[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/enrique-bostelmann-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki24\/enrique-bostelmann-wikipedia\/","headline":"Enrique Bostelmann – Wikipedia","name":"Enrique Bostelmann – Wikipedia","description":"before-content-x4 Enrique Bostelmann (March 1939 \u2013 December 3, 2003) was a Mexican photographer known for his artistic work related to","datePublished":"2020-06-07","dateModified":"2020-06-07","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":100,"height":100},"url":"https:\/\/wiki.edu.vn\/en\/wiki24\/enrique-bostelmann-wikipedia\/","about":["Wiki"],"wordCount":4706,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4Enrique Bostelmann (March 1939 \u2013 December 3, 2003) was a Mexican photographer known for his artistic work related to social problems as well as the use of objects and concepts from other artistic disciplines such as sculpture in his work.  He did commercial work such as publicity, documentary and photographic reproductions of artwork. However, it was his personal projects in which he experimented with subjects, styles and techniques, which were exhibited in Mexico, other parts of Latin America, the U.S. and Europe from the start of his career in the 1960s until his death in 2003. His artistic work is basically of two types: the first exploring social issues and the second conceptualist, using common objects and concepts from other creative disciplines to create photographic images.  Although he won no major awards for his work, he was selected as a judge for a number of competition and was inducted as a member of the Sal\u00f3n de la Pl\u00e1stica Mexicana.       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Enrique Bostelmann was born in Guadalajara in March 1939.[1] He was tall, husky, blonde and very fair skinned because of his German heritage, which gave him the nickname of \u201cEl Sol\u201d (The Sun). He suffered from nystagmus, a constant involuntary movement of the eyes, but it did not interfere with his photographic ability. His widow described him as \u201cconsistent, very honest, very formal,  hard-working, a fighter and dry, demanding honesty, uprightness.[2]In 1957 he received a scholarship to study photography for three years at the Bayerische Staatslehranstalt fur Photographie in Munich, beginning his career soon afterwards.[1][3] This career consisted of publicity, documentary and personal, artistic work. Much the last is related to extensive travels in Mexico, Latin America and Europe in which he photographed scenes and objects.[4][5]       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4He married Yeyete Bostelmann with whom he had two children Saskia and Alexis.[6][7] He died on December 3, 2003 at age 64, of heart stoppage while on his way to a routine photography appointment in the Polanco neighborhood of Mexico City.[3][7]Bostelmann began his photography career in 1961, which spanned over four decades until his death.[1][8] He did publicity, documentary and artistic work, not making a strict distinction between publicity and documental, taking photos of industry, businesses, rural scenes, fashion, food and social scenes.[2][9] He was also noted as a specialist in the photographic reproduction of art.[7]His artistic work was mostly for his own personal satisfaction, without the intention of sale. However, this work was exhibited in over fifty individual and collective exhibitions.[6][9]His first individual exhibition was at the Exposici\u00f3n Club Fotogr\u00e1fico de M\u00e9xico in 1961 and his last called Est\u00e1tica Fugaz del tiempo in 2007 at the Gallery of the Mexico City International Airport.  In between individual exhibitions where staged in various parts of Mexico as well as North America, Europe and South America.  Important shows include Due Mondi in Rome (1969), Paisaje del Hombre at the Museo de Arte Moderno (1973), La Piel de Aguas in Mexico, Venezuela, Ecuador, Peru and Panama (1974-1975), Exposici\u00f3n Integraci\u00f3n Visual in various cities in Venezuela (1977), Exposici\u00f3n Comunicaci\u00f3n Visual at UAM-Xochimilco (1976), Muestras Fotograficas at the World Trade Center New York (1977), Suicidio y Muerte Natural at the Colegio de M\u00e9xico (1979), Fotomorfosis in Mexico City, Brasilia, Buenos Aires, Caracas, Maricabo and Bogot\u00e1 (1977-1979), Estructura y Biograf\u00eda de un Objeto in Mexico City (1978-1979), Quince Murales, Knoxville (1982), Juan de la Mancha in Mexico City (1986), La Vida Todos los d\u00edas in Mexico City (1987), Espacios Habitados at the Polyforum Cultural Siqueiros (1994), a retrospective shown in various countries in Europe in Berlin, Bonn, Budapest, Prague and \u0141\u00f3d\u017a, Poland (1993-1994), Los Entusiamos de la Belleza at the Centro Cultural Tijuano (1996), a retrospective at the Art Institutes of Dallas, Fort Lauderdale and Houston (1997), Secuencias y Consecuencias in various parts of Mexico (1997- 1998), Memoria del Tiempo in Quer\u00e9taro (1999), Memories of History in Washington, New York and Montreal (2004-2006) and Tiempo Recurperado and Est\u00e1tica Fugaz del Tiempo in various parts of Mexico (2001-2007) .