Rommert Boonstra
Robbert van Venetië
Abstract
Rommert Boonstra is a well-known representative of staged photography in the Netherlands. While Boonstra is primarily known for his photographic work, through his written contributions to discussions of photography he also played an important role during a period when photography was evolving into an autonomous art form. In addition, Boonstra has written critiques on visual art and photography for various magazines and published two poetry volumes, as well as a book on walking, biking, and automobile routes in the Netherlands. Since 1986, Boonstra has taught photography at various art institutions in the Netherlands.
Biography
|
1942 |
Rommert Boonstra is born in Groningen on 7 April. |
|
1963 |
Following grammar school (‘Gymnasium B’), Boonstra begins studying art history at the University of Groningen. He quits this study after two years. |
|
1966 |
Boonstra works as an art critic (‘visual arts’) for the Nieuwsblad van het Noorden (‘Newspaper of the North’). Boonstra marries. His son, Ewoud, is born in 1969. He lives for several years in Sint Annen, just outside Groningen. |
|
1969 |
Boonstra is named director of ‘De Kolk’, the civic theatre of Assen, and subsequently moves there. Boonstra brings contemporary films and theatre to Assen. |
|
1972 |
De Rotterdamse Kunststichting (‘Rotterdam Art Foundation’) asks Boonstra to become the director of De Lantaren (‘The Lantern’) in Rotterdam. As a theatre director, Boonstra introduces a diverse and international programme, including film, theatre, dance, classical and pop music, as well as poetry and visual art. Boonstra oversees the total renovation of the complex, subsequently named the ‘Lantaren/Venster’ (‘Lantern/Window’). In the same complex, he establishes a graphic arts studio. Boonstra moves to Rotterdam and resumes writing about art, now for Elseviers Magazine. |
|
1976 |
Boonstra falls off his bike, resulting in a brain concussion. Shortly thereafter, he is diagnosed with Guillain-Barré syndrome, a serious viral infection. Boonstra consequently remains inactive for two years. During this period, he also divorces his wife. |
|
1978 |
Boonstra resumes his work at Lantaren/Venster, but no longer with the same satisfaction. He loses interest in the hectic organisational work. Boonstra’s last project is the Ongelukkige Liefde Festival (‘Unlucky in Love’ Festival’). Boonstra starts photographing on a serious basis, with staged photography as his area of focus. Boonstra meets Henriëtte van Lopik, his current life partner. |
|
1979-‘80 |
Boonstra shows his photographs for the first time publicly, via publication in Zero and an exhibition at the Jack Visser Gallery in Amsterdam. As a contributor to Elseviers Magazine, he now also reviews photographers’ work. |
|
1982 |
In the 1980s, Boonstra publishes and exhibits his photographic work on a regular basis, both in the Netherlands and abroad. He enters collaborations with the following galleries (in successive order): the Perspektief Gallery (Rotterdam), the Junod Gallery (Lausanne), and Studio 666 (Paris); thereafter, the Torch Gallery (Amsterdam), and lastly, the Fotomania Gallery (Rotterdam). |
|
1984 |
Boonstra’s second son Milan is born. |
|
1986 |
In 1986, Boonstra receives his first assignment for applied work, commissioned by the magazine Avenue. At a later point, Boonstra produces the magazine’s art section for several years. In 1987, the Dutch newspaper NRC Handelsblad follows. Since then, he produces illustrations and covers for various publications on a regular basis. |
|
1986-‘91 |
Boonstra works an instructor of photography at the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam. |
|
Since 1989 |
Boonstra lives and works approximately five months out of the year in the village of Créantay in Burgundy (France). |
|
Since 1991 |
Boonstra teaches at the HKU (Hoge School voor de Kunsten Utrecht, ‘Utrecht School of the Arts’) as an instructor of photography. |
|
1992-‘93 |
The Nederlandse Spoorwegen (‘Dutch Railways’) commissions Boonstra to do a series of fifteen images to replace the existing reproductions and landscape photos in the company’s train passenger cars. The commission entails a total production of approximately 7,000 prints. |
Discussion
When it comes to his photographic career, Rommert Boonstra is a late bloomer. Not until 1978, at the age of thirty-six, did he decide to become a visual artist and photographer. Up to this time, Boonstra had led an active life both as a critic and organiser. In Assen, and later in Rotterdam, he was the driving force behind new innovations in the local theatres. This busy part of his life, however, came to an abrupt end with an illness that nearly cost him his life. After two years of being forcibly inactive, Boonstra came to the realisation that he no longer wished to be an organiser, but instead felt a desire to focus on his own creativity. In actuality, this had been his ambition back in high school. At that time, however, he had not seen any way to fulfil such longings.
Boonstra gave up his position as director of the Lantaren/Venster Complex (‘Lantern/Window’), a theatre that he had converted into a multidisciplinary centre. During this period of introspection, and initially dejection, Boonstra began writing stories, stage plays, and poetry at a very quick pace. He also started experimenting with photography. He would later come to describe this as such: ‘(…) it violently forced its way out of me. It was sink or swim.’ As a teenager, Boonstra had actively pursued photography—like poetry—as a hobby. He was especially interested in the phenomenon of tabletop photography. For quite some time after, his heavy working schedule only allowed him to continue with these photographic experiments on a sporadic basis. It is worthy to note that elements of his later work can also be found in these early pursuits.
As early as the late 1970s, photography for Boonstra—as an autodidact—proved to be the most ordered of all artistic forms of expression. Moreover, he enjoyed the evolutionary process involved. Although Boonstra would eventually publish a second volume of poetry, his choices were clearly steering him more in the direction of photography as a form of artistic expression. As a critic and interviewer, he was well aware of work being done by various photographers. Initially, however, he says he was more inspired by the visual arts, poetry, classical music, and theatre. Familiarising himself further, Boonstra became influenced by staged photography, specifically that of Les Krims, Duane Michals, and later, Boyd Webb. An essential difference between their work and his is that these artists worked on a human scale, as opposed to Boonstra’s choice for the miniature ‘tabletop’ format. The work of Lex van Pieterson, a pioneer of staged photography in the Netherlands, was as yet unknown to him.
Boonstra initially worked on his own, showing none of his work to the public. The first photos that were taken, from about 1978 on, already bore traits that were characteristic of staged photography: for instance, a shot of a dollhouse, with small photos of his father and (ex-) wife visible through the windows. It was during this early phase that Boonstra presented his work to the editorial staff at the magazine Foto, where he initially met with total incomprehension. The first person to show an interest in Boonstra’s work was Jack Visser, who had just opened a gallery in Amsterdam. The exposition in Visser’s gallery was a success, with some of Boonstra’s work being sold to the Nederlandse Kunststichting (‘Netherlands Art Foundation’). At approximately the same time, Boonstra published his own photographic work for the first time, as part of an article on eroticism in Dutch photography, written at the request of the magazine Zero.
The artistic climate in Rotterdam during the second half of the 1970s was another important stimulus for Boonstra’s further development. The graphic arts studio at Lantaren/Venster, otherwise known as the ‘Arts Lab’, became an important meeting place for artists. The creation of this studio was part of Boonstra’s overall reorganisation of this Rotterdam theatre complex. Prior to his arrival, it had been nothing more than a ‘neighbourhood cultural centre’. Artists working at the Lantaren/Venster graphics art studio included Wink van Kempen, Henk Tas, Gérald van der Kaap, as well as members of the designer’s collective Hard Werken (‘Hard Work’). It was a period in Rotterdam art that would sometimes later be described as the ‘Rotterdam School’. (In Perspektief 33, Hripsimé Visser presents an overview of this phenomenon, demonstrating how its roots lie in the 1960s.)
