Simultaneously she was a key rent strike activist in Bochum, and worked as an artist with the children of the people of the large ‘Girondelle’ tenement house who were continuing their rent-strike.
When she had completed her studies at the Düsseldorf art academy, Doris Schöttler-Boll went to Paris with her husband who was a student and a translator of Louis Althusser.
Since the mid-1970s, she met Jacques Derrida, Pierre Macherey, Étienne Balibar and Louis Althusser, being occasionally invited to their homes together with Peter Schöttler.
An art project and parallel course focused on gender culminated in an exhibition titled Hair – Or Looking for Traces of the Female (Haare, oder Spurensuche des Weiblichen).
[6] During her time in Borbeck she organized the exhibition "Unter einem Himmel (Beneath one and the same sky, 1988)," which received considerable media attention.
This ‘Atelier’ House had been a home for the sculptor Lungwitz “since the (early) 1980s.”[8] She renovated the studio, and the space where she lives, at her own expenses and pays for heating and water only.
[9] But in return for the benefit of being a recipient of such support for artists (Kuenstlerfoerderung), she is very actively engaged in conceiving and organizing projects open to the public, most notably a series of presentations titled “Persons-Projects-Perspectives’ (since 9/9/1999).
[16] In the summer of 2012, photocollages/montages of Doris Schöttler-Boll were shown at the Staedtische Galerie Bremen (Bremen municipal gallery) in an exhibition entitled Tiefenschaerfe that included works by Christian Boltanski, Remigiusz Borda, Pierre Boucher, Ger Dekkers, Harald Falkenhagen, Marikke Heinz-Hoek, Jaschi Klein, Claudia Medeiros Cardoso, Sigmar Polke, Norbert Schwontkowski, and Wols, among others.
[17] Professor Klaus Honnef, a noted expert on photography as an art form, presented a large solo exhibition of her work in Bonn, West Germany.
[19] Commenting on her works exhibited in 1987 in the Bonn Landesmuseum, Prof. Klaus Honnef explained that Schöttler-Boll “is aware of the secret seductive power of photography, which ‘we put our faith in,’ as André Bazin wrote.
She knows, after all, that these worlds reflect social existence and consciousness.” Honnef noted that the artist had made use of “fragments of commercial imagery” (Versatzstücke kommerzieller Bilderwelten) when she created the works chosen for the exhibition.
Despite the fact that she uses a pair of scissors to destroy the original material, she never proceeds in an aggressive manner.”[20] Prof. Marianne Schuller discussed the assemblage that Schöttler-Boll had completed for the Grillo-Theater (rebuilt and modernized by the architect Werner Ruhnau).
Schöttler-Boll's work is dedicated to two tragic German dramatists, Heinrich von Kleist (1777–1811), a Prussian citizen driven to suicide by an utterly wrong socio-cultural reality, and Georg Büchner (1813–1837), the author of Woyzeck (an almost surreal play about a recruit driven nuts by superiors who finally ends up murdering the young woman he loves) – but also the author of the ‘Hessische Landbote (The Hessian Courier),’ a revolutionary pamphlet addressed to the poor of the countryside that was circulated anonymously in the Hessian region.