[1][4] He participated in about forty collective exhibitions from 1958 to 2002 both in Mexico and abroad.[1] After his death, there have been several exhibitions of his work including Enrique Bostelmann: Imagen, espacio inagotable at the Museo de Arte Moderno in 2013.[10][11]       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Books published with and about his work include Am\u00e9rica: Un Viaje a Trav\u00e9s de la Injusticia (1970, 1984) with prologue written by Carlos Fuentes, El Paisaje de M\u00e9xico (1974), Estructura y Biograf\u00eda de un Objeto (1980), Juan de la Mancha (1982), Los Murales de Bellas Artes (1996), Los Murales de Tamayo (1997), Los Murales del Palacio Nacional (1997), Los Murales de Siqueiros (1998), Federico Silva-La Cueva de Huites Una Pintura Rupestra al Norte de Sinaloa (1998), Sebasti\u00e1n: El Lenguaje del Universo (1999), Alameda:Visi\u00f3n Hist\u00f3rica y Est\u00e9tica de la Alameda de la Cd. De M\u00e9xico (2000) and No Anunciar: Narrativa Fotograf\u00eda (2003) .[1][3][4]  His work also appears in some editions published abroad such as Contemporary Photographers (London, 1981), World History of Photography (New York, 1985) and The Photobook: A History, Vol. 1 (London, 2004).[1]As an artist he did not win major awards for his work, mostly because such did not exist in Mexico during his lifetime. However, he was recognized in other ways. He served as a judge and conference speaker at events such as the Biena de Artes Gr\u00e1ficas and the Bienal de Fotograf\u00eda, both of the Instituto Nacional de Bellas Artes; the Instituto de Bellas Artes of Caracas, Venezuela; the Premio Kinsa in Rochester, NY; the Premio Geomundo in Mexico City; the Premio Casa de la Am\u00e9ricas in Havana, Cuba and the Universiada in Mexico City.From 1983 to 1986, he was the vice president of the Consejo Mexicano de Fotograf\u00eda.[1] He was accepted as a member of the Sal\u00f3n de la Pl\u00e1stica Mexicana along with Manuel \u00c1lvarez Bravo and Graciela Iturbide .[7]His work can be found in institutions such as the National Library of France, the Museo de Bellas Artes in Caracas, the Contemporary Arts Museum Houston, the Art Institute of Chicago, the Albuquerque Museum, the University of Arizona, the Centro de Arte Contempor\u00e1neo in Mexico City, the Museo de Arte Moderno and the National Photographic Archives of Mexico in Pachuca as well as in private collections in the United States, South America and Tokyo.[1][6]He taught photography at the Instituto Pa\u00fal Coremans in Mexico City.[1]His career resulted in an archive of over 200,000 negative and about 5,000 prints. Although some of this archive was donated to the Centro de Imagen in Mexico, much remains in the possession of the family, which stores it at the family home in San \u00c1ngel, Mexico City, which is clean, but lacks professional conservation facilities. Much of the archive contains images of rural Mexico from the 1950s to the 1970s. Any money earned with the photographs is put back into equipment needed to preserve the collection.[6][11]Artistry[edit]Bostelmann is considered to be one of the most important Mexican photographers of the second half of the 20th century.[4] Like Mariana Yampolsky and Manuel Alvarez Bravo, whose work is often compared to his, he called himself a \u201cseeker of light.\u201d[10][11][12]  He believed that photography changed the way man sees himself and how he relates to the rest of the world since photography is now part of many routine and grand events in life. His most passionate work involved studying something in depth, generally with a theme, such as a street, a neighborhood, a religious space or a shopping center.[9] He experimented with both black-and-white and color photography as well as print techniques, but his best-known innovations are related to subject matter as well as collaboration with other creative people such as writers, painters and sculptors.[3][5][7] His photography avoided ideological overtones and his photography of his home country of Mexico was not overly sentimental, folkloric or exotic, even though he photography much of the rural areas of the country from the late 1950s through the 1960s.[3][5]A significant portion of his work, especially his early work, is related to social problems and anthropology, as part of a generation of young, \u201crebellious\u201d photographers such as Pedro Meyer, Jos\u00e9 Luis Neira and L\u00e1zaro Blanco .[7] Much of this early work comes from the 1960s, when he extensively travelled in Latin America, including Mexico, photographing common people.[1] Much of this work became part of a series called Paisaje del hombre (Landscape of man) and a book called Am\u00e9rica, un viaje a trav\u00e9s de la injusticia (America, a voyage across injustice), published in 1970.[4][5] The first is a series of diverse images, both depicting landscapes which have been heavily altered by human activity as well as depicting the human body as a landscape.