As a creative who wears many hats, it’s the visual arts that are Gijs’ main passion as he explains where he invests his efforts, “My camera is more expensive than my car.” Having grown up in the small town of Vierlingsbeek in the North Brabant province of the Netherlands, being a ‘creative’ wasn’t something he believed could be a career. Deciding on communications as a degree, it was only after getting to university that he realised the arts were for him. Sticking it out and earning his bachelor’s, when he finished, it was advertising that presented an opportunity – and he went with it.

Gijs speaks to LBB’s Nisna Mahtani about how he believes creativity should be embedded in all aspects of a business to ensure there’s an element of future-proofing and how his son inspires him to challenge the status quo.

LBB> Where did your career begin? Did you study for the role, fall into it or was it something entirely different?

Gijs> It was a real pain to finish my degree because I found out about art school when I was in my second year of university. But I didn’t want to switch to another university, as it was very expensive. I learned graphic design and photography in my free time and my goal was to finish my bachelor’s degree and make some money to be able to afford to go to the Royal Academy of Art in the Hague. 

When I finished my bachelor’s degree in communications, a classmate (Niek Eijsbouts) wanted to work in advertising and asked me to team up. The deal was he would be able to work on his writing portfolio and I could work on my visual portfolio. 

Two months later, while I was finally applying at the Royal Academy, we won our first award, got sent to Cannes and then landed a job at an advertising agency. It took me quite a few years to accept that I would be better off proceeding with this path instead of going back to school. My friend and I ended up working together for about ten years and we made some of our best works together. 

LBB> Do you remember some of the formative campaigns you worked on and what it was like to create them?

Gijs> One of the most important projects I worked on was a campaign to raise awareness for organ donation. In the Netherlands, the system was made the way that you actively had to say ‘yes’ in order to become a donor. We spent four years trying to find every possible way to motivate people to become a donor. It became one of the most efficient campaigns I ever worked on: it was awarded an Effie and a Guinness World Record (for raising the most organ donor registrations within 24 hours). But most of all, it was fun to work on such an impactful project with a very small team. Besides being the art director on the project, I started to direct TV commercials myself and took photographs for the campaigns. The project gave me a lot of confidence to use all the DIY things I learned in a professional environment. 

LBB> What does creativity mean to you?

Gijs> To me, it’s probably just as important as oxygen. If I don’t create I get depressed. My life is built around creativity. I have one rule when buying new things: If I can create something with it, it will justify the price. My camera is more expensive than my car. 

LBB> Can you tell us a little about the creative scene in Amsterdam? How has it changed over the years?

Gijs> When I joined KesselsKramer in 2009, we were a bit of an odd agency in the creative scene. We worked on art projects, made products, films and did a lot of international work. The majority of the Amsterdam-based agencies simply didn’t work for international clients and found it hard to label us as an agency with all that we did. But I’ve seen this change quite rapidly with international talent moving to Amsterdam. And with the acceptance that creativity can be a driving force in all phases of business development. 

LBB> What about some of the current trends that you’re seeing in the market?

Gijs> Forward-thinking businesses no longer consult creatives just for their advertising and communication challenges. Creativity has become accepted on many layers of the business. The pandemic was a painful realisation that without sincere emotional engagement, your audience just doesn’t care much about you as a brand. Creatives can help brands show they really care about their audience and the world we live in. And if done well, this will come back. Karma.

LBB> How about some recent pieces of work that are particularly significant? 

Gijs> KesselsKramer recently made a campaign for Monopoly that I think shows that honesty can lead to surprisingly effective campaigns. Always question the status quo.

A theatre troupe from Amsterdam approached us with a plan to change their name and identity. By changing their name from De Warme Winkel to Toneelgroep Amsterdam (which recently left the name when they rebranded to ITA), this project had a lot of impact and PR attention. Due to legal forces, they had to change back their name, but the campaign was a massive success. 

Also, this one isn’t a campaign, but a program for the industry that I’m excited about called ‘PlusPlusOne’. Check it out here.

LBB> Creatives tend to be inspired by a lot of different things, art, music, travel, and others around them. Where do you find your personal creative inspiration?