In the early 1980s, staged photography was a defining factor in Rotterdam art. Rommert Boonstra was one of its exponents, together with artists such as Henk Tas, Eric van der Schalie, Lydia Schouten, and Gérald van der Kaap. In the years 1982 to 1984, Van der Kaap’s work displayed clear stylistic similarities to that of Boonstra’s. They were the only two Dutch artists represented at the first important exposition of staged photography in 1982, entitled Staged Photo Events, held at the Lijnbaancentrum (‘Lijnbaan Centre’) in Rotterdam. From this time forward, Boonstra was involved in virtually every publication and exhibition concerning staged photography in the Netherlands.
Stichting Perspektief (the ‘Perspective Foundation’)—with a gallery and a magazine of the same name—played a significant role in the further development of the staged photography movement. Particularly through presentations made abroad, staged photography became a vital part of how Dutch contemporary art was perceived outside the Netherlands. Boonstra’s involvement—he exhibited his work several times at the Perspektief Gallery and occasionally wrote for the magazine—eventually led to the drawing up of a policy memorandum, written together with the foundation’s director, Bas Vroege, concerning the potential founding of a photographic institute in Rotterdam as well as the city’s photographic climate in general.
In addition to Perspektief, Torch Contemporary Pictures was an Amsterdam gallery that also played a role in stimulating the development of staged photography. As early as the 1980s, Torch’s ‘stock’ already consisted chiefly of photographic work. Fotografia Buffa, a high-profile exhibition organised at the Groningen Museum, was in fact a presentation of the artists associated with Torch, which also included Boonstra until 1988.
Boonstra was ever wary of forming close ties with commercial galleries. Since 1988, his collaborations have been limited to the Fotomania Gallery in Rotterdam and several galleries outside the Netherlands. Such behaviour is typical of the artist Rommert Boonstra: though extremely active, frequently participating at events and contributing to numerous publications, he shuns all memberships, fixed commitments, organisations, and institutions. Contrary to many other early representatives of staged photography, Boonstra has remained true to his original working method. In doing so, he has built up quite a reputation, particularly outside the Netherlands. In addition to Staged Photo Events and Fotografia Buffa, Boonstra also participated in the following exhibitions: Images Fabriquées (‘Fabricated Images’, 1983, together with Gérald van der Kaap and Paul de Nooijer), La Photographie Hollandaise (‘Dutch Photography’, 1987), Fabrications (1988, Boonstra was the sole Dutch participant), Das konstruierte Bild (‘The Constructed Image’, 1989) and the 2. Internationale Foto-Triënnale Esslingen (1992).
Although Boonstra has been known to take outdoor photographs on occasion, such as landscape photos for his publications on walking routes, as an artist he works exclusively from his studio. In traditional photographic terms, his working method can best be described as tabletop photography. In the present-day idiom of contemporary art, one today speaks of staged, constructed, or manipulated photography. Boonstra arranges objects and/or images of all sorts on a table or in a kind of box, as well utilising glass plates, mirrors, and artificial light. During shots, the camera is positioned in very close proximity to the constructed scene. Boonstra works almost exclusively with positive slide film and, since 1982, with a mid-size camera. His images are printed on Cibachrome or comparable material, which he prefers due to its strong colour intensity and deep black tonality.
Establishing a chronology in Boonstra’s oeuvre, which has by now become quite extensive, is a difficult task, particularly when considering he has always remained true to the visual idiom he developed in the years 1978-1982. One can identify certain periods in which certain themes are more prominent than others and when a development is perceivable, shifting from austere compositions to those of higher complexity and virtuosity. Boonstra works impulsively, without making sketches in advance. The materials and subjects figuring in his work are found anywhere and are never specially constructed for a particular shot. Boonstra’s studio is consequently filled with a collection of odd and carefully preserved pieces of rubbish.
Initially, Boonstra often used a box made of cardboard or marble to frame the scenes he photographed. Everyday objects such as a pair of scissors, pieces of corrugated cardboard or metal wire, eggshells, stones, and materials such as sand and water were depicted in these early photos. Abstract themes such as light and gravity played a role, but also personal elements—the photographer’s hand, old family photos or polaroids—were there from the outset. Another element frequently encountered in Boonstra’s work is the use of extant images depicting architecture from the past and reproductions of classical paintings or photos. He cut these images into pieces and then combined them with bits of rubbish such as described above. Especially in his fantasy works of architecture, Boonstra created illusory spaces in which fragments of a reproduction of a baroque church or theatre interior play an equal role alongside cardboard, plastic foam, steel wire, or any other kind of material. Seemingly ‘worthless’ materials—with Boonstra demonstrating an apparent preference for kitchen refuse, i.e. mouldy or rotten food—are placed in a visual confrontation with reproductions of existing art works cut into fragments. Once again, the role played by these various elements is generally the same. A slice of paper or a potato peel may draw the most attention by virtue of its composition, lighting, or the positioning of other objects, yet a reproduction of a painting by Veronese nevertheless appears to dominate the overall image.
In a series of works dating from the second half of the 1980s, Boonstra placed substantial emphasis on elements of an autobiographic nature, interspersing old snapshots taken from family photo albums with images that in terms of colour and composition were relatively austere. Key themes such as his youth, and specifically the death of his parents, were further underscored by the inclusion of text fragments written by the photographer himself. For colour accents, Boonstra incorporated spices in his images, with glass plates ‘painted’ in yoghurt that functioned as theatrical stage coulisses.
In recent years, Boonstra’s passion for nature walks is increasingly reflected in his work. He creates romantic, pastoral images, using materials as described above, sometimes in combination with existing images of landscapes. Special interest is devoted to fantasy landscapes from Dutch sixteenth-century painting. Boonstra regularly inserts a small plastic figure of a hiker with a backpack in his landscape images, alluding to himself.
In the exhibition catalogue for 2. Internationale Foto-Triënnale te Esslingen (1992), Boonstra explained his work in the following words: ‘My photography is concerned with what you see out of the corner of your eye and what you lose if you look directly at it, about what appears in the dark and yet turns out to be something completely different upon closer observation, about what’s under your bed until you actually go to look (…) My work is about silence, the passing of time, about dreams dreamt with the eyes open and fictitious memories. I am in search of the doors in my head in order to see what’s behind them.’
While Boonstra always makes a distinction between his autonomous work and his commissioned work, his working approach has proved to be highly suitable for applied forms. The first commission he received was from the monthly magazine Avenue in 1986, a publication for which he would later produce numerous illustrations as well as covers. Boonstra has also furnished a variety of images to the ‘Cultural Supplement’ of the Dutch newspaper NRC Handelsblad, serving as illustrations to accompany journalistic content. Since 1987, Boonstra regularly shoots photos for annual reports, magazines, and other publications. Boonstra is truly in his element, however, when it comes to ‘open’ commissions, with results closely approaching his autonomous photography. Examples are works commissioned by Staal Bankiers and Hudig-Langeveldt, with reproductions featured in these companies’ in-house publications. Another project for which virtually no concessions were made with respect to Boonstra’s autonomous style was De Verbeelding van Leiden (‘The Representation of Leiden’), a collaboration between the Fotomania Gallery and the city of Leiden. He also produced a monumental diptych on the theme ‘water’ for the new accommodations of the Zuiveringschap Amstel- en Gooiland (‘Water Quality Control Board’).
