Basic Info
Name: Holger Backstrom and Bo Ljungberg (Beck & Jung)
Country of Origin: SE
Description
The Swedish artist duo Beck & Jung, comprised of Holger Bäckström (1939–1997) and Bo Ljungberg (1939–2007), were seminal pioneers in the field of computer-generated art. Their work is prominently featured in the Anne + Michael Spalter Digital Art Collection, representing a critical bridge between early mainframe computing and fine art printmaking.
Artistic Collaboration and Philosophy:
The partnership began in the mid-1960s, with the duo adopting the collective pseudonym “Beck & Jung.” They were among the first artists to treat the computer not merely as a tool for calculation, but as a primary creative medium.
• Early Innovation (1966): The duo began using mainframe computers as an artistic medium as early as 1966. Due to the technical limitations of the era, their first works were constructed using the default fonts of line printers to form primitive, structured images.
• The “Color Cube” and Inkjet Pioneers: They are perhaps most famous for their “Color Cubes”—three-dimensional grids rendered in vibrant rainbow spectrums. These were originally designed as test prints for early inkjet printers, making them some of the earliest examples of digital color theory applied through computer-assisted output.
Technical Artistry and Process:
Beck & Jung’s work evolved alongside the hardware of the 20th century, transitioning from stark black-and-white plotter drawings to sophisticated color lithography.
• Mainframe & Plotter: Their initial black-and-white images were produced using stylus printers or pen plotters.
• Color Transition (1973): Starting in 1973, they shifted their focus toward color, debuting their first computer-generated color works at the Youth Biennale in Paris.
• Printmaking as Translation: Much of their digital output was finalized as high-quality lithographs, serigraphs, and collages. This process allowed them to bring mathematical precision into a tactile, gallery-ready format.
Notable Works in the Spalter Collection. The Spalter Collection preserves several key series that define the duo’s legacy:
• Artiste et Ordinateur Portfolio (1979): The collection includes an inkjet drawing (after an original unique plotter drawing) from this prestigious 1979 portfolio, which featured other pioneers like Hervé Huitric and Monique Nahas.
• Color Slices, Concrete I, and Concrete II (1980): These pieces exemplify their late-period focus on geometric precision and color theory. Notably, some of these works were part of the Lufthansa Airlines Artists of the World Series, distributed to first-class passengers.
• Morning Bell & Morning Eye (1978): Mixed-media works that combine lithography and collage, demonstrating their “optical art” style and interest in surreal, abstract forms.
Exhibition and Legacy:
Beck & Jung achieved a level of international prominence rare for early digital artists, successfully transitioning from technical computer labs to prestigious galleries and global corporate commissions. Their ability to marry algorithmic precision with high-end printmaking techniques allowed their work to be collected and exhibited by major institutions worldwide.
• First Solo Exhibition: Lunds Konsthall
Museum Presence and Global Collections:
Their work is held in the permanent collections of some of the world’s most influential art institutions, cementing their status as “New Masters” of the digital age.
• The Metropolitan Museum of Art (New York): Features their early experiments in computer-generated lithography.
• Centre Pompidou (Paris): Holds works that demonstrate their influence on the European “Artiste et Ordinateur” movement.
• Victoria and Albert Museum (London): Includes their technical plotter drawings and inkjet experiments in its extensive digital art archive.
• Moderna Museet (Stockholm): Maintains a significant collection of their work, honoring their legacy as Sweden’s premier digital pioneers.
The “Artists of the World” Series:
One of their most unique forms of international exposure came through a high-profile collaboration with Lufthansa Airlines in the early 1980s.
• Lufthansa Commissions: The duo was selected for the Lufthansa Artists of the World series, which commissioned leading contemporary artists to create works for the airline’s international fleet.
• In-Flight Gallery: Their geometric “Color Cube” lithographs were displayed in first-class cabins and distributed as exclusive limited-edition prints to passengers, bringing digital art to an elite global audience.
The Artiste et Ordinateur Portfolio:
In 1979, Beck & Jung were included in the seminal Artiste et Ordinateur (Artist and Computer) portfolio, a definitive collection that toured internationally.
• Cross-Continental Dialogue: This portfolio placed them alongside other icons like Vera Molnar and Manfred Mohr, establishing a unified “digital aesthetic” that was recognized by critics in both the US and Europe.
• Technical Validation: Their contribution to this portfolio showcased their mastery of the inkjet process, proving that computer art could meet the rigorous standards of traditional fine art portfolios.
Iconic Industrial Design:
Their recognition extended beyond the gallery wall and into the realm of international product design, where their “grid” philosophy became a symbol of 1970s modernism.
• The Ultima Ashtray: Designed for Holmia, this checkered, tiered aluminum ashtray became a global design icon. It won numerous awards and is still sought after by collectors of mid-century modern and “Space Age” design.
• Signature Aesthetics: The success of the Ultima series proved that their computer-derived logic could be applied to 3D industrial objects, further broadening their fame beyond the specialized digital art community.
