PhotoLexicon, Volume 16, nr. 32 (November 1999) (en)

Pieter Boersma

Martin Harlaar


Pieter Boersma can rightfully be called a socially engaged photographer. His commitment to societal issues is reflected in the subject matter he chooses and in his approach, as well as his active involvement in the organisational side of photography. Throughout his career, Boersma has devoted most of his attention to art, the social aspects of the built environment, and life in a variety of countries in southern Africa. Boersma’s big love is jazz music. Over the years, he has managed to create one of the most important photographic archives in this area in the Netherlands.




Pieter Boersma is born in Amsterdam on 7 March. He is the son of Oebele Boersma, a tax advisor, and Suzanna Geilman, a seamstress. Pieter has two sisters: Femke (born in 1935, who later becomes an actress) and Hanneke (born in 1937, who later becomes the director of the Amsterdam Music School).


After failing to complete the three-year study programme at the HBS (Hogere Burgerschool, an upper-level secondary school) on the Polderweg in Amsterdam, Boersma enrols at the Instituut voor Kunstnijverheidsonderwijs (‘Institute of Applied Art Education’, the precursor of the Rietveld Academy), where he learns to print photos in the darkroom. Six months prior to sitting for his final exams in 1967, Boersma is dismissed based on a lack of talent and his headstrong attitude.


Boersma’s first jazz photos are published in the weekly Vrij Nederland (‘Free Netherlands’) and the magazine Jazz Wereld (‘Jazz World’).


Boersma’s photos are exhibited for the first time during the exhibition Atelier 5, held at the Stedelijk Museum in Amsterdam.


Boersma’s photos of inflatable structures are exhibited at the Kunsthalle in Bern, Switzerland (on the occasion of the Kunsthalle’s fiftieth anniversary).

Boersma’s photos are exhibited during the exhibition Structure gonflable (‘Inflatable Structure’) at the Musee d’art Moderne (‘National Museum of Modern Art’) in Paris.


Boersma becomes a member of the protest group ‘Woningburo De Kraker’ (‘Housing Agency the Squatter’) and photographs the organisation’s daily activities.


Boersma photographs a miners’ strike in the Belgian province Limburg, where riots break out. In order to prevent the Belgian criminal investigators from identifying protesters on the basis of his photos, none of the photos are published until several years later, and even then, only images certain to cause no one any trouble.


Boersma is a member and photographer of the ‘Aktiegroep Nieuwmarkt’ (‘Protest Group Nieuwmarkt’) in Amsterdam. His photos appear in Blauwe Maandag (‘Blue Monday’), a photographic report published by the protest group, which depicts confrontations between the police and those protesting against houses being demolished on the Nieuwmarkt on 24 March 1975.


Boersma exhibits at the Biennale de la Jeunesse (‘Youth Biennale’) in Paris.


Boersma takes photographs for the annual reports of the Van Ommeren Shipping Company. In 1971, he photographs a ship’s passage to Canada for the same firm.


Boersma travels around Western Europe on a frequent basis.


Boersma and Henny Swaanswijk, the daughter of the painter/poet Lucebert, move into an apartment together on the Akoleienstraat in Amsterdam.


Cas Oorthuys and Cor van Weele ask Boersma to become a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’), based the exhibition Dat heet wonen (‘That’s Called Housing’) at the De Tor Gallery on the Czaar Peterstraat in Amsterdam.


Boersma becomes chairman of the GKf.


Boersma photographs for the NKS (Nederlandse Kunst Stichting, ‘Netherlands Art Foundation’).


Pieter Boersma and Henny Swaanswijk move to the Lekstraat in Amsterdam.


Boersma is chairman of the Commissie Fotografie (‘Photography Committee’) of the Amsterdamse Kunstraad (‘Amsterdam Arts Council’).


Boersma is a member of the Federatieraad (‘Federation Council’) of the Federatie van Kunstenaarsverenigingen (‘Federation of Artists Associations’).


Boersma makes photographic panels and photomontages for the permanent displays of the Amsterdam Historical Museum, which remain in use until the late 1990s. Boersma also takes photographs for various theme-based exhibitions organised at the same museum.


Boersma photographs at the Habitat Conference, held in Vancouver, Canada.


Boersma is a board member of the Fotografenfederatie (‘Photographers Federation’).


On Boersma’s initiative, the NKS—under the direction of Henk Visser—acquires photographs for the Dutch nation.

Boersma opens and participates in the exhibition Fotografie in Nederland 1940-1975 (‘Photography in the Netherlands’) at the Stedelijk Museum in Amsterdam.


The Ministry of CRM (Cultuur, Recreatie en Maatschappelijk Werk, ‘Culture, Recreation, and Social Work’) commissions Boersma to take portrait photos of ten artists (these photos—in total 121 works—are placed in the collection of the RBK [Rijksdienst Beeldende Kunst, ‘National Fine Arts Office’], and in 1998, transferred on a permanent loan basis to the Stedelijk Museum in Amsterdam).

The Museum Boijmans Van Beuningen in Rotterdam acquires Boersma’s photos of non-museum works of art (e.g. events, happenings, performances).


From 1979 to 1981, Boersma takes photographs in light of protests opposing the building of the Amsterdam ‘Stopera’ (City Hall/Opera House’).

From 1979 to 1982, Boersma is a member of the Ministry of CRM’s ‘experiments committee’.


On 19 August, Boersma’s daughter is born, Sanne Eva (named after the photographer Eva Besnyö).


The Ministry of WVC (Welzijn, Volksgezondheid en Cultuur, ‘Welfare, Public Health and Culture’) commissions Boersma to make ten series of artists’ portraits. Together with Ed van der Elsken, Boersma photographs for the Rijksmuseum’s annual documentary photo assignment, this year entitled De omroep in Nederland (‘The Broadcasting World in the Netherlands’).


On 20 August, Boersma’s son is born, Meier Jan (named after the designer Jan Bons).


Boersma is chairman of the NFA (Stichting Nederlands fotoarchief, ‘Netherlands Photo Archive Foundation’).


During these years, Boersma photographs on numerous occasions for the AABN (Anti-Apartheidsbeweging Nederland, ‘Netherlands Anti-Apartheid Movement’).


Boersma is a member of the Ministry of WVC’s ‘Stipend Committee’.


The AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’) commissions Boersma to photograph jazz and pop music in Amsterdam.


Boersma photographs for the RBK (Rijksdienst Beeldende Kunst, ‘National Fine Arts Office’)


Boersma makes a large photographic mural for the ‘School van Maas en Waal’ in Amsterdam (in the city district ‘Zuider-Amstel’).


Boersma’s very first photo, taken at the age of fourteen, is acquired by the Stedelijk Museum in Amsterdam.

The Leiden University Print Room acquires a number of Boersma’s photos depicting artists and their studios.

The Stichting Montezuma (‘Montezuma Foundation’, D’oude Stad [‘The Old City’]) in Amsterdam and the Ministry of WVC commission Boersma to take photos for the exhibition Het IJ geopend, de binnenstad gedicht (‘The IJ Opened, the Inner City Closed’), held at the ‘Gran Vista’ building in Amsterdam in the context of the ‘Manifestatie Oostelijke Binnenstad’ (‘Eastern Inner City Event’). The exhibition remains on display at the Open Haven Museum (‘Open Harbour Museum’) in Amsterdam for approximately seven more years.


In Zimbabwe, Boersma takes photographs at a conference on children detained in South African police cells.

From 1988

Boersma photographs in various countries across southern Africa on behalf of the AWEPAA (Association of West European Parliamentarians for Action Against Apartheid).


Boersma is the ‘in-house photographer’ of the Prince Bernhard Culture Fund.

From 1989

Boersma photographs artists on assignment for the Prince Bernhard Culture Fund.