In 1992-1993, Boonstra received his most noteworthy commission from the Nederlandse Spoorwegen (‘Dutch Railways’). For many years, reproductions of artworks from the organisation Openbaar Kunstbezit (‘Public Art Ownership’) as well as landscape photos of Staatsbosbeheer (‘National Forest Management’) had been exhibited in trains in the Netherlands, albeit fading and in very poor condition. Acting on the initiative of the Fotomania Gallery, the decision was made to replace these images with artworks based on a broad interpretation of the theme ‘landscape’. Rommert Boonstra’s staged work was chosen for this purchase, which, according to the Dutch Railways, was a good match when considering other art projects in the trains. Boonstra produced fifteen images, each reproduced in large editions. Even before the actual realisation was completed, the series was officially presented and exhibited in April 1993 at the Spoorwegmuseum (‘Railway Museum’) in Utrecht. It was not the first time a photographer had been assigned the task of furbishing the Dutch trains: back in the 1950s, photos by Cas Oorthuys had been chosen for this very same purpose.
Apart from his role in the Rotterdam art world of the 1970s and early ’80s, Boonstra contributed to the development of artistic photography in the Netherlands as a publishing writer. Having started out as an art critic for Nieuwsblad van het Noorden (‘Newspaper of the North’), Boonstra continued to publish writings on the visual arts on a regular basis. In addition, he also wrote several volumes of poetry, various articles, and a book on traveling and hiking. Besides visual art, poetry has always remained his second passion. Boonstra is also a fervent outdoor hiker. Both themes are therefore frequently encountered in his photographic oeuvre.
As a contributor to Elseviers Magazine and later Avenue, Boonstra primarily focussed his attention on artists who approached the photographic medium in an innovative fashion. In doing so, he became somewhat of an ambassador for staged and manipulated photography. Boonstra discussed both Dutch and international publications and exhibitions. He initially concentrated on an extremely wide range of movements within the field of photography, writing about the work of photographers such as Michel Szulc-Krzyzanowski and Paul de Nooijer, but also Vincent Mentzel and Peter Martens. Eventually, however, staged photography drew his interest more and more, resulting in articles on artists such as Henze Boekhout, Ton Zwerver, Boyd Webb, and Duane Michals. Through the interviews he conducted, Boonstra regularly provided artists with an opportunity to express their thoughts in their own words. In these reflective articles, Boonstra was an advocate of innovative and artistic photography. In addition, however, he also acted as a polemicist in the Dutch photography world. Boonstra submitted articles to photography magazines on a regular basis. With his texts, he sought to confront those in traditional photographic circles. He initiated discussions through provocation, presenting a number of lectures and submitting articles to the magazines Foto and Perspektief. The main point that Boonstra stressed was the contrast between documentary and staged photography. Since its discovery, he believed photography had reached its artistic peak in the period between the two world wars, particularly in the work of the artist Man Ray. In Boonstra’s view, the period after World War II was a time of regression, in which fantasy and ideas no longer formed the basis, but instead the perceivable reality to the exclusion of all else. In Boonstra’s words, it was ‘(…) a toothless photography that mumbles, laughing at the world.’ (Perspektief 25). Boonstra believed that, with the arrival of staged photography in the early 1980s, the medium had experienced a ‘resurrection’. Unsurprisingly, Boonstra’s provocative statements—for many downright derogatory—were met with a number of vehement reactions. Oscar van Alphen and Lorenzo Merlo, presenting their views respectively in Perspektief and Foto, took offence to his remarks. They accused Boonstra of arrogance, a lack of historical insight, and hollow rhetoric, pointing out that staged photography was essentially just as old as the medium itself. They strongly argued in favour of (socio-) documentary photography and the importance of the photographer’s social engagement. Merlo based his critique on facts and struck back at Boonstra based on the weak points in his argumentation. Van Alphen countered Boonstra’s beliefs more directly, even drawing parallels between his ideas and those espoused by Futurism in Italy during the rise of fascism. In his response to both magazines, Boonstra refused to give in. When it came to new developments, he accused the photography world of dogmatism and ‘chiefly being difficult’. These days, Boonstra is more able to take such matters in stride, viewing polemics of this kind more in terms of a successful attempt at sparking a discussion of photography in the Netherlands.
Only later on did Boonstra choose to live the life of an artist. Once the decision was made, he went on to build an extensive oeuvre in just a short period of time, emerging as a remarkable representative of staged photography in the Netherlands. Contrary to numerous other artists working with photography, Boonstra has no problem with being labelled as a ‘photographer’.
Rommert Boonstra’s work remains clearly identifiable in part because he has always remained truthful to the working approach he developed around 1982. In addition, he was able to reach a large audience by accepting commissioned work, primarily for magazines. Boonstra is represented in numerous publications and has participated in many exhibitions of staged photography. Particularly abroad, where it seems as if there has always been a greater appreciation for his work, he was the most frequently chosen representative of this movement from the Netherlands. Boonstra was a fiery advocate of staged photography in the visual arts and the broader field of photography. He expressed this not only through his photographic work, but also in his journalistic work. A number of his articles written in the 1980s served to provoke heated discussions in the Dutch photography world. Since 1986, Rommert Boonstra has been teaching photography at various art institutions in the Netherlands.
Documentation
Primary bibliography
(kunstkritieken), in Nieuwsblad van het Noorden 1966-1969.
Alle vrouwen zijn aan de maan onderworpen (gedichten), Rotterdam (Rotterdamse Kunststichting) 1976.
Fotografie en erotiek in Nederland, in Zero 1 (oktober 1979) 4, p. 88-99 (met foto’s).
Rommert Boonstra foto’s, in Galerie 1 (december 1980) 6, ongepag.
Slechts een enkel tijdsbeeld. GKf-fotografen in het Stedelijk, in Foto 38 (juni 1983) 6, p. 32-35.
Nieuwe fotografie. Staged Photo Events en Images Fabriqués, in Foto 38 (juli 1983) 7, p. 36-39.
Tentoonstelling Rommert Boonstra, in Reflexions (Stichting Canon Photo Gallery) 2 (juli/augustus 1983) 9, p. 8 (met foto’s).
Witkin. De Jeroen Bosch van de fotografie, in Foto 38 (augustus 1983) 8, p. 54-56.
Uitnodiging aan de minister, Elegance 40 (augustus 1983) 8, p. 58-60 (met foto’s).
Rommert Boonstra (tekst) en Kees Scherer (foto’s), Uit langs het water, Amsterdam/Brussel (Elsevier) 1984.
Je moet goed op de tekenen letten, in Foto 39 (april 1984) 4, p. 36-40 (met foto’s).
Wonen waar water was, in Elegance 41 (april 1984) 4, p. 108-110 (met foto’s).
Het scheppen van een nutteloos verleden (dichtbundel), Amsterdam (Manteau) 1985.
La fotografia d’avanguardia in Olanda, in Catalogus Torino Fotografia 85, Modena (Panini) 1985, p. 181-186.
Henk Tas & Peter Redert, in Perspektief (maart 1985) 20, p. 16-25.
Staged Photography, in Dutch Art and Architecture Today (december 1985) 18, p. 22-26.
