Jörg Boström

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Jörg Boström (born September 25, 1936 in Duisburg ) is a German painter , photographer and university teacher .

Life

From 1956 to 1961, Boström studied painting and art education at the State Art Academy in Düsseldorf under Professor Bruno Goller and from 1961 to 1963 geography and art history at the University of Cologne . From 1963 to 1972 he worked as an art teacher in Duisburg. In 1964 artistic work began with photographic means and in documentary film . From 1970 to 1972, Boström was head of art education at the study seminar in Duisburg and from 1972 to 2000 he was professor in the field of intermedia / photography at the Bielefeld University of Applied Sciences in the design department.

Since 1963, exhibitions of painting and photography followed in Krefeld, Düsseldorf, Bielefeld, Herford, Rostock, Bergkamen, Dortmund, Oldenburg, Glauchau, Minden, Oerlinghausen, Berlin. Documentaries were shown in Oberhausen ( Short Film Festival ), Düsseldorf (Critical Film, Kunsthalle) and Essen (Rhein / Ruhr scene). Boström's work is supplemented and accompanied by publications on art and photo theory, conception and documentation of photo projects on industrial and social history.

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Boström's work was strongly influenced by a visit to the summer academy of the expressionist artist Oskar Kokoschka - through his personal and stubborn attitude towards contemporary art. He turned to photography in the late 1960s. This happened partly in response to the structures of the art scene at the time, in which the object was described as no longer sustainable in art, i.e. abstract art predominated and art revolved around itself in many exhibitions.

Jörg Boström and the other members of the PSR Studio (Political-Social Reality), which he co-founded, made use of documentary means such as photographs and tape recordings. There were also forms of action such as go-ins at exhibition openings to bring reality back into the exhibition rooms. Photographs from this period were published again in 2007 in the book “Zeitsprung. Rebellious Düsseldorf 1966–1972 ”.

During his activity as a professor for intermedia and photography at the design department of the Bielefeld University of Applied Sciences, he took many photographs, e.g. B. underground and in today disused mines and industrial plants, again and again works between photography and painting. (Book: Stations - Between Painting and Photography )

Examples of this are developer painting , cliché verre and photo painting. With the technique of the cliché verre , Boström builds on his experience with the Informel. He works with ink and turpentine on foils, which he then uses as negatives to produce photographs. Another technique of "informal" photography for him is the developer painting. When there is light, developer is applied to photo paper with a brush, creating photographs that look like ink paintings.

Some images executed in grisaille and the dark areas of the shadows of people in the backlight are reminiscent of black and white photography . Jörg Boström was deeply interested in these shadows. In photography and painting there are always groups of people who are preceded by long shadows. Another example of the photographic influence on painting is "Not Photographing" (1988), a picture in which people, even if they are painted, hide their faces from the camera.

“Speaking of media transfer: when Jörg Boström quoted photographs by means of grisaille in some painting cycles, it was not a blank phrase or a mere transference. The grisaille was reserved for the back of altars, the times of passion and fasting. But it has always been a preliminary stage to the big picture, a horror for the artist of the possible completion. Black and white photographs are just as provisional - not an abstraction from a colorful world, but not a complete form, an option for individual additions.

It is this use of the image that Jörg Boström aims at in his more recent work. The fact that it can happen with equal intensity in drawing, painting and sculpture today is paradoxically thanks to the newer media, those who have relieved it of various social tasks. From the medium of information, photography has become a genre of art. Jörg Boström experienced this transition and designed it in his own way. We follow him in our own way. "

- Rolf Sachsse : VM 2000 virtual magazine, issue 6, January 2006

In recent years, many watercolors that were also photographically influenced have been created, including the series Mecklenburg Landscapes and Berlin Scenen .

  • Märzland , 2008, watercolor on paper

  • Schneeland , 2008, watercolor on paper

  • Dog's Back , 2007, pigment / casein / oil on canvas

  • Wagner wing , 2008, pigment / casein / oil on canvas

  • Joseph Beuys and students, the art academy closed , 1969

  • Haus Aden colliery shaft, Bergkamen , 1977

  • Welder at Thyssen, Bielefeld , 1977

  • Washrooms , 1987

Exhibitions (selection)