Through his chairmanship at the NFA, Boersma is a member of the ‘preparations committee’ for the founding of the NFI (Nederlands Foto Instituut, ‘Netherlands Photo Institute’).


Pieter Boersma is a board member of the NFI.

From 1994

Boersma is a board member of the Stichting Fotobron (‘Photo-Source Foundation’), an organisation that aims to find suitable institutions for ‘roving’ photo and negative collections.


Boersma cancels his membership with the GKf.

From 1995

Boersma is a board member of the NJA (Nederlands Jazz Archief, ‘Netherlands Jazz Archive’).


Pieter Boersma’s work falls under the social documentary tradition of photography. Together with figures such as Willem Diepraam and Koen Wessing, Boersma belongs to the generation of socially engaged photographers who clearly took sides during the 1960s. Boersma uses his camera to address any topic that interests him, without acting as a propagandist. He adapts his style of photographing and printing to the subject at hand. In Boersma’s view, each topic begs a different approach. He tries to convey atmosphere to the viewer, such as when photographing dismal living surroundings, by choosing a certain crop of the actual situation and printing the photo in a specific way. He refuses to make something photographically more exciting or interesting than it actually is. Particularly in the first ten or fifteen years of his career, Boersma therefore did his best to avoid ‘manipulations’ such as burning and dodging. Especially in this period, Boersma’s prints were greyer and displayed less contrast when compared to the work of many of his fellow photographers.

After failing to pass his three-year HBS (Hogere Burgerschool, an upper-level secondary school) academic programme, Boersma enrolled at the Instituut voor Kunstnijverheidsonderwijs (‘Institute of Applied Art Education’) in Amsterdam (the precursor of the Rietveld Academy). It was then that he chose photography as his main study discipline. Boersma was not all too impressed by his teachers at the institute. More than anything, he learned to observe things in his own way and to avoid the paths most commonly taken. Although he did gain experience in the darkroom at this time, when it comes to taking photographs, he today considers himself an autodidact. Six months prior to sitting for his final exams, he was dismissed from the study programme, based on a lack of talent and an overly obstinate behaviour. Years later, from 1980 to 1983, Boersma returned to the Rietveld Academy, but then as an instructor. Here he taught photography to third-year students of graphic design. Boersma devoted particular attention to issues of form/content, asking that the students think about the application of photos in newspapers and magazines. For this purpose, he consulted Harold Evans’ book, Pictures on a Page (Heinemann, London 1978).

In the early years of his professional career, Boersma used his camera to address subjects that would continue to capture his interest for many years to come, in some cases even to this day. His big love was and still is jazz music. Boersma was the first ‘jazz cellist’ in the Netherlands, and from 1962 to 1964, he played in the Willem Breuker Quartet. In 1967, he won second prize at the Loosdrecht Jazz Concourse with his own group, which included Han Bennink, Maarten van Regteren Altena, Gilius van Bergeijk, and Hans Dulfer. Over the years, Boersma managed to build an extensive network in the worlds of jazz and classical music. His first jazz photos appeared in Vrij Nederland (‘Free Netherlands’) and the magazine Jazz Wereld (‘Jazz World’) in 1966.

Pieter Boersma photographs frequently in the art sector: he makes portraits of artists, photographs their studios and their work, records concerts and performances, and also does a great deal of reproduction work. He is especially active in the non-museum art sector (events organised by artists outside the walls of museums, theatres, etc., rather than by museums or other cultural institutions).

One of Boersma’s first ‘appearances’ was his participation in the exhibition Atelier 5 at the Stedelijk Museum in Amsterdam in 1967. His entry was environment-like in nature: using old items found on the Nieuwmarkt, he furnished the interior of a small room. In this space stood an empty television set in which a slide presentation was being shown. A short time later, his work was being displayed at exhibitions held outside the Netherlands. In 1968, Boersma exhibited in Bern, Switzerland, and Paris (with photos of inflatable structures for an exhibition organised by Michael Zeeman). In 1971, he displayed work for a second time in Paris.

In that same year, Boersma received a client through a fellow colleague in the field, Carel Blazer: the Van Ommeren Shipping Company. Boersma’s first photo assignment for Van Ommeren entailed photographing a sea passage to Canada. He photographed the people on board, the ship’s architectural spaces, as well as subjects such as the loading and unloading of cargo. These photos were primarily intended as slide presentations to be used at maritime schools. Boersma continued to do work for Van Ommeren for about another twelve years, procuring photos of the company’s ships anchored in Dutch harbours and taking photos for annual reports.

In the 1980s, Boersma received a number of (semi-) governmental commissions, including several assignments intended for public spaces and events. Between 1979 and 1984, he produced a series of artists’ portraits on behalf of the Ministry of CRM (Cultuur, Recreatie en Maatschappelijk Werk, ‘Culture, Recreation, and Social Work’), a commission he received at the recommendation of Eva Besnyö. The series was meant to result in a collection of photos depicting ten different artists who had played an important role in Dutch art, but whose photograph had rarely been taken. Within this group were painters, sculptors, designers, architects, as well as a number of photographers.

During the 1980s, Boersma worked on various exhibition projects in collaboration with the graphic designer Swip Stolk. One of these projects was an exhibition on the Netherlands commissioned by the Ministry of Foreign Affairs, designed by Stolk, and produced by the RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’), which traveled throughout Germany from about 1979/80. The exhibition also included photos by Maria Austria, Ed van der Elsken, Paul Huf, Ger Dekkers, Hans van den Bogaard, Vincent Mentzel, and Han Singels.

In 1980 and 1981, Boersma shot photos together with Paul Panhuysen for the exhibition Zorg voor de omgeving, over de betekenis van vormgeving (‘Care for One’s Surroundings, On the Meaning of Design’), which was as well designed by Stolk. The exhibition opened in September 1981 and was commissioned by the Ministry of CRM, based on a recommendation from the ‘Programmeringscommissie voor tentoonstellingen in Nederland’ (‘Programming Committee for Exhibitions in the Netherlands’). For this exhibition, Boersma traveled to various European locations to photograph the different ways in which space was being utilised. He also drew from his own archive, as he often does for any project. For the imitation ‘Huis ten Bosch’ (a Dutch royal palace in The Hague) at Holland Village in Japan, he composed exhibition murals—again in collaboration with Stolk—comprised of stereotypical images from the Netherlands: Amsterdam cityscapes, the Delta Works, tulip fields, Dutch housing, sluices, ships, polders, windmills, etc. Boersma’s photographic wall murals were on display for approximately eight years. In 1982, Boersma and Ed van der Elsken received the so-called Rijksmuseumopdracht (‘Rijksmuseum Assignment’), which entailed a documentary photo series on the topic ‘de Omroep in Nederland’ (‘The Broadcasting World in the Netherlands’). As a form of ‘comparative product research’, Boersma photographed the doormen, the employees, the directors, and the audience for each of the Dutch broadcasting companies. He also included the buildings, made group portraits of the employees, the television stars during the broadcast, television producers during their meetings, the cafeterias, politicians in the studio, and covered events such as a temporary monument consisting of four crosses for Dutch journalists killed during the civil war in El Salvador (Koos Koster, Jan Kuiper, Joop Willemsen, and Hans Verlaag).