(zonder titel), in Leo Divendal e.a., A priori fotografie, Amsterdam (Makkom) 1986, p. 32-33.
Een voetreis door Europa. De schoonheid van natuurparken, in Snoecks ’87, Breda 1986, p. 396-411 (met foto’s).
Rommert Boonstra en Bas Vroege, Het Nederlands Instituut voor de Fotografie in Rotterdam. Rapport van een onderzoek in opdracht van de Rotterdamse Kunststichting, Rotterdam, april 1986.
André Thijssen, in Foto 41 (juni 1986) 6, p. 56-61.
The resurrection of photography, in Perspektief (september 1986) 25, p. 8-11.
Vulkanische ketels in de Eifel, in Op pad. ANWB-uitgave voor aktieve buitensporters, 3 (september 1986) 6, p. 54-58 (met foto’s).
In Scène (discussiestuk voor bijeenkomst d.d. 21 november 1986 in Canon Gallery), in Nieuwsbrief Stichting Konfrontatie voor fotografie 14 november 1986.
Weerwoord Rommert Boonstra (op ingezonden brief), in Perspektief (december ig86/januari 1987) 26/27, p. 5.
(zonder titel), in Catalogus tent. Het subjectieve objectief, Amsterdam (Rijksakademie van Beeldende Kunsten) 1987, p. 12-13.
Rommert Boonstra (tekst), (Vouwblad tent.) Lydia Schouten, Henk Tas, Ton Zwerver, Wuppertal (Kunstraum) maart 1987.
De foto als kunstwerk. De droomwereld van de Rotterdamse School, in Het Vrije Volk 21 maart 1987.
On Creativity, in European Photography (april/mei/juni 1987) 30, p. 36-39 (met foto’s).
Rijksacademie. Expositie, lezingen en discussie, in Foto 42 (mei 1987) 5, p. 40-41.
De fotowereld ligt voornamelijk dwars, in Foto 42 (juni 1987) 6, p. 57.
Texel in de mist, in Op pad. ANWB-uitgave voor aktieve buitensporters 4 (september/oktober 1987) 6, p. 10-12 (met foto’s).
Memory Palace (gedichten en foto’s), in This dictionary features… Catalogus tent. Rijksakademie van Beeldende Kunsten, Amsterdam (Rijksakademie van Beeldende Kunsten) 1989, p. 6-9.
Ik wil de romantiek van het materiaal laten zien, in Installatie journaal. Vaktijdschrift voor de elektrotechnische installateur 9 (december 1991), p. 20-21.
De ziel moet worden gefotografeerd, in Infoto (Informatieblad van de afdeling fotografie van de Hogeschool voor de Kunsten, Utrecht) april 1992, p. 13.
Wandelen. Terug naar een vrijwel naakt bestaan (met foto’s), in Op pad. Tijdschrift voor aktieve vakanties 9 (september/oktober 1992) 7, p. 50-53 (met foto’s).
Catalogus 2. Internationale Foto-Triënnale Esslingen 1992, Esslingen 1992, p. 134-138 (met foto’s).
Minimal Relics. Openingsrede bij de foto-expositie in het Zoologisch Museum Artis, in Infoto maart 1993, p. 1-3.
in Avenue:
(Rommert Boonstra leverde in de jaren 1984-1991 bijdragen aan diverse kunstrubrieken van het tijdschrift Avenue (C-sectie, Journaal, Balkon, Galerie Avenue); in onderstaand overzicht zijn alleen de substantiële artikelen uit deze periode opgenomen)
Fotoboeken uit het rijk der verbeelding, 19 (januari 1984), p. 104-107.
Boyd Webb en de werkelijkheid van de schijn, 20 (juli 1985), p. 88-91.
Henze Boekhout (interview), 21 (maart 1986), p. 130-133.
Alex Vermeulen (interview), 21 (juli 1986), p. 110-113.
Henk Tas (interview), 22 (juni 1987), p. 108-111.
Martin Parr (interview), 23 (januari 1988), p. 112-115.
Ülrich Tillmann (interview), 23 (augustus 1988), p. 90-93.
Bas Vroege zendt Nederlandse fotografen de wereld over, 24 (februari 1989), p. 18.
Jaschi Klein (interview), 24 (februari 1989), p. 78-81.
Duane Michals (interview), 24 (juli 1989), p. 101-104.
De afgebeelde beelden van Ton Zwerver (interview), 24 (september 1989), p. 162-165.
De geënsceneerde fotografie van Tjarda Sixma (interview), 25 (maart 1990), p. 130-133.
Rommert Boonstra (tekst) en Frans Lanting (foto’s), Handen af van Madagascar, 27 (mei 1992), p. 48-54.
Rommert Boonstra e.a., Zes Fotografen verbeelden hun nachtmerries, 28 (december 1993), p. 108-109.
in Elseviers Magazine:
(alleen de door Boonstra geschreven artikelen die betrekking hebben op fotografie zijn opgenomen)
Fotokunst in opmars. Tentoonstellingen, galerieën, boeken, 18 januari 1975, p. 69-73.
De kunst van het glazen oog. Fotografie in de belangstelling, 26 februari 1977, p. 86-87.
Het familieleven als opwindend avontuur. De nieuwe decadentie van Paul de Nooijer, 17 december 1977, p. 102-103.
Les Krims: Ik wil de taal van het beeld uitbreiden (interview), 22 april 1978, p. 115-117.
De mens als erotisch object, 29 juli 1978, p. 48-50.
Buurlui op verschillende planeten. Twee beroemde fotografen (Ansel Adams en Weegee), 16 december 1978, p. 127.
Vincent Mentzel: Fotografie nog steeds ondergeschoven kind (interview), 20 januari 1979, p. 86-87.
De schitterende oogkleppen van Jean Ruiter, 28 april 1979, p. 146-147.
Droomwereld als verborgen verleider. Fotografie in opdracht, 30 juni 1979, p. 78-80.
Niets blijft geheim. Venetië: fotografische wereldhoofdstad, 11 augustus 1979, p. 60-62.
Noodkreet om fotobeleid. Gesprek met Jeanloup Sieff, 29 september 1979, p. 136-139.
De flits van het heilige moeten. Fotograaf Peter Martens, 3 november 1979, p. 131-133.
Schreeuwen van verbijstering. Fantastische fotografie, 15 december 1979, p. 149-151.
Van letterlijk naar figuurlijk en terug. Sigurdur Gudmundsson, 5 april 1980, p. 137-139.
Het strand als kosmos. De foto’s van Krzyzanowski, 7 juni 1980, p. 118-119. Niets is zo mooi of de fotografie prikt er dwars doorheen, 20 september 1980, p. 148-149.
Van huiskamer naar heelal. Gesprek met fotograaf Duane Michals, 7 maart 1981, p. 164-165.
Geen voorschrift voor andermans emotie. Fotograaf Hans van Meerwijk, 7 november 1981, p. 113-116.
Vrouwen in de toverspiegel, 6 maart 1982, p. 130-131.
Fotografie van de dubbele bodem. Shows in Parijs en Antwerpen, 16 april 1983, p. 126-129.
Banaal + verheven = Kaap. Fotograaf van de verwarring, 21 mei 1983, p. 118-119.
Liegen, bedriegen en stelen. Geënsceneerde fotografie in Groningen, 15 november 1986, p. 118-119.
images in:
Tableau 8 (december 1985) 3, p. 86.
