “ontworpen landschappen”, een multiprojektie.

1979 (e) Amsterdam, Print Gallery, Pieter Brattinga, Ger Dekkers: Dike, Road and Sky.

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

1979 (e) Boston, M.I.T.

1979 (g) Innsbruck, Tiroler Landesmuseum Ferdinandeum, Photographie als Kunst 1879-1979 Kunst als photographie 1949-1979 (reizende tentoonstelling).

1979 (g) Rotterdam, Theater Zuidplein, [keuze uit de collectie van het ministerie van CRM].

1980 (e) Enschede, Markt 17.

1981 (e) Nordhorn, Stadtische Galerie Nordhorn, Ger Dekkers. New Dutch Landscape.

1981 (g) [Polen], Construction in Progress.

1981 (e) Wageningen, Landbouwhogeschool.

1982 (g) Bremen, Kunsthalle, Natur, Landschaft, Kunst. Bilder, Zeichnungen, Photographien, Bodenskulpturen, Objekte.

1983 (g) The art of designed environments in the Netherlands (reizende tentoonstelling door de Verenigde Staten).

1983 (g) Berlijn, National galerie Berlin, Kunst mit Photographie (idem: 1983 Keulen, Kölnischer Kunstverein, 1984 München, Münchner Stadtmuseum, 1984 Kiel, Kunsthalle).

1983 (g) Kiel, Neue Kunst aus den Niederlanden.

1984 (e) Dijon, Déja Vu.

1984 (e) Groningen, Pictura.

1984( g) Nordhorn, Stadtische Galerie, Positionen.

1984 (e) Parijs, Institut Néerlandais, Ger Dekkers. Perspeclives du Nord.

1984 (e) Villeneuve d’Ascq (Frankrijk), Musée de 1’Art Moderne.

1985 (g) Amsterdam, Stedelijk Museum.

1985 (g) Den Haag, Rijksaankopen.

1986 (e) Franeker, ‘t Coopmanshüs, Ger Dekkers. New Dutch Landscapes.

1986 (e) Lelystad, Provinciehuis Flevoland.

1986 (e) Madrid, Fundación Juan March, Ger Dekkers. Estructuras repetitivas.

1987 (g) Amsterdam, Makkom, Achter het beeld.

1987 (g) Keulen, Museum Ludwig.

1988 (g) Amsterdam, SBK-Amsterdam, [fototentoonstelling uit eigen collectie].

1988 (g) Den Bosch, Noordbrabants Museum, [Collectie Cleveringa].

1988 (e) Emmeloord, Gemeentehuis Noordoostpolder, Ger Dekkers. Het nieuwe Nederlandse landschap.

1988 (g) Maastricht, Gouvernement, Er is geen landschap dat de tijd heeft om te dromen. Vormen van landschapsfotografie.

1988 (g) Venlo, Museum Bommel van Dam, Asparagus Asparagus.

1989 (g) Amsterdam, Stedelijk Museum.

1989 (g) Amstelveen, Dutch Photography.

1989 (g) Enschede, Rijksmuseum Twenthe.

1989 (g) Limoges, Bleu Blanc Rouge.

1990 (g) Eindhoven, Van Abbemuseum, [Stichting Plint].

1990 (g) Haarlem, Vishal, Groeten uit Holland.

1990 (e) Leeuwarden, Fries Museum, Ger Dekkers: zee-lucht-land.

1990 (e) Lelystad, Provinciehuis Flevoland, Ger Dekkers: zee-lucht-land.

1990 (e) Middelburg, Zeeuwse Bibliotheek, Ger Dekkers: zee-lucht-land.

1991 (g) Otterlo, Rijksmuseum Kröller-Müller.

1991 (g) Parijs, Centre National de la Photographie.

1991 (g) Parijs, Palais de Tokyo, Panorama des Panoramas.

1991 (g) Sittard, Het Nederlands Fotomuseum.

1992 (g) Hannover, Kunstverein.

1992 (g) Heerlen, Stadsgalerij,

1992 (e) Lübeck (BRD), Overbeck Gesellschaft.

1993 (e) Heerlen, [hoofdkantoor] ABP.

1993 (g) Sittard, Het Nederlands Fotomueum, VER = HIER.

1994 (e) Breda, De Beyerd, Ger Dekkers /Overzicht 1969-1994.

1995 (e) Den Haag, [hoofdkantoor] ANWB.

1995 (g) Gersloot, Tripgemaal/Museum.

1995 (g) Groningen, Der Aa-kerk.

1995 (g) Leeuwarden, Galerij Romein.

1995 (g) Rotterdam, Nederlands Foto Instituut, Lichtjaren, 50 jaar GKf-fotografie.

1995 (g) Rotterdam, Museum Boijmans Van Beuningen, Album. De fotoverzameling van Museum Boymans-van Beuningen.

1996 (g) Den Haag, PTT-museum.

1996 (e) Dronten, Gemeentehuis.