In the context of the ‘Jaarlijkse Documentaire Foto-opdracht’ (‘Annual Documentary Photo Assignment’) commissioned by the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’), Boersma photographed the project ‘Modern Music’ (consisting of jazz and pop music) in 1984. These photos were added to the collection of the Amsterdam City Archives. In the spring of 1986, Boersma composed a monumental photomural for the interior of the Montessori ‘School van Maas and Waal’ in Amsterdam’s Rivierenbuurt (a neighbourhood in the district Zuider-Amstel). The project was comprised of three parts: two photos hanging around a hallway corner, depicting the first pile driven during the school’s construction; a collage of the demonstrations that were necessary in getting the school moved from temporary structures into a new building; and a collage of images depicting the school being built and the actual move. One year later, in 1987, Boersma procured photos for the exhibition Het IJ geopend, de binnenstad gedicht (‘The IJ Lake Opened, the Inner City Closed’), organised in the context of the Manifestatie Oostelijke Binnenstad (‘Eastern Inner City Event’). Photos were mounted onto large panels with shutters that one could open and close, in the same manner as an altarpiece. On the inside and outside, images could be seen featuring: long shots of the entire area, paired with photos of designated plans; photos of the new situation, juxtaposed with those of the old situation; and hundreds of shots of streets, houses and people in this old neighbourhood of Amsterdam. Several large collages of the Weesper Square, the Rembrandt Square, and the ‘Stopera’ (the Amsterdam city hall/opera building) were extraordinary. Boersma had composed these collages according to a method that he referred to as ‘archizwenken’ (roughly translated ‘architectural swerve’): photos taken of a given location, shot at different camera angles and with varying perspectives, were mounted as a collage in creating a a constructed image of the original location. Boersma had seen these kinds of collages during the 1970s, made by an unidentified female Austrian photographer. In 1988, Boersma photographed the facade of the Amsterdam building ‘Felix Meritis’ as an ‘archizwenk’ on the occasion of its 200th anniversary. It was the last time he applied this form of collage.

For many years, Boersma was very much involved with the theme of housing, and in particular, the social aspects of the built environment. He participated actively in the ‘woningburo De Kraker’ (‘The Squatter Housing Agency’, 1969), the Nieuwmarkt actiegroep (‘The Nieuwmarkt Protest Group’, 1970-1975), and the protests against the building of the Stopera (1979-1981) in Amsterdam. Consequently, he photographed the Stopera demonstrations, the exhibitions on new architecture held at city hall, the deserted buildings in the city, the building demolition, the driving of the Stopera’s first pile, and its construction. In addition to protests and evictions, Boersma photographed mainly the day-to-day activities of ‘protest life’. He also took numerous photographs depicting the uniformity and drabness of new neighbourhoods that had just been completed, which were chiefly located on the fringe of the major cities and had to be built with great speed in order to keep up with the overflow of people moving from the city centre. In these neighbourhoods, basic living functions such as housing, working, eating and drinking, and recreation were divided into separate areas. Boersma was and always has been strongly opposed to such an approach, as he believes it strongly undermines the quality of life. Numerous exhibitions were organised based on his images, chiefly outside the museum circuit. Individual photos were insignificant in this respect: Boersma often communicated a certain message to the viewer by incorporating a multitude of images that were similar. The same approach can likewise be encountered in Oscar van Alphen’s book Het rijke onvermogen (‘The Rich Lack of Capital’, Van Gennep, Amsterdam 1978). Aesthetics played only a subordinate role. Although it was the standard for many photographers at this time, Boersma refrained from using contrast when printing his photos. Instead, he preferred greys. He had no desire to portray reality more appealing, or more dramatic, than it actually was. During these years, Boersma’s motto was: ‘If something is rotten, then it also has to look rotten.’

In 1973, Cas Oorthuys and Cor van Weele asked Boersma to become a member of the GKf, based on the exhibition Dat heet wonen (‘That’s Called Living’) at the De Tor Gallery in Amsterdam. In 1974, Boersma went on to succeed Kors van Bennekom as the organisation’s chairman. In the same year—together with Willem Diepraam, the GKf’s secretary at the time—he introduced a debate to abolish the system of voting on potential new members. Both men believed it was time for the organisation to expand. The old system was replaced by one in which new members were chosen by invitation. Under Boersma’s leadership, the GKf’s membership doubled. Although his performance as chairman was fairly autocratic, he acted with a consensus. In the end, Boersma was successful at increasing the members’ involvement in their own organisation. A bulletin was published on a regular basis. Theme nights were also organised, which were very well attended. During these evening events, for example, representatives from other professional associations were invited to share their perspective on photography and its applications (art directors, photo editors, etc.). As a result, attendance at the members’ meetings continued to grow.

Boersma also acted in support of the cause outside the association. He put the GKf—the smallest of the three photographers’ trade associations in the Netherlands—on the map by conducting regular discussions with officials at the Ministry of CRM. As the GKf’s chairman, Boersma was also closely involved in organising the exhibition Fotografie in Nederland 1940-1975 (‘Photography in the Netherlands 1940-1975’), which he opened on 21 December 1978. In the speech that he gave on this occasion, he emphasised that photography was an independent visual medium—just as good or bad as any other means of visual communication. In his opinion, it was not the policy towards art and culture that had enabled a relatively large group of photographers to make a decent living, but the fact that photographers were not the kinds of people who just sat around their darkrooms doing nothing. Boersma argued for the founding of a ‘fotografisch centrum’ (‘centre for photography’) in Amsterdam and called upon CRM to set aside a small percentage of the ministry’s arts budget so that photographers could be given an opportunity to undertake their own initiatives. He concluded his speech as follows: ‘And if you want to know why photographers are always complaining about money: Well then, only those people afflicted with a discontented nature, a chronic lack of funds, and a tap in the right index finger—only those people become photographers.’

Disappointed upon learning his work was not to be included in an exhibition—nor included in the book—organised on the occasion of the GKf’s fiftieth anniversary, Boersma cancelled his membership with the GKf.

In 1976, the Stichting Fotoarchief Maria Austria/Particam (‘Maria Austria/Particam Photo Archive Foundation’) was founded with the aim of managing the photographer Maria Austria’s archive. At the time, it had turned out there was no institution capable of taking on this task. In 1981, the foundation carried out an enquiry into photographers’ attitudes towards the founding of a Dutch photographic archive designed to incorporate the archives of deceased or retired photographers that were deemed to be important. The responses were positive. On 7 May 1982, the NFA (Stichting Nederlands Foto Archief, ‘Netherlands Photo Archive Foundation’) was set up by three board members of the Maria Austria Foundation. The primary goal of this new organisation was to manage, preserve, and maintain the accessibility of negative archives having a cultural and documentary value. The Maria Austria Foundation asked Pieter Boersma to become the NFA’s chairman. There were two primary reasons why Boersma was approached for this position: firstly, during his chairmanship at the GKf (1974-1980), he had come to know many of the older, prominent photographers in the Netherlands; secondly, he knew his way around The Hague’s bureaucratic circles. Under his chairmanship, which would last until 1994, the NFA officially opened its doors in Rotterdam on 25 November 1990. Prior to the decision being made, there had been a great deal of back and forth with respect to the location of the organisation’s future headquarters (Amsterdam versus Rotterdam). Subsequently, a number of photographers, as well as surviving family members of photographers already deceased, refused to ‘move’ to Rotterdam and chose instead to transfer their archives to the Maria Austria Foundation. Substantial credit for the NFA actually ever being founded must be bestowed upon Pieter Boersma and the years of tireless effort he devoted to this endeavour in his role as the foundation’s chairman.

Starting in 1981, Boersma photographed protests, events, demonstrations, and conferences on a regular basis for the AABN (Anti-Apartheidsbeweging Nederland, ‘Netherlands Anti-Apartheid Movement’). At this organisation’s request, Boersma traveled to Zimbabwe in 1987 to photograph a conference on children who were being detained in South African police cells. One year later, he was asked to be the staff photographer for the AWEPAA (Association of West European Parliamentarians for Action against Apartheid, presently called AWEPA, the Association of European Parliamentarians for Africa), an organisation established in 1984. Since then, Boersma has traveled to southern Africa on behalf of this organisation on average three times a year, where, in addition to portraits, he photographs primarily refugees and elections, as well as economic developments for both small and large companies. His photos are featured in AWEPA’s publications as well as at exhibitions of his work shown at conferences and in parliament buildings across Western Europe and southern Africa. With the exception of the work he does for AWEPA, Boersma is no longer involved in documentary photography. He now photographs for various clients with whom he comes into contact, including the Stichting Kunst (‘Art Foundation’) and Cultuur Noord-Holland (‘Culture North-Holland’).

