Taco Hidde Bakker

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Photo: Ringel Goslinga, 2013Taco Hidde Bakker is a freelance writer on the arts and photography. He writes about a variety of topics, usually in dialogue with the artists whose work forms the subject and the reason to write about certain topics. Since 2007, Bakker’s writings have been published internationally in magazines, catalogs, artist’s books, and on blogs and websites. Additionally, he works as translator (English<->Dutch<-German), text editor, (image) researcher, (editorial) advisor for artists and curators, guest lecturer, and portfolio reviewer.

Contact by e-mail

C.V. (basically a listing of most publications and public performances since 2005)

 In July 2018, Fw:Books published The Photograph That Took the Place of a Mountain, a volume containing 20 of Bakker’s miscellaneous writings, which were originally published in art and photography magazines and on two blogs between 2007 and 2016. The author revised and expanded most of the existing texts and wrote four new ones especially for this book, whose topics range from the tension between artist and model to the landscapes of the American West, the surfaces of a second-hand New York City, and the predicament of transcultural photography.

The Photograph That Took the Place of a Mountain contains writings on the work of theorists and artists such as Vilém Flusser, Ariella Azoulay, Witho Worms, Onorato & Krebs, Renato D’Agostin, Stephan Keppel, Marie-José Jongerius, Paul Kooiker, Tom Callemin, Dirk Braeckman, Francesca Woodman, and Mariken Wessels.

The work on the compilation, translations and revisions has been supported by the Mondriaan Fund.





In addition to some examples of texts to be found on this website, a small selection of other previously published texts can be read and downloaded from Academia.

Since 2006, Bakker has published essays, interviews, as well as book and exhibition reviews with various magazines, websites, publishers, art institutions and artists, in The Netherlands and abroad. Publications with, among others: Camera Austria International (AT), Fw:Books (NL), EXTRA (B), Foam Magazine (NL), Art Paper Editions (B), Stedelijk Museum Amsterdam (NL), Aperture (USA), Skinnerboox (IT), British Journal of Photography (UK), Künstlerhaus Bethanien (GER), Dutch Doc (NL), PhotoQ (NL), Fotografisch geheugen (NL), Mister Motley (NL), Rheum (B), Extrapool (NL), and Unseen Magazine (NL).

Translations for, among others: Sandberg Instituut (Amsterdam), KABK: Royal Academy of Art (The Hague), Minerva Art Academy (Groningen), Johan Deumens Gallery, Kehrer Verlag, FotoMuseum Antwerpen, Rein Jelle Terpstra, Anouk Kruithof, Frank van der Stok, Hanne Hagenaars, Mariken Wessels, Extrapool, and Alumniportal Deutschland.

For Paradox, producers of large-scale multi-platform photo projects, Bakker worked as researcher, writer and editor on the extensive documentary project The Last Days of Shishmaref (2007-2010), involving a photobook, a web documentary, and a traveling exhibition.

Between 2009 and 2011, under the alias of Perec, he engaged in an online photo-conversation with his friend and colleague Creep. What resulted was a photo-dialogue showing the eclectic ephemeral on two sides of the Atlantic (USA vs. Europe & Africa), moving from digital to analogue and vice versa…

Short educational biography

During the second half of the 1990s, Bakker studied painting, printing and drawing at the art academies in the Dutch towns of Kampen and Maastricht. In 2007 he obtained his Master’s degree in Photographic Studies at Leiden University. His 2007 thesis (written in Dutch and supervised by Helen Westgeest) is called: Ancestors return in silver grains: photo theory and visual repatriation.

Inspiration for the subject of his thesis followed from an internship in 2006 with arctic anthropologist Cunera Buijs, at the photo collections of the Dutch National Museum of Ethnology, where he learned about the importance of photographs in ethnographic archives for so-called “source communities” (descendants of indigenous peoples once subject(ed) to scientific and photographic surveys by explorers and scientists who ventured from the powerful urban centers of the West). Photographs of their ancestors have been taken back to them by anthropologists and museum curators & started performing new and often pivotal roles within their lives and works. In return, by this practice museums are enabled to gain specific knowledge and insights from sharing and opening up their audio-visual (and other) archives.