Catalogus tent. Foto ’86, Den Haag (Staatsuitgeverij) 1986, p. 125.
Perspektief (september 1986) 25, p. 36.
(Brochure) Galerie Torch, 1986.
Het Moment. Kwartaalboek voor nieuwe literatuur en kunst, nr. 5, Amsterdam (Meulenhof) 1987, p. 37-44 (portfolio).
(Brochure) Kunstlijn/Dutch Artline, Dalfsen 1987.
Reizen (ANWB) 51 (februari 1988) 2, omslag.
Grafisch Nederland 1 (1 april 1988) 13, omslag.
Reizen (ANWB) 51 (mei 1988) 5, p. 38-39.
Op pad (ANWB) 51 (juni 1988) 4, p. 74-75.
Macintosh Dossier 1 (januari 1989) 1, p. 72-73.
Reizen (ANWB) 52 (januari 1989) 1, omslag, p. 35-36, 49, 56, 61.
(Fondswerving-brochure) Rotterdam Regatta, 11 januari 1989, omslag (echte foto).
Reizen (ANWB) 52 (februari 1989) 2, p. 79.
Search. Magazine voor medici (maart 1989) 1, p. 1.
Connexions (Canon) (voorjaar 1989) 7, p. 42-45.
European Photography (oktober/ november/december 1989) 40, p. 52.
Catalogus KunstRai ’90, Amsterdam, mei 1990, p. 24.
Ad van Krimpen (ed.), Gateway Rotterdam. Mainport of Europe (uitgave t.g.v. 150-jarig bestaan van de stad), Rotterdam (L5 publishers) 1990, omslag.
(Brochure) Focus op bedrijfsrisico’s, Dordrecht (Hudig-Langeveldt-Merwestad b.v.) 1991, omslag, ongepag.
Adformatie 19(14 maart 1991) 11, t.o. p. 28.
Man 19 (april 1991), p. 47.
Photo Metro 10 (december 1991/januari 1992) 95 (speciaal nummer t.g.v. Fotofest te Houston), omslag.
Installatie journaal 10 (maart 1992), omslag.
Rail-Aktief Nieuws 8 (april 1993) 7.
Ansichtkaarten, Amsterdam (Art Unlimited) ca. 1983-heden.
in Avenue:
21 (augustus 1986), p. 86-87.
21 (november 1986), p. 100-101.
22 (juli 1987), p. 36-37.
22 (november 1987), p. 18-19.
23 (januari 1988), p. 96-97.
23 (juli 1988), p. 40-43.
24 (januari 1989), p. 4, 82-83.
24 (februari 1989), p. 50-51.
24 (maart 1989), p. 17.
24 (december 1989), p. 156-157.
25 (augustus 1990), omslag.
26 (januari 1991), omslag.
in NRC Handelsblad,
Cultureel Supplement (CS):
14 augustus 1987.
28 augustus 1987.
4 september 1987.
27 november 1987.
12 februari 1988.
22 april 1988.
10 juni 1988.
10 maart 1989.
6 oktober 1989.
2 augustus 1991.
Secondary bibliography
Catalogus tent. Fotograferen in Rotterdam, Rotterdam (Rotterdamse Kunststichting) 1981, p. 44-45,73 (met foto’s).
Auteur onbekend, Hermine van Hall bij Visser, in Foto 36 (maart 1981) 3, p. 10.
(Vouwblad tent.) Inszenierte Fotografie, Aken (Neue Galerie) 1982.
Bas Vroege, De wereld volgens Boonstra, in Magazijn. Cultureel maandblad voor Rotterdam (mei 1982) 111, p. 35.
Bas Vroege, Rommert Boonstra, in Perspektief (juli/augustus 1982) 11, p. 6-11 (met foto’s).
Mariëtte Haveman, Staged Photo Events. The frontiers of meaning, in Zien Magazine. The Precious Picture Paper. Fotografisch Prachtblad 1 (najaar 1982) 4, p. 4-7, 1 1, 30 (met foto’s).
W. Juwet (red.), Staged Photo Events, in Halfjaarlijks bulletin van het Internationaal Cultureel Centrum te Antwerpen januari 1983.
M.L.F., Le musée de la Photographie, de 1’amateur a 1’esthète, in Le Rappel 20 juni 1983.
Tracy Metz, Rommert Boonstra ‘Als fotograaf ben ik een alchemist en de keuken is mijn laboratorium’, in Avenue 18 (juli 1983), p. 66-69 (met foto’s).
Herman Hoeneveld, Rommert Boonstra. Fotograaf-dichter (interview), in Kunstbeeld 7 (augustus 1983) 10, p. 66 (met foto’s).
(Brochure tent.) Verlichte fotografie. Geconstrueerd voor foto’s, Rotterdam (Perspektief/Centrum Beeldende Kunst) 1984.
Catalogus tent. Images Fabriquées, Parijs 1984, p. 2, 5, 29.
Cees van der Geer, De fotograaf als regisseur, in De Haagsche Courant 23 mei 1984.
Catalogus Rommert Boonstra Fotowerken, Den Haag (Staal Bankiers), 1984 (met foto’s).
Bas Vroege, De verbeelding als realiteit. Een nieuwe generatie Nederlandse fotografen, in Catalogus tent. Foto ’84, Amsterdam (Stichting Amsterdam Foto) 1984, p. 44.
Bas Vroege, Werk in Perspektief nu met Rotterdamse korting te koop, in Magazijn. Cultureel maandblad voor Rotterdam (februari 1985) 141, p. 15-16.
Maarten Kusters, Landscapes. Una realta interpreta in immagini di ambienti come composizioni surreali chiuse in cornice, in Modo Design Magazine (juli/augustus 1985) 81, p. 34-35 (met foto’s).
Jaap Koopmans, Inkeer kwam najaar van verlamming, in Rotterdams Nieuwsblad 6 november 1985.
Catalogus Foto Biennale Enschede, Enschede 1986, p. 44, 69.
Catalogus tent. Fotografia Buffa. Geënsceneerde fotografie in Nederland, Groningen (Groninger Museum) 1986, p. 12, 14, 30, 36, 38, 40, 57-61, 116 (met foto’s).
Catalogus tent. 50 Jahre Moderne Farbfotografie 1936-1986 (Photokina), Keulen 1 986, p. 178, 311.
Lisette Pelsers, Foto Biennale Enschede 1986, in Bulletin van het Rijksmuseum Twenthe (1986) 2.
Hripsimé Visser, Confusing realities. Reflections on recent trends in Dutch photography, in Camera Austria (1986) 21, p. 34-41.
Filip Tas, Eén beroemde en drie ontevreden fotografen, in De Standaard maart 1986.
Bernard Visser, Rommert Boonstra fotowerken, in The Kremlin Mole art magazine (1986) 5, p. 46-48 (met foto’s).
Huub Jansen, Rommert Boonstra (interview), in Fotoprof 4 (augustus/september 1986) 4, p. 4-8 (met foto’s).
Brita Bakema, Rommert Boonstra/Jan van der Horn, in Bijvoorbeeld (vormgeving en kunst) 18 (augustus/ september/oktober 1986) 3, p. 8-10 (met foto’s).
TH (= Ton Hendriks), A priori fotografie, in Perspektief (september 1986) 25, p. 63.
Jan-Maarten de Winter, Groningen toont meesters in list & bedrog, in Foto 41 (oktober 1986) 10, p. 44-62.