At the time Boersma began to photograph seriously, he had a Flexaret (6×6) at his disposal. One year later, he purchased a Mamya C3 (6×6). In 1967, he bought his first 35 mm camera, a Pentax. Between 1969 and 1980, more followed: a Nikon F1, Nikormat, Nikon F2, Nikon FE, Nikon F3, Mamya RB 67, and a Leica M4. In 1975, he also purchased a technical camera, a Technika (13×18). This camera, however, he rarely uses. When it comes to cameras, Boersma’s most recent acquisition (1992) is a Nikon F90. In 1990, he received a Rolleiflex (6×6) from the photographer Cok de Graaf. To this day, Boersma still uses the Nikon F2, F3, and F90, the Mamya RB 67, the Rolleiflex, and the Leica. Since 1979, he makes his enlargements with a Leitz Focomat II-C. Virtually without exception, Boersma uses the entire negative.

For the last thirty-five years, Boersma has been highly active on two fronts: as a photographer (his archive includes more than 270,000 black-and-white negatives and approximately 30,000 colour slides) and as an administrator (especially during his chairmanship of the GKf and the founding of the NFA). He has built a unique photo archive in the areas of Dutch music, artists’ portraits and their studios, as well as portraits and action photos of photographers. In addition, a large number of ‘temporary’ cultural events and exhibitions dating from the 1960s to the 1980s have been photographed by Boersma and can today be reconstructed based on images from his archive. For this reason, it carries a vast cultural-historical value.

Starting in 1970, Boersma’s photos were almost permanently on display from one exhibition to the next, with many of his images found in all kinds of publications. Nevertheless, there were very few exhibitions where he figured as the main photographer. At this time, not a single monograph has been devoted to the man or his work. This is largely due to the fact that Boersma has a very hard time of ‘selling’ himself: the subject is important—not the photographer. Since 1980, Boersma has worked only on a commission basis and has devoted very little energy to developing any more projects of his own—with the one exception being his following of the Dutch jazz music scene. This is largely due to the minimal appreciation his distinctive style of photographing and printing received during the first ten to fifteen years of his career (‘If something’s rotten, then it has to look rotten’). Boersma has always garnered greater recognition for his activities in the realm of administration and specifically for his tireless effort, spanning a period of many years, in ensuring photography’s inclusion in the budget of the Ministry of CRM and in getting the NFA off the ground.


Primary bibliography

Dames en heren [rede, uitgesproken bij de opening van de tentoonstelling Fotografie in Nederland 1940-1975], in Skrien (winter 1979/1980) 92/93, p. 29.

Pieter Boersma (samenstelling), Ik denk er soms aan, Amsterdam (Coöperatie PC) z.j. [1983] (met foto’s),

(prentbriefkaarten) Serie van 12 foto’s, Amsterdam (Art Unlimited) 1986.

Pieter Boersma, in Catalogus tent. A Priori Fotografie, Amsterdam (Makkom) 1986, p. 30-31.


images in:

Jazz Wereld (november 1966-mei/juni 1973) 9-10, 14-16, 18, 20-29, 31-34, 36, 38, 40-43.

Stedelijk Jaarverslag Amsterdam 1966, Amsterdam 1967.

Gandalf (1967-1972) 17, 19, 24, 39, 44, 51.

Plug (1967-1973) 1, 16-18, 25, 36-37, 64.

Tiq (1967) 8-11.

Nieuwe Revu 7 oktober 1967.

Stedelijk Jaarverslag Amsterdam 1967, Amsterdam 1968.

Drukkersweekblad en Autolijn (december 1968) kerstnummer.

Wonen april 1969-februari 1972.

ICA bulletin (Institute of Contemporary Art) december 1969.

Holland Festival, Amsterdam (Stichting Holland Festival) 1970.

Life 27 april 1970.

Geert van Beijeren en Coosje Kapteyn (red.), Sonsbeek 71. Sonsbeek buiten de perken (2 dln.), Arnhem 1971.

Stedelijk Jaarverslag Amsterdam 1970, Amsterdam 1971.

Wim Knulst, Jazz anno 1970, Amsterdam (Boekmanstichting) 1972 (serie: Voetzoekers van de Dr. E. Boekmanstichting, no. 8).

Tijdschrift voor architectuur en beeldende kunsten 1972.

Stedelijk Jaarverslag Amsterdam 1972, Amsterdam 1973.

Wonen-TA/BK 1973-1976.

GKf Mededelingen mei 1973.

Ad Petersen (samenstelling), Lucebert, een vijftiger, Amsterdam (Nederlandse Kunststichting) 1974.

Stedelijk Jaarverslag Amsterdam 1973. Amsterdam 1974.

Grafisch Nederland (1974) kerstnummer.

Forum 25 (z.j. ca. 1975) 4.

Albert Blitz en Loe van Nimwegen (samenstelling), Blauwe maandag. Omdat mijn huis daar stond. 24 maart 1975. Een verslag in fotoos van de gebeurtenissen die dag in de Amsterdamse Nieuwmarkt, Amsterdam (Aktiegroep Nieuwmarkt) 1975.

Ad Petersen (samenstelling), Lucebert: tekenwerk en grafiek/dessins et oeuvres graphiques, Brussel (Koninklijke Bibliotheek Albert I) 1975.

Key Notes. Musical life in the Netherlands (1975) 1.

Catalogus Biënnale Venetië 1976.

Tjeerd Deelstra e.a. (samenstelling), Meer dan onderdak. Op zoek naar een betere woonomgeving, Den Haag (Staatsuitgeverij) 1976.

Fotografen 1976. Geïllustreerde ledenlijst van de beroepsvereniging van fotografen GKf, Amsterdam (GKf) 1976.

Stedelijk Jaarverslag Amsterdam 1975, Amsterdam 1976.

Catalogus tent. Het observatorium van Robert Morris, Amsterdam (Stedelijk Museum) 1977.

Fons Elders, Lucht water vuur aarde. Experimenteel landschapsproject ‘Zeevang’/Air water fire earth. Experimental landscape project ‘Zeevang’, Bentveld-Aerdenhout (Landshoff) 1977.

Informatiebulletin Amsterdamse Kunstraad 1977-1981.

(Brochure) Kunst als kommentaar, Amsterdam (Nederlandse Kunststichting) 1977.

Ad Petersen (tekst), Who needs the Pacific Ocean? Viktor IV and the Second Quality Construction Company, Amsterdam (Stedelijk Museum) 1977 (serie: Catalogus Stedelijk Museum Amsterdam, nr. 620).

Raster (1977) 3.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978.

Catalogus tent. Paul Panhuysen. Schilderijen, situasies, ordeningssystemen en omgevingsontwerpen 1960-1978, Eindhoven (Van Abbemuseum) 1978.

Wim van Eyle (eindred.), Jazz & geïmproviseerde muziek in Nederland, Utrecht/Antwerpen (Het Spectrum) 1978.

Nieuwe Revue (24 februari 1978) 8.

Openbaar Kunstbezit 22 (1978) 1, afb. 33.

Opzij 6 (oktober 1978) 10, omslag.

Stedelijk Museum extra bulletin 22 december 1978-4 februari 1979, ongepag.

Auteur onbekend, Waterlooplein. Plein voor Volksvlijt?, Amsterdam z.j. [1979].