  • 1965: Reversals. Photographs together with Eva Wolter, Galerie Trapez, Krefeld, (September 6th - October 2nd)
  • 1966: conjunctions. with Eva Wolter, Galerie Küppers, Cologne
  • 1966: series of images of dynamic changes. with Eva Wolter, Städtischer Kunstpavillon, Soest (October 20 - November 16)
  • 1978: 4th Bergkamen Picture Bazaar. Portfolio with 10 serigraphs, together with Fritz Bicker and Gábor Wallrabenstein
  • 1988: Minister Stein, Dortmund's last colliery. Westfälisches Industriemuseum, Zeche Zollern II / IV (May 28 - July 10) with Jürgen Heinemann
  • 1995: Cross over - the Bielefeld School. Villa Dessauer, Bamberg, together with Karl Martin Holzhäuser, Gottfried Jäger, Norbert Meier, Ulrich Mertens, Diether Münzberg (March 12th - April 16th)
  • 1966: Stations between painting and photography, photography, painting, clichées verres and mixed media. Gallery Arbeiterfotografie, Cologne (November 23 - December 13)
  • 1997: Pictures from Mecklenburg, Between Painting and Photography. Art and Culture Association, Melle (November 6th - November 30th)
  • 1998/99: Not for China, photographs – Hattingen. Blast furnace III, Brüder-Grimm-Stube Marburg (December 17th - January 31st)
  • 1999: Jump in time, Rebellisches Düsseldorf 1968–1971. Daniel-Pöppelmann Haus, Herford (23 October - 14 November)
  • 2000: Credible Photography - Workers Photography and Guests , VHS Forum. Cologne (September 1st - 30th)
  • 2001: You feel disturbed because you are sterile, photographs with Joseph Beuys - on his 80th birthday - in Wrodow Castle. Wodrow Castle (September 15 - November 15)
  • 2002: Herford Radewig project with 40 artists, aerial photos, Mecklenburg landscapes: Emptiness and vision (October 10th - November 8th)
  • 2003/04: Berlin-Moscow, Moscow-Berlin. Martin-Gropius-Bau , Berlin (September 28, 2003 to January 9, 2004), State Tretyakov Gallery , Moscow (March 21 to July 15, 2004)
  • 2005: Rundlederwelten, Berlin, Martin-Gropius-Bau, October 20, 2005 - January 8, 2006, participation
  • 2007: Land - Shadow. Painting and photography. Gallery art gluchowe, Castle Fordglauchau (July 21 - September 2, 2007)
  • 2008: Photos make art history. Archive of artistic photography of the Rhenish art scene. museum kunst palast , Düsseldorf (December 8, 2007 - March 2, 2008) participation
  • 2008: Shadows - high and low, photographs from colliery and blast furnace, street shadows. Kunstverein Oerlinghausen, Synagogue, Oerlinghausen (January 20 - March 9, 2008)
  • 2010: True heroes, worker photography in Westphalia 1970 to 2000. with Jürgen Heinemann, brickworks museum Lage (June 13th - September 30th 2010)
  • 2011: True Heroes, photographs by Jörg Boström and Jürgen Heinemann. with Jürgen Heinemann, LWL-Industriemuseum Zeche Zollern, Dortmund (July 17 - August 28, 2011)

Publications (selection)

  • The gods are naked - contradictions in nude photography. In: tendencies 139, 1982.
  • Jörg Boström, Jürgen Heinemann, Dieter Holland, Gottfried Jäger, Karl Martin Holzhäuser: Bielefeld townscape. Berlin 1983.
  • Aesthetics and violence in the journalistic image. In: Yearbook 1 Aesthetic Education. Berlin 1983.
  • Jörg Boström, Richard Grübling (Ed.): WE - Photographers see the Federal Republic. Beltz Verlag, Weinheim 1984.
  • Florian Böllhoff, Jörg Boström, Bernd Hey (Hrsg.): Industrial architecture in Bielefeld. History and photography. Bielefeld 1986.
  • Andreas Beaugrand, Jörg Boström, Theodor Helmert-Corvey (eds.): The stone Prometheus. Industrial construction and urban culture. Plea for a new urbanity. FAB Verlag, Berlin 1989.
  • Walter Ballhauser. In: The general artist lexicon . Saur Verlag, Leipzig 1992.
  • Photography in Crisis - Photography in Crisis Areas. In: Hans-Jürgen Häßler, Christian von Heusinger (Ed.): Peace, tradition and future as a cultural task . Königshausen & Neumann publishing house, Würzburg 1993, ISBN 3-88479-835-9 .
  • To Bielefeld for the first .., Subjective: 68 and the consequences. In: Andreas Beaugrand (Hrsg.): City book Bielefeld, tradition and progress in the East Westphalian metropolis . Westfalen Verlag, Bielefeld 1997, ISBN 3-88918-093-0 , pp. 104-111.
  • Another crisis. In: Michael Koetzle: The photo, art and collector's item . Augustus Verlag, Augsburg 1997, ISBN 3-8043-5107-7 , pp. 150-151.
  • For Richard Hiepe. In: Worker Photography. Volume 24, Issue 87, 1999, pp. 72-75.
  • Everyday life and exercise. Memories of the sixties in the FRG. In: Catalog Berlin-Moscow, Moscow-Berlin. Berlin 2004, pp. 107, 108.
  • Jörg Boström, Gottfried Jäger (Ed.): Can photography capture our time in pictures? A time-critical balance sheet, 25 years of Bielefeld symposia on photography and visual media 1979–2004. Kerber Verlag, Bielefeld 2004, ISBN 3-936646-69-4 .
  • Renate Buschmann (Ed.): Jump in time. Rebellious Düsseldorf 1966 - 1972. Photographs by Jörg Boström. Kerber Verlag Bielefeld 2007, ISBN 978-3-86678-048-4 .
  • Unemployed. The economic crisis of 1932 in the photographs of Walter Ballhauses. In: Gerhard Paul (Ed.): The Century of Pictures 1900 to 1949. Verlag Vandenhoeck & Ruprecht, 2009, ISBN 978-3-525-30011-4 , pp. 404-411.
  • Man and machine. Eyes for industry. In: True Heroes - Photographs by Jörg Boström and Jürgen Heinemann, catalog for the exhibition in the LWL-Industriemuseum Ziegelei Lage. Klartext Verlag, Essen 2010, ISBN 978-3-8375-0414-9 .
  • Wittekindsland at the bottom. In: About Herford. Aerial photo tape. The Wittekindskreis flying overhead. Photography: Sven Nieder, design: Björn Pollmeyer, text: Mathias Polster. tpk regional publisher, 2010, ISBN 978-3-936359-44-2 .
  • Art and church. A long story. Now another new one. In: Kunsträume 2011. Association for current art in the Minden-Lübbecke district
  • Language of rays. Room depth. Room height. Spacetime. Invisible. Visible. On the photo work STRAHLEN by Ulrich Mertens, in: Scheidewege, S. Hirzel Verlag, annual publication for skeptical thinking. 2012, pp. 353-356, ISBN 978-3-7776-2279-8