Herman Hoeneveld, Trend van geënsceneerde fotografie is bezig naar een hoogtepunt te groeien, in Nieuws van de Dag 18 oktober 1986.
Auteur onbekend, Stichting Konfrontatie. Tentoonstelling “In Scène”, in Reflexions 5 (november/december 1986) 29, p. 10.
Auteur onbekend, De speelse werkelijkheid van de komische fotografie, in De Winschoter Courant/De Noord Ooster 6 november 1986.
Sikke Doele, Fotografia Buffa staat bol van pretenties, in Leeuwarder Courant 7 november 1986.
Bas Roodnat, De Vrijheid van verbeelding als een bizarre techniek, in NRC Handelsblad 8 november 1986.
Louwrien Wijers, ‘Fotografia Buffa’ in Groningen, in Het Financieele Dagblad 15 november 1986.
Paul Steenhuis, Fotografia Buffa. ‘Gewoon rock ‘n’ roll met het fototoestel: click-a-go-go’, in Vrij Nederland. Bijvoegsel (15 november 1986) 46, p. 14-18.
Hanneke Boonstra, Gestolde dromen knap gekiekt, in Emmer Courant 25 november 1986 (idem in Drentse Courant en Asser Courant).
Oscar van Alphen, Geachte redactie (ingezonden brief), in Perspektief (december 1986/januari 1987) 26/27, p. 4-5.
Leo Divendal, Het meer van onze geest, in Haarlems Dagblad 5 december 1986 (idem in IJmuider Courant).
Mariëtte Haveman, Niet buffa maar braaf. Een salonfähige presentatie van geënsceneerde fotografie, in Vrij Nederland 13 december 1986.
Bas Vroege, Een chemisch huwelijk. Rotterdam en de recente ontwikkelingen in de fotografie, in (Vouwblad tent.) Een chemisch huwelijk. Rotterdam en de recente ontwikkelingen in de fotografie, Rotterdam (Artoteek Rijnmond/CBK) 1987.
Anne H. Hoy, Fabrications. Staged, Altered and Appropriated Photographs, New York (Abbeville Press) 1987, p. 95, 98-99, 101 (met foto’s).
Max Bruinsma (eindred.), Felix Meritis 1787-1987, Amsterdam (Uniepers) 1987, p. 118-119.
Auteur onbekend, Ruimte & Vaardigheden. Jaarprogramma Stichting Keramisch Werkcentrum 1987, p. 8-9.
Rine Scheffers, Konfrontatie-4. In scène, in Foto 42 (januari/februari 1987) 1/2, p. 60-67.
Jan Donia, Knutselen in de marge, in Het Vrije Volk 21 maart 1987.
Lorenzo Merlo, Het evangelie volgens R.B., in Foto 42 (april 1987) 4, p. 69.
Auteur onbekend, Reviews (recensie expositie R.B. bij Torch), in Flash Art (International Edition) (mei 1987) 134.
Mariëtte Haveman, Kunstfoto’s in een sfeer van schuld en boete. Subjectiviteit leidt op Rijksacademie tot gezwollen tentoonstelling, in De Volkskrant 25 mei 1987.
Hripsimé Visser, Konstruierte Wirklichkeiten/Constructed Realities, in European Photography (juli/augustus/september 1987) 31, p. 15-36 (met foto’s).
Eveline Vermeulen, Elf visies op Felix Meritis, in Catalogus tent. 200 jaar Felix Meritis, Amsterdam, september 1987.
Auteur onbekend, Metz pour la photographie (aankondiging), in Spectacles en Lorraine oktober 1987, p. 25.
Mariëtte Haveman, Ongerijmde zaken, in De Volkskrant 23 oktober 1987.
Patrick Roegiers, La Hollande. Rock et Baroque, in Le Monde 29 oktober 1987.
Hripsimé Visser, (tekst m.b.t. Nederlandse bijdrage), in Catalogus tent. Foco Madrid ’88. Circulo de bellas artes, Madrid 1988, p. 49, 64, 94 (met foto’s).
Catalogus Primavera fotografica a Catalunya, z.p. 1988, p. 66-67.
Frits Bruins en Linda Roodenburg (red.), De Verbeelding van Leiden, Leiden (SMD Informatief) 1988, p. 10, 63-65 (met foto’s).
Catalogus Fotografie in Rotterdamse galeries (verschenen t.g.v. eerste Rotterdamse Fotografiebiënnale), Rotterdam 1988, p. 38-41, 90 (met foto’s).
(Vouwblad) Fotografen aan het werk voor Randstad, Amsterdam (Randstad Uitzendbureau bv) 1988.
Dominique Vollichard, O Ruines, in 24 heures Suisse 2 maart 1988.
Patrick Roegiers, Un miniaturiste baroque. Rommert Boonstra au Studio 666, in Le Monde 21 april 1988.
Marije den Hartogh, Copy Art: The third wave of copy artists is coming, in Connexions (Canon), (voorjaar 1988) 5, p. 40-45 (met foto’s).
Catalogus Presentatie 87/88. Werk van studenten en docenten afdeling grafiek/fotografie, Amsterdam (Rijksakademie van Beeldende Kunsten) mei 1988, p. 13.
Marijke Hilhorst, De Verbeelding van Leiden, in Vrij Nederland 28 mei 1988, p. 14-19.
Willem K. Coumans, Er is geen landschap dat de tijd heeft om te dromen, in (Vouwblad tent.) Er is geen landschap dat de tijd heeft om te dromen, Maastricht (Gouvernement) juli 1988.
Frits Baarda, ‘Maniakken’ brengen met Fotomania eerste echte fotogalerie naar Rotterdam, in Het Vrije Volk 4 augustus 1988.
Hripsimé Visser, Rotterdamse School?, in Perspektief (augustus 1988) 33, p. 31-58.
Jean Paul Bresser, Een Rotterdamse rebellenclub. De opkomst van de geënsceneerde fotografie, in Elsevier 44 (27 augustus 1988) 34, p. 92, 94-96.
Ton Hilderink, Trends in paper, in Connexions (Canon), (najaar 1988) 6, p. 10-14 (met foto’s).
Michael Köhler (red.), Das konstruierte Bild. Fotografie – arrangiert und inszeniert, Schaffhausen etc. (Stemmle) 1989, p. 41, 94-96, 143 (met foto’s).
Robbert van Venetië en Annet Zondervan, Geschiedenis van de Nederlandse architectuurfotografie, Rotterdam (Uitgeverij 010) 1989, p. 19.
Catalogus tent. 150 Ans de photographie. Certitudes et interrogations 1839-1989, Charleroi 1989, p. 76-79, 101 (met foto’s).
(Vouwblad) Auteur onbekend, Rommert Boonstra en Henk Tas (aankondiging gesprek in serie Cultuur & Kwaliteit), Rotterdam (Zaal De Unie) januari 1989.
Jan Middendorp, De breekbare barok van Rommert Boonstra, in Man 17 (januari/februari 1989), p. 100-105 (met foto’s).
Auteur onbekend, Januari-actie kunstfoto’s wegens succes geprolongeerd!, in Randstad Revue januari /februari 1989, ongepag.
Catalogus tent. Het portret. De mens als onuitputtelijk onderwerp, Amsterdam, februari 1989, ongepag. (met foto’s).
E.E., 150 Jaar fotografie in Charleroi, in De Witte Raaf juni 1989.