BK informatie 1979-1984.

Evert Werkman, Waterlooplein, Amsterdam (Elsevier) 1979.

Auteur onbekend, Award 79. De inrichting van het landschap van De Wieringermeer, De Noordoostpolder en Flevoland door de Rijksdienst voor de IJsselmeerpolders, Sassenheim (Stichting Sikkensprijs) 1979.

(Brochure) Wij tegen de neutronenbom. Culturele manifestatie 13.1.79, Amsterdam 1979.

Jan Naeyé, De sterke arm, Amsterdam (VU boekhandel) 1979.

Catalogus tent. Actie, werkelijkheid en fictie in de kunst van de jaren ’60 in Nederland, Rotterdam (Museum Boymans-van Beuningen) 1979.

Evert Werkman, Waterlooplein, Amsterdam (Elsevier) 1979.

Hans Sonneberg (tekst), Jan J. Schoonhoven, Rotterdam (Galerie Delta) 1979.

Steve Austen (samenstelling), Marge Theater in Nederland. 10 jaar Shaffy, Utrecht (Het Spectrum) 1980.

Catalogus tent. Het Portret door 35 Nederlandse fotografen, Amsterdam (Canon Photo Gallery) 1980, ongepag.

Catalogus tent. Kunstenaarsportretten. Eugène Brandts, Jef Diederen en Pierre van Soest, Amsterdam (N.K.S.) 1980, ongepag.

Catalogus tent. Kunstenaarsportretten. Joost Baljeu, Dick Cassée, Emmy van Leersum en Jan van der Vaart, Amsterdam (N.K.S.) 1980, ongepag. (met foto’s).

Je was er niet bij, Amsterdam (Parool/Trouw/VN/Waarheid) 1980.

3 Kinderpostzegels 1981, Haarlem (Joh. Enschedé) 1981.

Tjeerd Deelstra en Paul Panhuysen (samenstelling en tekst), Zorg voor de omgeving. Over de betekenis van vormgeving, Den Haag (Staatsuitgeverij) 1981.

Yap Hong Seng, Stad, wie doet je wat. Beschouwingen over buurt- en stadsvernieuwing, Den Haag (Staatsuitgeverij) 1981 (serie: Architectuur en stedebouw, 3).

Carry van Lakerveld en Joost Smiers (red.), Matheid, hoezo? Tweeëntwintig teksten over kunst en politiek ’70 … ’80, z.p. (Sjaloom) 1981.

Ank Leeuw-Marcar (samenstelling), Willem Sandberg. Portret van een kunstenaar Amsterdam (Meulenhoff) 1981.

Lucebert, Die Silbenuhr. Ausgewählte Gedichte und Zeichnungen, Frankfurt am Main (Suhrkamp) 1981 (serie: Bibliothek Surhkamp, Bd. 742).

Skrien (februari 1981) 104.

Intermagazine april 1981-december 1987.

Het Nederlands Theaterboek (1981/1982) 31.

Catalogus tent. Amsterdam 1960-1980.

Twintig jaar beeldende kunst/Twenty years of fine arts, Amsterdam (Museum Fodor) 1982.

Catalogus tent. Sandberg. Typograaf als Museumman, Amersfoort (Zonnehof) 1982.

Catalogus tent. ’60 ’80 attitudes/-concept/images. Een keuze uit twintig jaar beeldende kunst, Amsterdam (Van Gennep/Stedelijk Museum) 1982 (serie: Catalogus Stedelijk Museum Amsterdam, nr. 694).

Steef Davidson en Frans van Burkom, Geen commentaar. Fotografen als ooggetuigen van agressie en geweld (catalogus), Amsterdam (Nederlandse Kunststichting) 1982.

Hans Ebbink, Peter de Ruiter en Eveline Vermeulen, Kunst natuurlijk. Ruimtelijke projecten in Flevoland, Schiedam (Stedelijk Museum) 1982.

Dil Engelhard en Carel Kuitenbrouwer (red.), 10 Jaar Volharding. Tien jaar werken in een progressieve muziekpraktijk, een verslag, Amsterdam (Van Gennep) 1982.

GKf fotografen (april 1982) 6.

(Vouwblad) De omroep in Nederland, Amsterdam (Rijksmuseum) 1982.

Erika Billeter en Betty van Garrel (tekst) Textiel gebonden, Amsterdam (Nederlandse Kunststichting) z.j. [1982].

Ruud Vreeman (red.) De kwaliteit van de arbeid in de Nederlandse industrie, Nijmegen (SUN) 1982 (serie: Sunschrift, 197).

Bluf. Nieuw-nihillistisch Amokdams weekblad (25 Juni 1982) 23.

Stedelijk jaarverslag [Amsterdam] 1982.

Saskia Bos (tekst), Tekeningen, Amsterdam (Nederlandse Kunststichting) 1983.

Frans van Burkom (tekst), Een kunstwerk… en wat er aan vooraf ging. [6 vouwbladen in map], Amsterdam (Nederlandse Kunststichting) 1983.

Catalogus tent. Robert Morris tekeningen 1956-1983, Otterlo (Rijksmuseum Kröller-Müller) 1983.

Catalogus tent. 2=1 ‘over de som der delen’. Foto’s in combinatie, Amsterdam (Nederlandse Kunstsstichting) 1983.

Centrum van levende geschiedenis of plaatselijke oudheidkamer? Het recht op een Amsterdams Historisch Museum, Amsterdam (AHM) 1983.

Avenue 18 (augustus 1983) 8.

Jitske Bosma e.a. (red.), “… de beste aktiegroep ter wereld …”. 40 dorpsverhalen uit de Nieuwmarkt, Amsterdam (Stichting Uitgeverij De Oude Stad i.o.v. Wijkcentrum d’Oude Stadt) 1984.

Midas Dekkers e.a. (tekst), De grote stad Amsterdam, Amsterdam (Meulenhoff Informatief) 1984.

[Folder] Stichting Nederlands fotoarchief, Amsterdam 1984.

Saskia Bos, Neerslag van tekens. Over het werk “Vijf huizen/Vijf steden” van Tom Puckey, Amsterdam (Stichting De Appel) 1985.

J. Braat (red.), Honderd jaar Rijksmuseum, 1885-1985, Weesp (Van Holkema & Warendorf) 1985.

Catalogus Rijksaankopen 1984. Werk van hedendaagse beeldende kunstenaars, Den Haag (Rijksdienst Beeldende Kunst) 1985.

Catalogus tent. NI. Nouvelles Images, Den Haag (Gal. Nouvelles Images) 1985.

Catalogus tent. Wat Amsterdam betreft… , Amsterdam (Stedelijk Museum) 1985.

Nieuwsbulletin van de Rijksdienst Beeldende Kunst 1985-1986.

Paul Panhuysen (tekst), Het Apollohuis 1980-1985, Eindhoven (Het Apollohuis) 1985

2 Postzegels, Sport. Dammen en Biljarten, Haarlem (Joh. Enschedé) 1986

Catalogus tent. Het IJ geopend, de binnenstad gedicht, Amsterdam (Stichting Uitgeverij De Oude Stad) 1986.

Catalogus tent. Sonsbeek 86. Internationale beelden tentoonstelling/International sculpture exhibition, Utrecht (Veen/Reflex) 1986.

Max Bruinsma (eindred.), Felix Meritis 1787-1987, Amsterdam (Uniepers) 1987.

Catalogus tent. Achtjaar koninklijke subsidie voor vrije schilderkunst 1980-1987, Amsterdam (Stichting Koninklijk Paleis) 1987.

Hugh Davies e.a. (tekst), Echo. The images of sound, Eindhoven (Het Apollohuis) 1987.

Perspektief (1987) 28/29, p. 78-79.