literature

  • Renate Buschmann (Ed.): Jump in time. Rebellious Düsseldorf 1965–1972. Photographs by Jörg Boström. Kerber Verlag, Bielefeld 2007, ISBN 978-3-86678-048-4 .
  • Andreas Beaugrand (Ed.): Boström. Time pictures black 1966–1996. Pendragon Verlag, Bielefeld 1996, ISBN 3-929096-29-3 .
  • Stations - between painting and photography. Foreword by Martin Roman Deppner, Shadows in the Light, Kerber Verlag, Bielefeld 1994, ISBN 3-924639-34-5 .

Bibliography, selection

  • Richard Hiepe: Jörg Boström. A committed universalist in the field of optical design. In: tendencies. No. 115, September / October 1977, pp. 52-55.
  • Hermann Hinkel, Jörg Boström: Turks in Bergkamen. 1982, oil on canvas, 120 × 160 cm, In: Gestalt und Wandel des Reviers. Hoesch AG, Dortmund, Fried. Krupp AG Essen, annual edition 1993, pp. 196–197.
  • Richard Hiepe, Jörg Boström: The social and artistic commitment in the work of Jörg Boström. In: Worker Photography. Issue 53, September / October 1986, pp. 20-29.
  • Martin Roman Deppner: Shadows in the Light. About the condition of the painter and photographer Jörg Boström. In: stations. Jörg Boström. Between painting and photography. Bielefeld 1994, ISBN 3-924639-34-5 , pp. 9-18.
  • Manfred Strecker: A cross-border commuter, Jörg Boström in the Paderborn Art Association. In: New Westphalian. September 1, 1994.
  • Anneliese Fikentscher, Andreas Neuman: On the aesthetics of resistance, conversation with Jörg Boström :. In: Worker Photography. No. 82, 1996, pp. 4-7.
  • Manfred Strecker: The portrait. Jörg Boström. In: New Westphalian. No. 41, February 17, 1996.
  • Andreas Beaugrand: Object and Imagination. In: Boström. Zeitbilder Schwarz 1966-1996. Bielefeld 1996, ISBN 3-929096-29-3 , pp. 11-14.
  • Martin Roman Deppner: In the focus of the other. Photography and painting in dialogue. In: Boström. Zeitbilder Schwarz 1966-1996. Bielefeld 1996, ISBN 3-929096-29-3 , pp. 16-25.
  • Peter Reindl: Black and White. In: Boström. Zeitbilder Schwarz 1966-1996. Bielefeld 1996, ISBN 3-929096-29-3 , pp. 26-28.
  • Manfred Strecker: Disturbances in the art business. The “Political Social Reality” group in Düsseldorf at the end of the 1960s. In: New Westphalian. April 3, 1997.
  • Manfred Strecker: I prefer to play against the machine. After more than 50 semesters: Photographer Jörg Boström leaves the design department. In: New Westphalian. June 16, 1999
  • Carolin Ortner-Giertz: From the wild years. A photo exhibition in the Kulturbahnhof Eller brings the Düsseldorf art scene to life in the 1960s and 1970s. In: Rheinische Post. February 24, 2001.
  • Ralf Kapries: Shadow of Memory, Boström optimistic thoughts of the past and present. In: Mindener Tageblatt. November 6, 2004.

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personal data
SURNAME Boström, Jörg
BRIEF DESCRIPTION German painter, photographer, university lecturer
DATE OF BIRTH September 25, 1936
PLACE OF BIRTH Duisburg