Auteur onbekend, 150 Ans de photographie. Certitudes et interrogations, in La Wallonië 2 juni 1989.
Marjan Ippel, Tussen sfeer en soberheid, in Blad 2 (december 1989) 8, p. 18-25.
Catalogus tent. Rondom fotografie, Leiden (Kunststichting AZL) 1990, p. 4.
Dominique Vidal, Rommert Boonstra, in La Croix 3 april 1990.
Patrick Roegiers, Un architecte de 1’impossible, in Le Monde 29 april 1990.
J.C.F., Photographies de Rommert Boonstra, in Photographies Magazine (april 1990) 21.
Auteur onbekend, United Artists, in Digicolor (Canon) (voorjaar 1990) 1, p. 26, 31 (met foto’s).
Catalogus Fotofestival Naarden, Naarden 1991, p. 48.
Ingeborg Th. Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw, Amsterdam (BIS) 1991, p. 116, 183.
Catalogus tent. Fantastische Foto’s, Groningen 1991, p. 8-9, 20-21 (met foto’s).
H. van Delft, Energeia. Negen visies op energie, in Catalogus tent. Energieën, Schiedam (Stedelijk Museum) 1991, p. 16-19 (met foto’s).
Petra Olschewski en Michael Köhler, Rommert Boonstra. Spuren der Erinnerung, in Photographie 15 (maart 1991) 3191, p. 20-27 (met foto’s).
Auteur onbekend, De beeldende foto, in Informatieblad Librije Hedendaagse Kunst Zwolle 9 (maart 1991) 4.
Cor Bouma, De esthetiek van etensresten en dode meeuwen: Rommert Boonstra (interview), in Blad 4 (maart/april 1991) 2, p. 16-20 (met foto’s).
Auteur onbekend, 2. Deutsch-niederlandischer Foto Workshop Polaroid 50×60 Sofortbildkamera, (Brochure) Volkshochschule Leer, april 1991.
Auteur onbekend, Rommert Boonstra in Leer, in General-Anzeiger 27 april 1991.
Auteur onbekend, Rommert Boonstra im Fotoworkshop Leer, in Ostfriesen Zeitung 2 7 april 1991.
(Brochure) Centrum voor audiovisuele vorming, Utrecht, voorjaar 1991.
K.-P. Holstein, 2. Deutsch-niederlandische Foto-Workshop mit der Polaroid-50×60 cm Sofortbild-Kamera, in Ostfriesland Journal (juni 1991) 6, p. 93-95.
Eddie Marsman, 6 fotografen en 1 Polaroid camera. Nederlands-Duitse ontmoeting op 50×60 cm, in Foto 46 (september 1991) 9, p. 79-87 (met foto’s).
Leo Delfgauw, Fantastische Foto’s, in Perspektief (oktober 1991) 42, p. 72-73.
Linda Roodenburg (samenstelling), Fotowerk. Fotografie in opdracht 1986-1992, Rotterdam (Uitgeverij 010) 1992, p. 19, 30, 149, 152, 155, 162.
Catalogus Houston Fotofest 1992. The International Month of Photography, Houston, maart 1992, p. 60-63.
Auteur onbekend, Een beeld van Rotterdam, in Het Gebaar. Beeldende kunst in Rotterdam en omgeving 4 (september 1992) 3, p. 21.
Esther Gottschalk, In de trein een andere kijk op de wereld, in Nieuwsbrief Galerie Fotomania 1 (december 1992) 3.
Rianne van Dijck, Fotomania: stilstand is achteruitgang, in Foto 47 (december 1992) 12, p. 64-67.
Rutger ten Broeke e.a., Het medium is fotografie, in Catalogus Foto Biennale Enschede, Enschede 1993, p. 58-59 (met foto’s).
Catalogus tent. Met de camera gemaakt, Leeuwarden 1993, p. 12, 35.
Catalogus tent. Ergens. Thuis (Fotomanifestatie Noorderlicht), Groningen 1993
H. Swinkels en Ine Janssens, Fotograferen is (g)een kunst. Werkboek fotografie L.O.K.V., Utrecht 1993, p. 61-62.
Pien Wildeman, Vijftien Boonstra’s in de trein, in Koppeling. Weekblad voor de Nederlandse Spoorwegen 32 (april 1993) 1299, p. 8.
Auteur onbekend, Nieuwe fotokunst in treinen, in Nieuws Select. Informatief magazine voor forensen april 1993, p. 11 (met foto’s).
Judith Zeeman, Treinkunst, in Rails. Magazine voor reizigers april 1993, p. 54-56.
Frans Alten, Reizen met de foto’s van Rommert Boonstra, in Rotterdams Dagblad 9 april 1993.
Auteur onbekend, Fantasiewereld in de trein, in Algemeen Dagblad, 6 mei 1993, p. 9.
Noorderlichtkrant 93, september 1993, p. 6, 11, 13.
Eddie Marsman, Derde editie fotomanifestatie Noorderlicht Groningen, in Foto 48 (oktober 1993) 10, p. 36-43.
Sonja Geerlings, Railevant: Rommert Boonstra in opdracht van de NS (interview), in Foto 48 (oktober 1993) 10, p. 44-48 (met foto’s).
Peter de Ruig, Bericht uit de studio. De fotografie van architectuurmaquettes, in Archis november 1993, p. 34-41.
Maaike van der Wiel (red.), De druiven van Zeuxis. De vreemde wereld van het hedendaags realisme, Den Haag (FKU-uitgave t.g.v. de Dag van de Kunstuitleen 6 november 1993) 1993.
Catalogus tent. Allan Chasanoff Photographic Collection: Tradition and the Unpredictable, Houston (The Museum of Fine Arts) 1994.
Exhibitions
1980 (e) Amsterdam, Galerie Jack Visser, Rommert Boonstra foto’s.
1981 (g) Rotterdam, Lijnbaancentrum, De fotograaf als componist (Fotograferen in Rotterdam).
1982 (e) Rotterdam, Perspektief.
1982 (g) Rotterdam, Rotterdamse Kunststichting Lijnbaancentrum, Staged Photo Events.
1982 (g) Aken, Neue Gallery/Sammlung Ludwig, Staged Photo Events.
1983 (e) Amsterdam, Canon Gallery.
1983 (g) Apeldoorn, Gemeentelijk Van Reekum Museum, Staged Photo Events.
1983 (g) Antwerpen, I.C.C., Staged Photo Events.
1983 (g) Parijs, Centre Pompidou, Images Fabriquées.
1983 (g) Coimbra, Five Dutchmen (rondreizende tentoonstelling door Portugal).
1983 (g) Dordrecht, Pictura, Overwhelming Techniques.
1984 (e) Den Haag, Staal Bankiers.
1984 (e) Lausanne, Galerie Junod.
1984 (e) Amsterdam, Pullitzer Gallery.
1984 (g) Nantes, Musée des Beaux Arts, Images Fabriquées.
1984 (g) Hasselt, Musée d’Art Actuel, Images Fabriquées.
1984 (g) Rotterdam, Perspektief, Verlichte fotografie.
1985 (e) Rotterdam, Perspektief.
1985 (e) Verona, La Citta.
1985 (g) Parijs, Studio 666.
1985 (g) Rotterdam, Herfstsalon.
1985 (g) Zaragoza, Vanguardia ’85.
1986 (e) Amsterdam, Canon Gallery.
1986 (e) Gent, Galerie XYZ.