Plaatwerk. Tijdschrift voor Fotografie 3 (maart 1987) 18.

Stipendia 86-87. Werken op het gebied van fotografie, industriële vormgeving en landschapsarchitectuur van kunstenaars die in de periode 1 juli 1986-1 oktober 1987 een individuele subsidie ontvingen van het Ministerie van WVC, Amsterdam (WVC) z.j [ca. 1987], p. 12-13.

Het Nederlands Theaterboek (1987/1988) 37.

Thijs Asselbergs (inl.), Wiek Röling. Stadsachitect Haarlem 1970-1988, Haarlem (De Toorts) 1988.

AWEPAA (Association of West European Association Parliamentarians for Actions against Apartheid, later AWEPA, the European Parlementarians for Southern Africa) alle publicaties van deze organisatie van 1988 tot heden.

Catalogus Stipendia 86/87. Werken kunstenaars subs. WVC, Amsterdam (Fragment) 1988.

Ad Petersen en Ina Munck, Viktor IV, Amsterdam (Meulenhoff/Landshoff etc.) 1988.

Jeffrey Shaw en Tjebbe van Tijen, Un Musée Imaginaire de la Révolution, Amsterdam (De Struikrover) 1988.

Plaatwerk. Tijdschrift voor Fotografie 4 (maart 1988) 22/23.

Jan Brand en Han Janselijn (red.), Architectuur en verbeelding, Zwolle (Waanders) 1989.

Rudy Kousbroek (tekst), 66 Zelfportretten van Nederlandse fotografen, Amsterdam (Nicolaas Henneman Stichting) 1989.

Kwartaalblad kunst en bedrijf (maart 1990) 1.

Perspektief (1990) 38.

Ida Boelema (red.), Schoonhoven beeldend kunstenaar, Den Haag (SDU) 1990 (serie: Monografieën van Nederlandse kunstenaars, 8).

Ton Haak (samenstelling), De nieuwe Haagse salon, Den Haag (Stichting De Nieuwe Haagse Salon) 1990.

Tineke van Manen e.a., Ontwerpen voor het Holland Festival, Amsterdam (Boxhorn) 1990.

Marja Stienstra e.a., Het Apollohuis 1985-1990, Eindhoven (Het Apollohuis) 1990.

Het Nederlands Theaterboek (1990/1991) 40.

Jan G. Elburg e.a., Lucebert schilderdichter, Amsterdam (Meulenhoff) 1991.

Jan van Geest, Wim Schuhmacher, De Meester van het Grijs. Een studie over het leven en werk van de schilder W. Schuhmacher, 1894-1986, gevolgd door een oeuvrecatalogus alsmede documentatie, Arnhem (Jan Brand Boeken)1991.

(Programma) Toneelgroep Amsterdam. Seizoen ’91-’92, Amsterdam (Toneelgroep Amsterdam) 1991.

Nes Journaal 29 september 1991.

(Kalender) Pijper Reprofessionals 1992, afb. maart, mei, augustus, november. Allocaties. Kunst voor een natuurlijke en kunstmatige omgeving. Bezoekersgids/Art for a natural and artificial environment. Visitor’s guide. Floriadepark Zoetermeer, Zoetermeer (Floriade) 1992.

Virginie Mamadouh, De stad in eigen hand. Provo’s, kabouters en krakers als stedelijke sociale beweging, Amsterdam (Sua) 1992.

Paul Panhuysen (eindred.), Takamasa Kuniyasu. Return to the self, Eindhoven (Het Apollohuis) 1992.

Anneke van Veen (red.), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991/Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten1989-1991, Amsterdam (Gemeentearchief Amsterdam) 1992,ongepag., nr. 091.

Bzzlletin. Literair magazine 2 1 (mei/juni 1992) 196/197.

Kunst & educatie 1 (juni 1992) 1.

Froukje Hoekstra (red.), Coming from the subway. New York graffiti art. Geschiedenis en ontwikkeling van een controversiële beweging, Groningen (Groninger Museum) 1993.

Janine Huizinga e.a. (tekst), Wild plakken. 8 Beelden tegen beeld, Amsterdam (De Balie) 1993.

Auteur onbekend, Kunststad, Amsterdam (Werkgroep KOS) 1993.

Ludgard Mutsaers, 25 jaar Paradiso. Geschiedenis van een podium. Podium van een geschiedenis, 1968-1993, Amsterdam (Stichting Popmuziek Nederland/Uitgeverij Jan Mets) 1993 (serie: Publicatiereeks Poparchief Nederland, 3).

Lier en boog. Tijdschrift voor Esthetica en Cultuurfilosofie mei 1993.

Jan Brand, Nicolette Gast en Catelijne de Munck (red.), Het grote gedicht. Nederlandse beeldhouwkunst 1945-1994, Gent/Den Haag (Snoeck-Ducaju & Zoon/Stichting Grote Kerk) 1994.

Catalogus Omaggio a Luigi Veronesi e Musicarte. Umbria Jazz ’94, Perugia 1994

Catalogus tent. Jan van de Pavert. Huis, Utrecht (Centraal Museum) 1994.

Catalogus tent. Pepe Espaliú, Londen (Institute of Contemporary Art) 1994.

Bert Ockers (samenstelling), Leven in Nederland. Twintig jaar fotografie in opdracht, Arnhem (Nederlands Openluchtmuseum) 1994.

Mark van Schaik (tekst), Candy Dulfer gefotografeerd door topfotografen, Apeldoorn (Bureau Voorlichting Foto Film Video) 1994.

Francis Strauen, Aldo van Eyck. Relativiteit en verbeelding, Amsterdam (Meulenhoff) 1994.

David Bourdon, Designing the earth. The human impulse to shape nature, New York (Harry N. Abrams) 1995.

Hans Ferwerda (eindred.), Koninklijk Concertgebouworkest, chefdirigent Riccardo Chailly. Seizoen 1995/1996, Amsterdam (Koninklijk Concertgebouw Orkest) 1995.

Mark Peeters (tekst), Lucebert, Beverwijk (Het Rode Kruis Ziekenhuis) 1995.

Auteur onbekend, De rode droom. Een eeuw sociale democratie in Nederland, Nijmegen (SUN) 1995.

Marja Stienstra e.a. (red.), Het Apollohuis 1990-1995. Exhibitions, concerts, performances, installations, lectures, publications, Eindhoven (Het Apollohuis) 1995.

Louwrien Wijers, Ben d’Armagnac, Zwolle (Waanders) 1995.

Leo Adriaenssen, Een dwarse buurt. Het herscheppingsverhaal van de Staatsliedenbuurt en Frederik Hendrikbuurt in 1971-1996, Amsterdam (Wijkcentrum Staatslieden-Hugo de Grootbuurt) 1996.

Catalogus tent. Now Here 22.10-17.12.1995. Twelve environments 9.6-23.6.1996, Eindhoven/Tokio (Het Apollohuis/Gallery Surge/ICAEE) 1996.

Paul Coumans en Gerda Brethouwer (samenstelling), Lucebert, Amersfoort (Zonnehof) 1996 (serie: Zonnehofreeks, 8).

Elmer Schönbergen (red.), Ssst! Nieuwe ensembles voor nieuwe muziek, Amsterdam (International Theatre & Film Books) 1996.

Evert van Straaten (inl.), Rémy Zaugg. The work’s unfolding, Otterlo (Rijksmuseum Kröller-Müller) 1996.

Deltaplan Cultuurbehoud. Nieuwsbrief (mei 1996) 15.

Verzetsmuseum Bulletin 5 (oktober 1996) 2, p. 8-9.

Söke Dinkla, Pionieer Interaktiver Kunst von 1970 bis heute, Karlsruhe (Zentrum für Kunst und Medientechnologie)/Ostfildern (Cantz) 1997.

