'Boy Playing Girl', Janakpur, Nepal, 2016 from the series A Myth of Two Souls, 2013 - ongoing

Deborah, from the series Week– End, 2009

Aike, 2016

Untitled (Two Girls Embrace), 2018

Boys of Walthamstow, 2018

Fashion

Untitled, 2013

Daniel Everett

Created by Daniel Everett in 2013. The artwork is a print mounted on dibond and displayed at 68.8 x 54.9 cm.

Untitled from the series Bible, 2008-2014

Foam is supported by the VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, the VandenEnde Foundation and the City of Amsterdam.

In 2021 Foam receives additional support from the Mondriaan Fund and Kickstart Cultuurfonds

visible in

In his practice, Everett examines how the idealised image of progress differs from the reality of the resulting objects. One of his main themes concerns the ‘by-products’ of the digital and technological innovations: for his series 

 he uses images of old-fashioned office items, modernist high-rise buildings and surveillance equipment, as once-upon-a-time symbols of order, efficiency and technological advancement. Everett also like to explore the three-dimensional aspects of his work, made clearly visible in this work by stretching blue tape across the printed image. The physical, tangible nature of the tape contrasts vividly with the sterile, uniform background. The work emphasises the question whether objects, such as telephones that have been optimised for user experience or buildings designed for maximum efficiency, still retain an individual identity, or instead succumb to the uniformity generated by a digital world.  

Untitled, 2013 from the series New Existence 1

Damien, 2015 from the series Next Generation Lagos, 2015

Namsa Leuba

Created by Namsa Leuba in 2015. The artwork is an inkjet print on satin paper on dibond 2mm and displayed at 60 x 43.8 cm.

Waves from the Web, 2009

Visible in

This photo is bursting with graphic forms and lively colours, and the model’s posture radiates a sense of pride. The pink background contrasts with the yellow on Damien’s cheek. Aesthetically, this photo resembles a fashion shoot, much like you can find in a fashion magazine. Yet the photographer Namsa Leuba actually works in the space between multiple genres: inspired by fashion photography, she combines this form with documentary practices and performance art. In het series 

, she explores Nigeria’s innovative and creative youth culture. The Nigerian capital of Lagos, with its bustling chaos and resolute energy, served as Leuba’s inspiration for this series. To create 

, she collaborated with local fashion designers and models to translate the city’s vitality into a visual explosion of clothing, props and accessories. The resulting images, such as this portrait of Damien, present a complex, dynamic and contemporary reflection of Lagos, a city that proudly proclaims its own identity. 

Damien, 2015

Gucci from the series Elaine Firenze

Egon van Herreweghe

Created by Egon van Herreweghe. The artwork is a Vogue magazine page altered with trichlorethylene, glued on plywood  and displayed at 40 x 30 cm.

The photographic medium is strongly connected to the world of fashion, fuelled by early fashion photographers like Edward Steichen and Richard Avedon. Vogue Magazine, as one of the world’s most important fashion magazines, publishes and largely dictates through images what counts as fashionable and is ‘en vogue’. But what happens when we don’t look at the image itself, but at its reproductions? This question forms the core of the work by visual artist Egon Van Herreweghe. 

Instead of making photographs himself, Van Herreweghe transforms existing photographs from Vogue magazines by using acetone to distort the ink. The process results in painting-like, alienating images, such as the work shown here, from the series 

. Whereas fashion photographs on billboards and in bus stops often just flash by, Van Herreweghe manages to get viewers to stop and take a good look at his work. His art urges us to reflect on the use and consumption of visual material in our daily lives. 

Gucci

Potato, 2003

Blommers & Schumm

 in 2003.  The work explores genres such as 

For a diverse group of contemporary photographers, the Dutch still life remains a source of inspiration, but with a modernised and updated concept in a contemporary visual language. This highly stylized portrait of one of the most Dutch products ever, the potato, is far from classic, but instead starkly graphic. The humble vegetable is staged like a fashion model in this work by Blommers & Schumm. At the centre of attention the potato with its blemished skin gains a sculptural quality.

Potato

artworks in the collection

I would very often come across sensual, young, attractive white models running around being free and having so much fun – the kind of stuff Larry Clark and Ryan McGinley would make. I very seldom saw the same for black people in images – or at least in the photography I knew of then.

exhibitions

Tyler Mitchell

 in 2018. Using inkjet print as the medium, the artwork is displayed at 103 x 127 cm.

Tyler Mitchell’s work visualises a black utopia. Making use of candy colour palettes and natural light, Mitchell captures young black people in gardens, parks or in front of idyllic studio backdrops where they appear as free, expressive, effortless, sensitive and proud. The utopia that Mitchell creates, makes one realise how highly it contrasts with the way reality is represented. He produces holistic imagery of individuals from his community and brings their humanity to the forefront.

Untitled (Two Girls Embrace), 2018 from the series I Can Make You Feel Good

Untitled (Two Girls Embrace)

 in 2018. Using inkjet print as the medium, the artwork is displayed at 150 x 210 cm.

Boys of Walthamstow, 2018 from the series I Can Make You Feel Good

Boys of Walthamstow

Baron, 2013

Ask Our Curators - Untitled by Harley Weir

Harley Weir

 in 2016. Using C-print as the medium, the artwork is displayed at 100 x 80 cm.

Untitled, 2016

This photograph comes from a shoot that Harley Weir did for the 'Female Gaze Issue' from i-D Magazine (August 2016). For the first time in the history of the famous youth culture magazine, it devoted an entire number to women seen through the lens of only female photographers. How do women look at women? It is a theme that Harley Weir has been involved in for some time. While working in the context of the fashion industry, her photographs show a different approach to women - one that does not necessarily meet the standard beauty ideal. For example, she refuses to brush away something like pigmentation marks on the body of a model in her photos. Time and again she seeks out the tension between the erotic and functional meaning of the erogenous zones of the female body.

Untitled Harley Weir

Sweet Crazies #19, 2011

Jan Hoek

Jan Hoek is a visual artist whose work often reveals a special yet ambiguous relationship between the photographer and his models.

Jan Hoek is a visual artist whose work often reveals a special yet ambiguous relationship between the photographer and his models. His series document his encounters with people, exposing simultaneously the weird, funny, painful, or touching stories that arose in this context. This portrait is taken from the series 

: a colloquial name given to Ethiopia’s homeless who suffer mental illnesses. Hoek was initially attracted to their curious and flamboyant fashion style, which reminded him of kings or emperors. The photoshoot created space to acknowledge and play with the royal feeling exuding from these remarkable individuals.

Adopting a unique approach to his work, Hoek always leaves room for the unexpected, as well as for the unwanted. He crosses traditional boundaries and challenges viewers, introducing us to the unconventional characters that became his models.

Sweet Crazies #19

Paper Girl 2, from the series World, 2010

Ina Jang

 in 2010. Using c-print as the medium, the artwork is displayed at 60 x 40 cm.

A frail and twisted female body dissimulated behind pieces of paper: profoundly influenced by fashion and design, Ina Jang’s images are unconventional and light. She creates a complex and multidimensional world in which reality and fiction are intertwined using different surfaces and layers.

The base of Jang’s work is her experimental curiosity. Many of her images start with drawings or figures, which become obscured in surreal, hyper-stimulated environments. Jang’s goal is to find new perspectives in photography: "Coming up with something that completely breaks the boundaries might be impossible, but I think it’s always nice to try to break personal boundaries." With her conceptually and aesthetically playful approach to photography, Jang crafts her own visual language and creates light-hearted and poetic work.

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