1986 (g) Amterdam, Galerie Torch, Contemporary Pictures.
1986 (g) Parijs, Biënnale.
1986 (g) Keulen, 50 Jahre moderne Farbfotografie 1936/1986 (Photokina).
1986 (g) Enschede, Foto Biënnale.
1986 (g) Amsterdam, Koopmansbeurs, Recente Fotografie 1980-1986 (Foto ’86).
1986 (g) Graz, Fotogalerie im Forum Stadtpark, Fotowerken aus Holland.
1986 (g) Rotterdam, Momentopname ’86.
1986 (g) Groningen, Groninger Museum, Fotografia Buffa.
1986 (g) Amsterdam, Canon Photo Gallery, In Scène.
1986 (g) Berlijn, Hochschule der Künste.
1986 (g) Rotterdam, 4 keuzen.
1987 (e) Amsterdam, Galerie Torch, Rommert Boonstra recent fotowerk.
1987 (g) Bonn, Rheinisches Landesmuseum, Fotografia Buffa.
1987 (g) Helmond, Gemeentemuseum ‘t Meyhuis, Fotografia Buffa.
1987 (g) Keulen, Galerie Gugu Ernesto, Fotografia Buffa.
1987 (e) Utrecht, Kunstuitleen.
1987 (g) Amsterdam, Canon Gallery, Konfrontatie.
1987 (g) Amsterdam, Rijksakademie van Beeldende Kunsten, Het Subjectieve Objectief. Werk van studenten en docenten fotografie.
1987 (g) Athene, 10 Dutch Color Photographers Today.
1987 (g) Metz, Photographie Contemporaine.
1987 (g) Metz, La Photographie Hollandaise (Metz pour la Photographie).
1987 (g) Amsterdam, Felix Meritis, Tweehonderd jaar Felix Meritis.
1987 (g) Groningen, Groninger Museum, Zomer 1987.
1987 (g) Saintes, Baroques Photographiques.
1987 (g) Overijssel, Kunstroute.
1987 (g) Keulen, Art Cologne.
1987 (g) Madrid, Foco.
1988 (g) Glasgow, Collins Gallery, Fotografia Buffa.
1988 (g) Edinburgh, Stills Gallery, Fotografia Buffa.
1988 (g) Cardiff, Photo Gallery, Fotografia Buffa.
1988 (e) Lausanne, Galerie Junod.
1988 (e) Parijs, Studio 666.
1988 (g) Rotterdam, Museum Boymans van Beuningen, Rotterdamse School?
1988 (g) Leiden, De Waag, De Verbeelding van Leiden.
1988 (g) Maastricht, Gouvernement, Er is geen landschap dat de tijd heeft om te dromen. Vormen van Nederlandse landschapsfotografie.
1988 (e) Barcelona, Trajecta.
1988 (e) Rotterdam, Galerie Fotomania, Rommert Boonstra.
1988 (g) Cambridge (Mass.), Carpenter Centre of the Visual Arts (Harvard University), Fabrications.
1988 (g) Doetinchem, De Gruitpoort Galerij, Visies op landschap.
1989 (e) Amsterdam, Pullitzer Art Gallery, Het Portret.
1989 (g) Parijs, Studio 666.
1989 (g) Amsterdam, Rijksakademie van Beeldende Kunsten.
1989 (g) Charleroi, Musée de la Photographie, 150 Ans de photographie, certitudes et interrogations 1839-1989.
1989 (g) München, Kunstverein, Das konstruierte Bild.
1989 (g) Nürnberg, Kunsthalle, Das konstruierte Bild.
1989 (g) Bremen, Forum Böttcherstrasse, Das konstruierte Bild.
1989 (g) Karlsruhe, Badischer Kunstverein, Das konstruierte Bild.
1990 (g) Amsterdam, RAI, KunstRAI (Fotomania-presentatie).
1990 (e) Parijs, Studio 666.
1990 (g) Amsterdam, Galerie Brinkman.
1990 (g) Groningen, Kunsthistorisch Instituut.
1990 (g) Leiden, AZL-galerie, Rondom Fotografie.
1991 (e) Naarden, Galerie Groll, Rommert Boonstra (Fotofestival Naarden).
1991 (g) Zwolle, Librije Hedendaagse Kunst Zwolle.
1991 (g) Leer, Volkshochschule.
1991 (g) Assen, Drents Museum.
1991 (g) Parijs, Institut Néerlandais.
1991 (g) Rotterdam, Galerie Fotomania, Fotosalon (overzichtstentoonstelling t.g.v. eerste lustrum van Fotomania).
1991 (g) Groningen, Groninger Museum, In volle vaart.
1991 (g) Groningen, USVA Fotogalerie, Polaroids 50×60.
1991 (g) Groningen, Tentoonstellingszaal Harmoniegebouw, Fantastische Foto ‘s.
1991 (g) Amsterdam, Nieuwe Kerk, Het Beslissende Beeld (Dutch Photography).
1991 (g) Schiedam, Stedelijk Museum, Energieën.
1992 (e) Rotterdam, Capi Lux-Vak.
1992 (g) Houston, Houston Foto Fest.
1992 (g) Amsterdam, Beurs van Berlage, Fotowerk.
1992 (g) Esslingen, 2. Internationale Foto-Triënnale Esslingen.
1992 (g) Leer, Volkshochschule.
1992 (g) Arhus, Fotofestival.
1993 (e) Rotterdam, Galerie Fotomania.
1993 (e) Utrecht, Nederlands Spoorwegmuseum, Fotokunst in de trein.
1993 (g) Enschede, Foto Biennale.
1993 (g) Enschede, Museum Jannink, Collectie Randstad.
1993 (g) Leeuwarden, Frysk Keunstynstitüt, Met de camera gemaakt (rondreizende tentoonstelling door Friesland).
1993 (g) Groningen, Den Aa-kerk, Home/Thuis (Fotomanifestatie Noorderlicht).
1993 (g) Rotterdam, Galerie Fotomania, 15x recent werk.
1994 (g) Houston, The Museum of Fine Arts, Allan Chasanoff Photographic Collection: Tradition and the Unpredictable.
Sources
Leiden, Prentenkabinet, bibliotheek en documentatiebestand.
Rotterdam, Rommert Boonstra, mondelinge informatie en documentatie.
Rotterdam, Galerie Fotomania, documentatiebestand.
Collections
Amsterdam, Kunstuitleen.
Amsterdam, Randstad Collectie.
Amsterdam, Stichting Dunhill Dutch Photography.
Apeldoorn, Gemeentelijk Van Reekum Museum.
Charleroi, Musée de la Photographie.
Dalfsen, Stichting Beeldenroute Overijssel.
Den Haag, Electriciteitsbedrijf Zuid-Holland.
Den Haag, Link Kunstpromotie.
Esslingen, Galerie der Stadt.
Groningen, Groninger Museum.
Groningen, Kunstuitleen.
Hilversum, Zuiveringschap Amstel- en Gooiland.
Houston, The Museum of Fine Arts.
Leer, Volkshochschule.
Leiden, Centrum Beeldende Kunst.
Metz, F.R.A.C.
Rotterdam, Artotheek Rijnmond.
Rotterdam, Centrum Beeldende Kunst.
Rotterdam, Galerie Fotomania.
Sittard, Het Nederlands Fotomuseum.
Utrecht, Centrum Beeldende Kunst.
Utrecht, Nederlandse Spoorwegen.