Jan Brand e.a. (red.), Klaas Gubbels, Zwolle (Waanders) 1997 (serie: Monografieën van Nederlandse kunstenaars, 14).

Catalogus tent. Het beste van Wim T. Schippers, Utrecht (Centraal Museum) 1997.

Eva van Schaik, Hans van Manen. Leven & werk, Amsterdam (Arena) 1997.

Jeffrey Shaw en Heinrich Klotz (tekst), Jeffrey Shaw – a user’s manual. From expanded cinema to virtual reality, Karlsruhe (Zentrum für Kunst und Medientechnologie) 1997.

Petra Timmer (red.), …Waar kleur een specifieke rol speelt. Sikkensprijs, Naarden (V+K Publishing) 1997.

Kevin Whitehead (tekst), The Instant Composers Pool 30 years, Amsterdam (Stichting Haast) z.j. (1997).

Verzetsmuseum Bulletin 6 (november 1997) 2,p. 2,5.

Flip Bool e.a. (red.), Paul Citroen 1896-1983, Amsterdam (Focus) 1998 (serie: Monografieën van Nederlandse fotografen, 7).

Hans Dulfer en Eddy Determeyer, De geschiedenis van de nederlandse jazz, Amsterdam (The Music Marketereers) 1998.

Marlite Halbertsma e.a., Beroep: kunstenares. De beroepspraktijk van beeldend kunstenaressen in Nederland 1898-1998, Nijmegen (SUN, i.s.m. Stichting Josine de Bruyn Kops) 1998, p. 53, 64, 124-126, 138-139, 143, 149.

Youp van ‘t Hek (tekst), Dank U. Tweeënveertig foto’s betreffende dankbaarheid, Amsterdam (Uitgeverij Thomas Rap) z.j. [1998].

Jos van der Lans en Herman Vuijsje, Lage landen, hoge sprongen. Nederland in beweging 1998-1999, Wormer (Inmerc) 1998.

Ruigoord. Amsterdams ballongezelschap. Honderd seizoenen, Amsterdam (Lubberhuizen) 1998.

Carel Blotkamp en Sjoukje van der Meulen (tekst), Job Koelewijn, Rijssen (New Sculpture Museum Foundation) 1999, p. 8 (serie: New Dutch Sculptors, 5).

Nicolaas Dings e.a. (tekst), Waardige zaken. 14 wonderkamers in Noord-Holland van beeldende kunstenaars. 15.5.1999-26.6.1999, Haarlem (Stichting Kunst en Cultuur Noord-Holland) 1999.

Jaap v.d. Klomp (samenstelling), One night stand, Jazzconcerten in Nederland 1947-1967, Amsterdam (Windroos) 1999, p. 72, 78, 80-82, 85, 91-92.

Kevin Whitehead, 25, stories of twenty five years at the Bimhuis, Amsterdam (Bimhuis) 1999.

Willem Breuker Kollectief. Celebrating 25 years on the road, Amsterdam (BV Haast) 1999.


in Ons Amsterdam:

(1975) 1-12, omslagen.

(1980) 2.

(1990) 4, 5 (omslag), 11 (omslag), 12.

(1991) 1, 3, 5 (omslag), 6 (omslag), 9.

(1992) 5, 9.

(1995) 7/8-9.

(1997) 6.

(1998) 1, 3, 11.


in Vrij Nederland:

(1975) Boekenbijvoegsel 9.

(1978) Bijvoegsel 20.

(1985) Bijvoegsels 15, 21, 35, 39, 50.

(1986) Bijvoegsels 4, 8, 12, 15-16.

(1987) nrs 12, 14, 52.

(1988) nrs 3, Bijvoegsel 19.

(1995) nrs 6-7, 19, 22-24, 26-29, 38-40.

(1996) nrs 3, 5-6, 14, 18, 28-29, 34 en 49.

(1997) nrs 28-31, 41.

(1998) nrs 9, 17-18.


Een Nederlandse opera, in New Found Land-NFL:

2 (juni 1982) 3, p. 2.

2 (augustus 1982) 4, p. 2.

2 (september 1983) 5, p. 2.

2 (november 1983) 6, p. 2.

2 (maart 1984) 7, p. 2.

2 (april 1984) 8, p. 2.


NVSH Sex teach in, 1967.

Grote Zirkus van de H. Geest, Stadsschouwburg Eindhoven, 1969.

Dat heet wonen, Galerie de Tor, 1970.

Bohemia Jazz Club, 1971.

Het Amsterdam Elektrisch Cirkus, 1973.

Van Harte gefeliciteerd met uw 65e verjaardag, Galerie de Tor, 1973.

Waterlooplein Anti City Cirkus, 1978.

Operatie 3 juli, Wijkcentrum Oude Stad, 1981.

Voor zinvol werk, Industriebond FNV, 1982.

26 Jaar postzegelontwerpen, Groninger Museum, 1986.

Marguerite Yourcenar, Polak en Van Gennep, 1988.

Welkom Rembrandt, Amsterdams Historisch Museum, 1994.

Leo Cuypers, Bimhuis, 1998.


Willem Breuker, Contemporary jazz from Holland. Litany for the 14th of June, 1967.

Willem Breuker, Lunchconcert for three barrel organs, 1968.

Misha Mengelberg-John Tchicai-Han Bennink-Derek Bailey, 1969.

Loek Dikker, Love Cry Super Nymbus, 1969

Hans Dulfer, Han Bennink & Kwartet, Jazz in Paradiso, 1969.

J.R. Monterose in Paradiso, 1970.

Leo Cuypers, Bim, 1972.

Maarten van Regteren Altena, Handcaps, 1973.

Nederlands Blazers Ensemble, Harmonie Musik nach Mozart, 1974.

Maarten van Regteren Altena, K’Ploeng, 1978.

Albert Ayler Quartet, The Hilversum session, 1978.

Memorial Don Byas, 1978.

Ben Webster, Time Life Records, Giants of Jazz, 1982.


Misha Mengelberg Mix, 1994.

Willem Breuker, Johan van der Keuken, Music for his films, 1997.

Willem Breuker, Psalm 122, 1998.

Nederlands Blazers Ensemble, Philips Dutch Masters vol. 36. Mozart, 1998.

Boys Big Band, 1999.

Secondary bibliography

H. v.d. Louw, Pieter Boersma fotograaf: Natuurlijk wel uitkijken niet omhoog te vallen, in De Nieuwe Linie 7 juni 1978.

Willem K. Coumans, Fotografie in het Van Abbe Museum, in Foto 33 (juli 1978) 7, p. 56.

Maurits Schmidt, Ontstaan en ontwikkeling vakbond tentoongesteld, in de Volkskrant 31 maart 1979.

Aart Klein, Zes jaar Pieter Boersma, in GKf Bulletin april 1980, p. 14-20 (met foto’s)

Corrie Verkerk, ‘Ik denk dat ieder er bang voor is’. Boersma ondervroeg mensen over de dood, in Het Parool 27 mei 1983.

Hripsimé Visser, Documentaire en monumentale foto-opdrachten in Nederland na 1945, in Perspektief (juni 1987) 28/29, p. 115-117.

Catalogus tent. Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1986-1988, Amsterdam (Museum Fodor) 1989, ongepag. (met foto’s).

Hripsimé Visser, Confrontaties. Nederlandse fotografen en hun betrokkenheid bij (inter)nationale conflicten/Confrontations. Dutch Photographers and their Involvement in (Inter) National Conflicts, in Perspektief (mei 1990) 38, p. 27-41.

Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw, Amsterdam (BIS) 1991, p. 11, 182-183.

Catalogus Nederlandse kunst. Rijksaankopen 1991, Den Haag/Zwolle (Rijksdienst Beeldende Kunst/Waanders) 1992, p. 44-47 (met foto’s).

