André Thijssen is an Image maker based in Amsterdam, The Netherlands.

Editorial-, cultural- and corporate clients worldwide are being served.

In all the editorial cases shown here the article was the briefing with further total carte blanche, corporate commissions were also given a lot of freedom.

Subject matters are usually approached in an associative way not seldom using material collected while travelling the world.

The results are often witty, refreshingly surprising to say the least.

An image published in a magazine, rather than an illustration functions as an editorial contribution by itself.

For more photography by the artist see

contact:  T +31 (0)6 24 10 33 32

Binnenkadijk 315,  1018 AX Amsterdam,  The Netherlands

Lecturer / guest teacher at:

KASK, Ghent Belgium

School of Visual Arts, New York USA

Cape Peninsula University of Technology, Capetown, South Africa

HKU Utrecht, Netherlands

KABK, The Hague, Netherlands

The Design Academy, Eindhoven, Netherlands.

Among the commissioners are:

in The Netherlands, editorial: Avenue, Blad, Dutch, BLVD, Items, Quote, Carp, NRC M, NRC Next One, NRC Opinie & Debat, Volkskrant magazine, De Groene Amsterdammer, Vrij Nederland, Hollands Diep, Tijdschrift voor Marketing, Intermediair, Emerce,

C magazine, Forward, Management Team

Book covers: Podium, Contact, Nijgh en Van Ditmar, Arbeiderspers, De Bezige Bij

Cultural: Prins Bernhard Fonds, Holland Festival

Television: VPRO broadcasting

Music Industry: DoNeMus

Corporate: Akzo, KVGO FGE, Mart. Spruijt printers, KesselsKramer, Philips Corporate Design, Polaroid Netherlands, PTT Telecom, Proost&Brandt, Rabo Bank, SNS Bank, Reaal Insurances, Delta Lloyd, Teleac/NOB, Protest Snowboarding

Belgium, cultural: KaaiTheater and De Vlaamse Schouwburg in Brussels

U.K., Editorial: Creative Review, Laurence King Publishing

USA, Editorial: The Atlantic Monthly, Esquire, Fortune 500, New York Magazine, Ray Gun, Blue (travel), Plazm

Book covers: Penguin, Scribner

Music Industry: Luaka Bop, Soleilmoon

University of Amsterdam Rare Collections and Press Museum aquired 20 years of André Thijssen’s printed commissioned work.

Hereby a brief interview taken by Edie Peters of PhotoQ on May 13 2012.

Why are these institutions interested in prints of your work?

I needed a good home with public access for my ever expanding archive of commissioned work.

The University of Amsterdam’s department of Rare Collections and the Press Museum showed great interest.

I think they like my my attitude.

I made a selection of the work stored here on my shelves since not every image has museum quality in my opinion.

The curator of the Press Museum asked me to write down some notes on the work.

It was an interesting exercise overseeing the body of work made in the years that I am active as a freelance image maker.

Did I succeed in what has been my aim since I started my carrier?

It has always been my intention to present a surprising, autonomous approach of the subject matter.

If the approach does not surprise myself the image isn’t good enough to be printed.

I often use existing material from my own photography archive making an associative link with the article.

An intriguing editorial image should work as a teaser to start reading, rather than illustrate the content at a single glance.

I actually see the latter as an offence to the readers.

Unfortunately too many publishers and editors, out of fear of losing advertisers and readers are following the easy, thirteen in a dozen method of filling white space for the sake of having printed paper to sell.

There’s too much of a magazine diarrhoea around.

Would you buy a magazine that does not take you seriously?

How many photographs does it concern here?

It’s a selection of Dutch and international magazines, annual reports and printed matter for cultural events and measures over a meter in total.

Don’t ask me how many photographs this means, just an awful lot ;-)

On August 1st this year I will be active as a freelancer for forty years.

Selecting this material for interested collectors felt a bit like closing off my carrier but nothing is less true.

New work will be added in the future.

What are they going to do with the work?

At first deacidification, then archiving for future exhibitions and as study material.

It will, more than when stored in my studio, be available to the public.

How much money was involved with this transaction?


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