1997 (g) Deventer, Bergkerk.

1998 (g) Breda, Grote Kerk.

1998 (g) Heerlen, [hoofdkantoor] ABP.

1998 (e) Lissabon, Nederlands Paviljoen, Ger Dekkers ‘New Dutch Sea-scapes’ (EXPO ’98).

1998 (g) Moskou, Nederland uit Zee.

1999 (g) Bochum, M-Bochum.

1999 (g) Deventer, Bergkerk, Blik in de Bergkerk

1999 (g) Keulen, Museum Ludwig, Serien und Konzepte.

1999 (g) Venlo, Museum van Bommel van Dam, Golden horizon.

1999/2000 (g) Haarlem, Verweyhal, Verzameld. Honderd jaar moderne kunst uit de collectie van het Frans Halsmuseum.

1999/2000 (e) Venlo, Museum van Bommel van Dam.

2000 (e) Groningen, [kantoor] Gasunie, Horizons Unlimited.

2000 (g) Heino/Deventer, Het Nijenhuis/Bergkerk, Het Vervolg.

2000 (g) Hengelo, Expocenter, Art Twente 2.

2001 (e) Zwolle, Stedelijk Museum Zwolle, Ger Dekkers. Horizons Unlimited (3xFotografie).

2002/2003 (g) Bordeaux, Les annees 70.

2003 (e) Hengelo, Expocenter, Art Twente 4.

2004 (e) Hengelo, Stadhuis en Galerie Wilfried Lansink, Ger Dekkers – een retrospectief ‘landschapswaarnemingen’.


Giethoorn, Ger en Hilda Dekkers, documentatie en mondelinge informatie.

Leiden, Studie en Documentatie Centrum voor Fotografie, Prentenkabinet Universiteitsbibliotheek Leiden.

Leusden, Jan Wingender (collectie nederlands fotoboek).


Alkmaar, P.N.E.M.

Almelo, Rechtbank.

Amsterdam, ABN-AMRO kunstcollectie.

Amsterdam, Bozell BK&P.

Amsterdam, Gemeentelijke Kunstcollectie.

Amsterdam, KPMG Klynveld.

Amsterdam, Stedelijk Museum.

Arnhem, Banque Parisbas Nederland BV.

Arnhem, Gemeentemuseum Arnhem.

Bochum, m-bochum.

Borne, Gemeentelijke kunstcollectie.

Brussel, Bank Lambert.

De Bilt, Grontmij N.V.

Den Haag, Gemeentemuseum Den Haag.

Den Haag, KPN-Nederland.

Den Haag, Ministerie Binnenlandse Zaken.

Den Haag, Ministerie Volkshuisvesting, Ruimtelijke Ordening en Milieu.

Den Haag, Ministerie Welzijn, Volksgezondheid en Cultuur.

Den Haag, Tweede Kamer der Staten Generaal.

Deventer, Tauw B.V.

Dronten, Gemeentelijke kunstcollectie.

Enschede, Gemeentelijke kunstcollectie.

Dijon, F.R.A.C. Bourgogne.

Eindhoven, RABOBank Nederland.

Groningen, N.V. Nederlandse Gasunie.

Haarlem, Frans Halsmuseum.

Hamburg, Kunsthalle.

Hengelo, Gemeentelijke kunstcollectie.

Hoevelaken, Bouwfonds Nederland.

IBM Nederland.

Keulen, Museum Ludwig.

Leeuwarden, Fries Museum.

Leeuwarden, Collectie Provincie Friesland.

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden.

Lelystad, Gemeentelijke kunstcollectie.

Lelystad, Collectie Provincie Flevoland.

Lelystad, Rijksdienst IJsselmeerpolders.

München (BRD), European Patent Council.

Noordoostpolder, Gemeentelijke kunstcollectie.

Otterlo, Rijksmuseum Kröller-Müller.

Rotterdam, Gemeentearchief.

Rotterdam, Museum Boijmans van Beuningen.

Rijswijk, European Patent Office.

Sittard, Museum het Domein.

Steenwijkerland, Gemeentelijke kunstcollectie.

Utrecht, Befu B.V.

Utrecht, Centraal Museum.

Utrecht, Nederlandse Spoorwegen.

Zeist, PGGM.

Zürich, Kunsthaus.

Zwolle, Gemeentelijke collectie.

Zwolle, N.V. Epon.

Zwolle, Stichting Het Oversticht.

Zwolle, Provincie Overijssel.

Zwolle, Waanders B.V.

Monumental works

1985 Dronten, Raadzaal Gemeentehuis.

1986 Den Haag, Ministerie van Binnenlandse Zaken.

1986 Lelystad, Statenzaal Provinciehuis Flevoland.

1988 Amsterdam, Liftportalen en koffiekamer Raadzaal Stadhuis.

1989 Enschede, Conservatorium.

1996 Almere, Penitentiaire Inrichting.