Gijs> I like to look for inspiration outside of the mainstream. I have listened (and still listen) to a lot of punk rock music. I work in advertising, which sometimes can be seen as opportunistic, but I am very aware of the problems we are facing in the world. People like Chris Hannah (frontman of Propagandhi) and Tom Rheault (vocalist of No Trigger) remind me to use my creativity for good. Also, the daily questions I get asked by my five-year-old son about the world we live in make me question the status quo a lot.

LBB> What is the biggest lesson you’ve learnt through your years in the industry? Can you pass some advice on to people who might just be starting out?

Gijs> If you ask yourself: ‘Who is going to make this work amazing? Who is going to win this pitch? Who will elevate this idea to something larger than life?’ It’s always you. Meaning that, even if you work in a team, you should look to the other person. It is your energy that is going to be the driving force of a project. If all team members think like that, the accumulation of energy will help to make the best work you’ve ever made.

LBB> Balance is always important, so what do you spend your time away from your desk doing? Are there any hobbies or interests which take up your time?

Gijs> My life is about creating things. When I’m not in the office, I’m working on my art projects. I do a lot of photography where I like to play with reality, and always have a thing going. Also, I play in a ‘90s skate punk band and compose music. While I have quite a full agenda, I like to spend as much time as possible with my son, he is an amazing human being that helps me with seeing things from a different perspective.

Very abstract drawing by my son: 

Few figures could unite the likes of Hilton Als, Naomi Campbell, Elton John, Spike Lee, Sally Mann, Polly Mellen, Kate Moss, Chloë Sevigny, Taryn Simon, Christy Turlington, and Jonas Wood in shared admiration. 

But Richard Avedon has, albeit posthumously, in a new exhibition at Gagosian, New York. ‘Avedon 100’ invited almost 150 acclaimed cultural movers and shakers to select an Avedon photograph and share a personal story of their connection to the image and the artist on the centenary of his birth. 

The enormity of Avedon’s influence can be seen across photography today; how he put personality front and centre, how he distilled his subjects, while always understanding ‘All photographs are accurate. None of them is the truth…I’m not interested in the truth.’ 

This openness to complexity is evident in the evolution of his aesthetic approach throughout his career, from his contrast-heavy portraits, the In the American West series, his records of the social justice movement, as well as his boundary-breaking fashion photography; all of which have inspired new generations of artists to be open, connect with their subjects, and most importantly to take risks. 

Avedon’s stories demonstrate his ability to peel back the polished veneer of world leaders, collaborate with models to create theatre within a moment and tell stories about injustices. But the common thread throughout these eclectic themes and approaches is how working with Avedon became an education for those lucky enough to have met him – his was a power to draw out our own creative desires. 

Together, these inspiring, entertaining and thoughtful reflections on Avedon’s life and work form a visual and anecdotal chorus demonstrating his power to form wide-ranging cultural touchpoints that go far beyond their originator. 

‘Avedon 100’ is on view at Gagosian 522 West 21st Street, New York, until 24 June 2023. gagosian.com (opens in new tab)

Multimedia creations and paintings by professional artists will also be among the various Artwalk exhibits

BANGOR – Husson University announced that it will be showcasing the creative talents of students and professional artists on Tuesday, May 2 from 12:30 to 5 p.m. on their Bangor campus as part of their end-of-semester Artwalk. All of the exhibitions, located in various campus locations, are free and open to the public.

One of the exhibition spaces participating in this semester’s Artwalk is the Hart Studio. This creative space in the basement of Hart Hall will feature a variety of student artistic expressions. Student artwork on display will include photography, drawings, paintings and photography.

Graphic design, animation, motion design and agency materials will all be on display in the Wildey Communications Center, home of the New England School of Communications.

Individuals with a passion for art created by seniors should make it a point to stop by the Sawyer Library. This location will feature works developed by the elderly, with the assistance of Husson University students, as part of the class “BR 121 Co-creating Across Generations”.

Those who prefer artistic expressions that embrace new technology will find a variety of cutting-edge artistic developments at the iEX Center in Harold Alfond Hall, home of Husson University’s College of Business. At this location, Artwalk participants can see the creativity students have brought to extended reality presentations. Innovative expressions developed in the university’s two-dimensional (2-D) and three dimensional (3-D) drafting design class as well as “GV 145 Design Thinking & Innovation” will also be on display.