[8][11] Many of these photographs included images that were unusual and abstract.[5] The book explore social problems in Mexico and other countries in Latin America.[7] A later, socially themed work was to photograph the wall along the U.S.-Mexican border in Tijuana .[9]His work was influenced the conceptualist movement in the 1970s.[4] He began to work with creators from other fields, such as sculpture, paintings, writers and architecture.[3][5] For this, art critics such as Raquel Tibol and the Museo de Arte Moderno have judged his work to \u201ctranscend\u201d the limit of the medium.[3][8][11] One of these was to experiment with the use of installations and art objects, gathering and creating objects for the purpose of photography rather than for their own existence.[8][10] El despliegue de la imagen gathers industrial materials and publicity to create images. La ola es agua y tambi\u00e9n escultura is a series of images that explores the possibility that photography has, linked with the other arts.[8][11] Its name was taken from the eulogy of Mathias Goeritz .[5] His best-known work from this time is in collaboration with sculptor Sebasti\u00e1n using ordinary objects such as a coffee pot, combining the concepts of photography and sculpture. The object would be put in different situations such as in liquid, frozen, flattened, set as if conversing with another object and more. Many photos are portraits of objects, influenced by photography work done in the 1920s as well as his relationship with Mathias Goeritz and Sebasti\u00e1n.   He photographed unusual items such as a roll of barbed wire, a hanging hose, a clothesline, a well-worn tire, TV antennas and water storage tanks. Some of these object studies were part of portraits of notable people such as Chucho Reyes and Juan O’Gorman .[4] Some completely stood in for the person such as Manuel Felgu\u00e9rez\u2019s pipe surrounded by burned wooden matches, empty paint tubes belonging to Arnold Belkin and Salvador Novo\u2019s old worn typewriter, which he gave to Emilio Carballido. These portraits avoid sentimentality but are emotive.[5]Other work experimented with three-dimensional and other effects. One of these is \u201cNudo en la garganta\u201d (Knot (lump) in the throat), which is an image of several congested roadways twisted together.[4][5] Another photographs if of an old cabin whose falling window seems touchable.[4] Sucedi\u00f3 en el metro is an over print of images to create a commentary of the Mexico City metro system .[5]References[edit]^ a b c d e f g h i j k “Biograf\u00eda”. Archived from the original on May 30, 2011. Retrieved May 31, 2013.^ a b Lorena Morales (February 26, 2006). “Recuerdan a Bostelmann” [Remembering Bostelmann] (in Spanish). Mexico City: Reforma. p.\u00a018.^ a b c d e f g Merry Mac Masters (May 26, 2013). “A 10 a\u00f1os de su muerte, el MAM recuerda a Enrique Bostelmann” [Ten years after his death, the Museo de Arte Moderno remembers Enrique Bostelmann] (in Spanish). Mexico City: La Jornada. p.\u00a06. Retrieved May 31, 2013.^ a b c d e f g h i Juan Carlos Aguilar Garc\u00eda (July 1, 2006). “Escultor de im\u00e1genes; Enrique Bostelmann” [Sculptor of Images; Enrique Bostelmann] (in Spanish). Mexico City: Cr\u00f3nica. Retrieved May 31, 2013.^ a b c d e f g h i j “Un viajero sensible,  no sensiblero” (in Spanish). Mexico City: El Economista. May 23, 2013. Retrieved May 31, 2013.^ a b c d “El legado de Enrique Bostelmann” [The legacy of Enrique Bostelmann] (in Spanish). Torreon, Mexico: El Siglo de Torre\u00f3n. December 15, 2004. Retrieved May 31, 2013.^ a b c d e f g Edgar Alejandro Hernandez (December 5, 2003). “Revaloran imagenes de denuncia social” [Revaluing images of social denouncingt] (in Spanish). Guadalajara: Mural. p.\u00a010.^ a b c d e “Enrique Bostelmann. Imagen: espacio inagotable” [Enrique Bostelmann. Image: inexhaustible space] (in Spanish). Mexico City: Museo de Arte Moderno. Archived from the original on June 13, 2013. Retrieved May 31, 2013.^ a b c d Leon Portman Berlinsky (February 15, 1998). “Enrique Bostelmann” (in Spanish). Mexico City: Reforma. p.\u00a06.^ a b c “Inauguran en el MAM la exposici\u00f3n Enrique Bostelmann. Imagen, espacio inagotable” [Museo de Arte Moderno opens the Enrique Bostelmann. Image: inexhaustible space exhibition] (Press release) (in Spanish). Mexico: CONACULTA. May 23, 2013. Retrieved May 31, 2013.^ a b c d e f “Inauguran en el MAM la exposici\u00f3n Enrique Bostelmann. Imagen, espacio inagotable” [Museo de Arte Moderno opens the Enrique Bostelmann. Image: inexhaustible space exhibition] (in Spanish). Mexico City: Milenio. May 22, 2013. Archived from the original on June 29, 2013. Retrieved May 31, 2013.^ Miguel Angel Ceballos (December 21, 2004). “Collection of Mexican photographer Bostelmann needs protection; [Source: El Universal]” (in Spanish). Miami: NoticiasFinancieras. p.\u00a01.     (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/enrique-bostelmann-wikipedia\/#breadcrumbitem","name":"Enrique Bostelmann – Wikipedia"}}]}]