Catalogus Nederlandse kunst. Rijksaankopen 1992, Den Haag/Zwolle (Rijksdienst Beeldende Kunst/Waanders) 1993, p. 54-56 (met foto’s).

Taco Anema e.a. (red.), 50 jaar fotografie. GKf 1945-1995, Amsterdam (De Verbeelding) 1995.

Catalogus tent. Vijftig Jaren van Toekomst, Groningen (Stichting Aurora Borealis) 1995, ongepag.

Ons Amsterdam (januari 1999) jubileumnummer.


GKf 1973-1995.

Commissie Fotografie van de Amsterdamse Kunstraad, voorzitter van 1975-1979.

Federatieraad van de Federatie van Kunstenaarsverenigingen 1975-1980.

Bestuurslid Fotografenfederatie 1976-1986.

Experimentencommissie van ministerie van CRM 1979-1982.

Adviescommissie documentaire foto-opdrachten 1982-1983.

Bestuur Stichting Nederlands Fotoarchief, voorzitter van 1982-1994.

Stipendiumcommissie van ministerie van WVC 1983.

Voorbereidingscommissie voor oprichting van Nederlands Foto Instituut 1992-1993.

Bestuur Nederlands Foto Instituut 1993-1994.

Bestuur Stichting Fotobron, vanaf 1994.

Nederlands Jazz Archief, vanaf 1995.


1967 (g) Amsterdam, Stedelijk Museum, Atelier 5.

1968 (g) Bern, Kunsthalle, 50 Jahre Kunsthalle.

1968/1973 (e) Amsterdam, Galerie De Tor, (diverse tentoonstellingen).

1969 (g) Parijs, Musée d’art moderne, Structure gonflable.

1971 (g) Parijs, Biennale de la jeunesse.

1972/1975 Amsterdam, (diverse buurttentoonstellingen Nieuwmarkt).

1973 (g) Amsterdam, Stedelijk Museum, Groepsfoto. Fotografen GKf.

1974 (e) Hilversum, de Vaart, Jazz Musici.

1974 (e) Amsterdam, Café Theo Ruiter, Foto ‘s van Pieter Boersma.

1976 (g) Amsterdam, Stedelijk Museum, GKf.

1976 (g) Venetië, Biennale.

1977 (g) Amsterdam, Fort van Sjakoo.

1977/1978 (g) Haarlem, Galerie VAN, 10 jaar Instant Composerspool-Visueel.

1977 (e) Amsterdam, Stedelijk Museum, (diapresentatie van het observatorium van Robert Morris).

1977 (g) Amsterdam, Nederlandse Kunststichting, Kunst als Kommentaar (Nieuwmarkt).

1978 (g) Eindhoven, Stedelijk Van Abbe Museum, (Pieter Boersma en Paul Panhuysen).

1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.

1978/1979 (e) Amsterdam, Amsterdams Historisch Museum, Foto’s van Amsterdam.

1979 (g) Rotterdam, Museum Boijmans Van Beuningen, Actie, werkelijkheid en fictie in de kunst van de jaren ’60 in Nederland.

1979 (g) Amsterdam, Amsterdams Historisch Museum, 90 Jaar strijd, ontstaan en ontwikkeling van de afdeling Amsterdam, Industriebond NVV.

1980 (g) Amsterdam, Canon Photo Gallery, Het Portret.

1980 (g) Amsterdam, Amsterdams Historisch Museum, Muziek in Amsterdam.

1981 (g) Zorg voor de omgeving (rondreizende tentoonstelling van ministerie van WVC).

1981 (g) Lisse, Qbus, (tentoonstelling van portretfotografie),

ca. 1982 (g) Amsterdam, De Melkweg, Het Taboe.

ca. 1982 (g) Amsterdam, Rietveld Academie.

1982/1983 (g) Amsterdam, Rijksmuseum, De Omroep in Nederland (Pieter Boersma en Ed van der Elsken).

1983 (g) Amsterdam, Stedelijk Museum, Kijken in de tijd.

1984 (g) Amsterdam, Café De Engelbewaarder, Anonieme Architectuur.

1985 (g) Amsterdam, Amsterdams Historisch Museum, Allemaal Amsterdammers.

1985 (g) Amsterdam, Stedelijk Museum, Wat Amsterdam betreft.

1986 (e) Amsterdam, Gebouw Gran Vista, Het IJ geopend, de binnenstad gedicht (onderdeel van Manifestatie Oostelijke binnenstad) (rondreizende tentoonstelling; gedurende ca. 7 jaar te zien in Open Haven Museum te Amsterdam).

1986 (g) Amsterdam, Stichting Makkom, A Priori Fotografie (Foto ’86).

1987 (g) Amsterdam, Felix Meritis, 200 Jaar Felix Meritis.

1987 (e) Amsterdam, Stadsschouwburg, Getuigenissen van kinderen in Zuidafrikaanse politiecellen.

1987 (e) Eindhoven, Apollohuis, (overzichtstentoonstelling).

1988 (g) Amsterdam, Stedelijk Museum, Geliefde personen (GKf).

1989 (g) Amsterdam, Amsterdams Historisch Museum, Goed Verkeerd (fotowand).

1989 (g) Eindhoven, Het Apollohuis, Pieter Boersma fotowerken.

1990 (g) Groningen, USVA Fotogalerie, Dubbeldruk (Fotomanifestatie Noorderlicht).

1990 (g) Rotterdam, Laurenskerk, Confrontaties. Nederlandse fotografen en hun betrokkenheid bij (inter)nationale conflicten.

1991 (g) Amsterdam, Nieuwe Kerk, Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw (Collectie Stichting Dutch Photography).

1992 (g) Amsterdam, Museum Fodor, Foto ‘s voor de Stad. Amsterdamse documentaire foto-opdrachten 1972-1991.

1992 (g) Amsterdam, Stedelijk Museum, Klein voorwerp van verlangen (GKf).

1993 (e) Amsterdam, Stadhuis, Moçambique.

1993 (g) Den Haag, Kinderen van de Wereld (rondreizende tentoonstelling, in opdracht van UNICEF).

1993 (e) Die (Frankrijk), Galerie M’ediathic, Holland I-France I.

1993 (e) Die (Frankrijk), Espace St. Vincent, Holland I-France I.

1994 (e) Perugia, Jazz.

1997 (e) Amsterdam, Stedelijk Museum, 25 Jaar Instant Composers Pool.

1997 (e) Gronau, Jazz.

1998 (e) Gronau, Jazz.

1999 (g) Amsterdam, Bimhuis, 25, stories of twentyfive years at the Bimhuis.

1999 (e) Amsterdam, Verzetsmuseum, Verhuizing en verbouwing.

1999 (e) Den Haag, Zuidafrikaanse ambassade, Verkiezingen in Zuid-Afrika.

1999 (e) Johannesburg, Gender Committee, Vrouwen in Zuid-Afrika.

Television programs

15 augustus 1999 Geen buizen maar huizen (programma over de Nieuwmarkt), regie Frans Hoeben (RVU).

voorjaar 1970 Zuid Kennemerse twisten, regie Annemarie Prins (VPRO).


Amsterdam, Pieter Boersma (documentatie en mondelinge informatie).

Amsterdam, Carry van Lakerveld (mondelinge informatie).

Amsterdam, Anneke van Veen (mondelinge informatie).

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.


Amsterdam, Amsterdams Historisch Museum.

Amsterdam, Gemeentearchief.

Amsterdam, Rijksmuseum.

Amsterdam, Stedelijk Museum.

Den Haag, Instituut Collectie Nederland.

Hilversum, Omroepmuseum.

Leiden, Prentenkabinet Universiteit Leiden.

Rotterdam, Museum Boijmans Van Beuningen.