The Darling Atrium in the Beardsley Meeting House, (also known as the lobby of the Gracie Theatre), will be featuring artwork developed by students who are at the beginning of their creative journey. The public will be able to see artwork created in two classes, “FA 101 Art and Human Experience” as well as “FA 202 Art History II.” After taking in this exhibit, Artwalk participants should check out “Landscape Language – A Retrospective” by professional artist David Haskins in the Gracie Theatre’s WBRC Gallery. Located at the far end of the atrium, the gallery’s exhibit is a retrospective of Haskins’ landscape paintings through the years.

Another exhibition by a professional artist that is on display as part of Artwalk is located in the Robert E. White Gallery. The gallery, adjacent to the Campus Center in Peabody Hall, features an art installation by Amber Walter. This exhibition, called “in her world,” consists of mixed media art that combines paintings on panels or canvas, print text, photographs, string, illustrations and everyday objects. The artist will be at the gallery to meet and greet the public from 12:30–2:30 p.m. Visitors can also participate in an artmaking activity at this location. 

All Artwalk visitors are welcome to stop by Husson University’s One Circle Agency in the Wildey Communications Center. This student-run marketing agency recently opened a new space on campus. Visitors can tour the facility and learn more about how the agency provides students interested in marketing with hands-on experience during this open house.

Kathi J. Smith, the Robert E. White Gallery coordinator and an associate professor of art at Husson University, organized Artwalk. “The selected creative expressions demonstrate the technical quality and creative excellence our students bring to their assignments and projects,” she said. “Helping our students feel confident in their abilities to express themselves is enormously beneficial, regardless of the career fields they choose to pursue after graduation. In addition, the Artwalk offers a visual opportunity to highlight the diversity of our student body in an inclusive way across campus.”

The exemplary student artwork featured in this show was created in courses offered by Husson University’s College of Science and Humanities and Husson’s College of Business including the School of Technology and Innovation and the New England School of Communications.

For nearly 125 years, Husson University has prepared future leaders to handle the challenges of tomorrow through innovative undergraduate and graduate degrees. With a commitment to delivering affordable classroom, online and experiential learning opportunities, Husson University has come to represent superior value in higher education. Our Bangor campus and off-campus satellite education centers in Southern Maine, Wells, and Northern Maine provide advanced knowledge in business; health and education; pharmacy studies; science and humanities; as well as communication. In addition, Husson University has a robust adult learning program. According to a tuition and fee analysis by U.S. News & World Report, Husson University is one of the most affordable private colleges in New England. For more information about educational opportunities that can lead to personal and professional success, visit Husson.edu.

One of the most common warnings you will hear about going pro as a photographer is that it will ruin your love for the craft. Why is that? Is it true, and if so, what can you do to mitigate that? This excellent video essay features a long-time professional photographer discussing the issue and his experience. 

Coming to you from Scott Choucino of Tin House Studio, this great video essay discusses the issue of becoming a professional photographer and its effect on one’s love of the craft. Without a doubt, becoming a professional can have a detrimental effect on your passion, as you realize that everything that goes into a business takes you away from the camera more than you might have ever imagined. It can also be difficult when you lose creative freedom, as you have to work to cater to the needs and desires of clients. This is part of the reason why seasoned professionals advocate so strongly for undertaking personal projects. Not only will these help you maintain your passion, they will also expand your creative palette, which can only serve to help you gain more clients. Check out the video above for the full rundown from Choucino. 

In a world where we’re in a state of near-constant panic about the encroachment of AI on our lives, this morning I found myself a little surprised by the more established pseudo-intelligence of normally reliable Google.

My mind was wandering and I was thinking of clouds – not sunset clouds, but the patterns they form after the peak of the day on a holiday weekend as, for me in London, it has just been a long weekend. So I typed ‘sky photography’ into Google and, well, it decided I could only mean astrophotography.

Now I’ve got nothing against astrophotography. I deeply admire those willing to research the best astrophotography gear and endure the long hours and disappointments of weather at difficult times of the day. But I did feel that Google might have offered me some possibilities for ‘sky photography’ relating to the other half of the solar cycle – the time I, personally, spend awake.

Perhaps I was asking the wrong question. After all, a lot of the time you’re looking to make the sky a key part of a photo, the time of day is important. Perhaps if I’d asked, specifically, about the best way to photograph a sunset, or clouds, I’d have got an answer closer to where my mind was in the first place. Though, to be honest, I suspect if I’d mentioned clouds I’d have simply ended up with a lot of opportunities to store my photos on a remote hard drive for a monthly fee.

The point, here, seems to be this – sky photography (or whatever you choose to call it) matters to people whether it is day or night, and that seems like it should be obvious to a search engine. But, clearly, it isn’t. At best the search is the beginning of a hunt for knowledge, not the end.

For what it’s worth, only one of the three images and one video I could see from the same sky photography search on Instagram showed astrophotography. But a lot had clouds, and it wasn’t short of sunsets.

This reporting is featured in this week’s edition of Confider, the newsletter pulling back the curtain on the media. Subscribe here and send your questions, tips, and complaints here.

It turns out that notorious gadfly Simon Ateba isn’t the only journalist who’s caused headaches for the White House Correspondents Association with over-the-top escapades.

Multiple complaints have been made over the years about freelance photographer William Moon taking candid and inappropriate photos of female reporters and staffers at the White House, sometimes when they were exiting the restroom, several people familiar with the situation told Confider.

Moon, who went viral in 2020 for taking a famously unflattering photo of Donald Trump, would allegedly post up in a breakroom and then photograph women exiting a nearby bathroom, multiple sources told us. He then posted the images on his social-media accounts with official-sounding usernames like @photowhitehouse or @thewhitehousephotos.

The photographer’s antics spanned across both the Trump and Biden administrations, prompting multiple women to complain to the White House press office and demand he remove the photos from his account, sources said. Eventually, a WHCA board member was seen confronting Moon about his behavior, telling the photographer in no uncertain terms he was prohibited from hanging out near the restroom to snap pics. (The board member, who spoke on condition of anonymity, confirmed the encounter.)

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Moon also came under fire last year for twice publicly sharing off-record planning emails on his Twitter account, resulting in the board asking the press office to remove him from the mailing list.

An official familiar with the situation confirmed that Moon had been warned by the White House about his behavior, and also that he was removed from the mailing list last year.

Additionally, sources noted that Moon no longer has a “hard pass” to the White House—though his press credentials were not revoked by the press office. Instead, he may have just let it lapse and never reapplied. The Biden administration has sought to toughen the rules for hard passes, but has also been keen on avoiding the appearance of directly punishing White House journos.

Moon hadn’t been seen on White House grounds in the past six months—until Wednesday, when he showed up to witness the South Korean president’s visit with Biden. Sources noted that Moon, now sporting a lengthy beard, obtained a temporary day pass to enter the complex. The photographer marked the occasion by posting a number of pictures on social media, including candid snaps of women and a selfie with National Security Council flack John Kirby.

Moon’s re-emergence came after Confider emailed multiple requests for comment to which he never responded. The White House press office declined to comment.

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Los Angeles Times Foreign Correspondent and Photographer Marcus Yam has won the prestigious Robert Capa Gold Medal Award for photography “requiring exceptional courage” with a series of thoughtfully curated visuals covering the first 30 days of war in Ukraine.

The award, named in honor of renowned Hungarian American war photographer Robert Capa, was presented on April 28 in New York City by the Overseas Press Club of America at its 84th annual awards dinner.

The competition’s judges called Yam’s work chronicling the early days of the war “an exceptional example of the power of photography to expand our collective conscience.”

“Yam’s reporting on the cruelty of war is carefully curated, displaying the expected terrors of human loss and mourning tempered with quiet moments of survival among people who carry on though their world is upended,” the judges noted.

“When I flew into Kharkiv four days before the war, I, like everyone else, hoped that the escalating tensions between Russia and Ukraine would be resolved through diplomacy,” Yam said in his acceptance speech. “And when it did not, all that was left for us to do was stay alive, do the work and navigate an unknown fraught with risks, trauma and also humanity. A year later, the war seems endless. I only hope that our work illuminates the dignity of the suffering that so many have endured.”

Watch the awards presentation.