More information. Later still, Conceptual Photography developed to accommodate photo-editing that gave artistic legitimacy to portfolios that contained images that had been digitally "reworked." Executed in 2004, this work is number 1 from an edition of 10. Instead the decline, in the West, of traditional industries and the political instability that arose with the development of neoliberal conditions for capitalism was already weakening centrism, collectivism and social democratic forms of government. Some of his contemporaries include Thomas Struth, Thomas Ruff and Candida Höfer. Learn how your comment data is processed. He also used digital editing to eliminate the "distractions" of architecture and human elements to bring a Minimalist simplicity and sparseness to his landscapes. Description. In 1959, photography was still struggling to be an art form. ea., signed, numbered, edition of 60.SOLD. In stock. This arrangement invited close scrutiny of the similarities and differences of what might have been regarded as nondescript, uniform, merely functional objects in the landscape; a form of comparative morphology. The Düsseldorf School had made photography "easy" by focusing on the mundane and the everyday meaning that anyone could pick up a camera and claim their work was important art. The essays in this anthology will add an important new dimension to the studies of art history and visual culture. Featuring Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore, and Henry Wessel, the exhibition became the brand name for a full-blown genre of photographic investigation. meaning the state of things as they are; the momentary coalescence of all of the causes and conditions that constitute existence and the Bechers images speak to this understanding of material objects. An elegant new edition of Bernd and Hilla Becher's classic black-and-white photographic study of industrial buildings. Architecture of Absence examines Hofer's unique oeuvre and the relationship of her architecture work to that of the "Becher Circle"-noted students of the Dusseldorf Academy's renowned professor Bernd Becher, including Thomas Ruff, Thomas ... Found insideThe compelling story of the collaboration of the most important husband-and-wife team in the history of photography; a lavishly illustrated critical assessment of their lifelong project of documenting the industrial landscape of the ... The grids allowed the images to be discovered as subtypes of the same structure. Bernd Becher (1931-2007) was born in Siegen, a mining and metalworking town in West Germany, almost midway between Düsseldorf and Frankfurt and close to the heart of Germany’s coal, iron and steel industry. The burden of explanation and interpretation lies entirely with the observer. Bernd Becher and Hilla Wobeser met in 1957, while both were working at an advertising agency in order to finance their studies at the Kunstakademie Düsseldorf. Published on the occasion of the exhibition held at the Parrish Art Museum, Water Mill, New York, August 2 - October 18, 2015. Andreas Gursky and Thomas Struth also adopted the large format and began bonding the image to a sheet of acrylic glass in what became known as the Diasec technique. Bernd and Hilla Becher met as students at the Kunstakademie Düsseldorf in 1957, and began collaborating two years later when they photographed and documented the disappearing German industrial architecture of the Ruhr Valley, where Becher's family had worked. At the time, the academy did not offer photography courses, but Hilla convinced her professors to let her order equipment. Artist Bio. Sorry, your blog cannot share posts by email. Although despite the fixed camera angle in the automatic doors series, my intend still remain to have them share somewhat of a symmetrical settings that also show the common abstract quality between them. An elegant new edition of Bernd and Hilla Becher's classic black-and-white photographic study of industrial buildings. They won the Erasmus Prize in 2002 and Hasselblad Award in 2004 for their work and roles as photography . 1934) Chemische Fabrik Wesseling Bei Köln, by Bernd and Hilla Becher, 1998. Although slightly light on the number of reproductions, 53, its purpose is for study where as the other titles are . Presented initially as part of a "family" of images, individual portraits were isolated and enlarged to a scale that filled up a whole wall. World Heritage Encyclopedia, the aggregation of the largest online encyclopedias available, and the . Bernd Becher was born in Siegen.He studied painting at the Staatliche Akademie der Bildenden Künste Stuttgart from 1953 to 1956, then typography under Karl Rössing at the Kunstakademie Düsseldorf from 1959 to 1961. 'Framework Houses' was created in 1973 by Bernd and Hilla Becher in Conceptual Art style. Photography Essentials City Photography Industrial Architecture Architecture Details Abandoned Buildings Abandoned Places Bernd Und Hilla Becher Le Corbusier Black And White City. Showcasing eighty outstanding photographs from a range of photographers, Val Williams explains what it is that makes these photos so great. Bernd (1931-2007) and Hilla (1934-2015) felt compelled to preserve the memory of these and other industrial structures - technologies that, like photography itself, originated in the 19th century. Bernd & Hilla Becher September 7-October 21, 2017 Los Angeles. This volume presents a careful selection from Glassie's collection of over a thousand color photographs, as well as a graphical guide to present, damaged and missing bicycle parts, and a quote from Marvin Minsky's The Society of Mind. The simple lines and geometric patterns of his images, coupled with a contrast in color and dark shadows, bring a certain texture to the image. Coal bunkers, cement works, complexes of factory buildings, grain elevators, water coolants and blast furnaces.’, “not only the most scrupulously photographed, encyclopaedic documentation of industrial structures in the western world – a huge feat in itself – but also arguably the most extraordinarily beautiful photography of our times.”. Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. During their 40-year career, Bernd and Hilla Becher created their own architectural typology as they photographed buildings in a unique style. Lange, S. (2004) ‘History of Style – Industrial Buildings. Artists usually become well known for the artistic works that they produce as individuals. As a student of illustration, Bernd was eventually drawn to photography by his fascination with the industrial structures of the German Ruhr valley where he grew up. An elegant new edition of Bernd and Hilla Becher's classic black-and-white photographic study of industrial buildings. Sander's portraits, published in his Face of Our Time (1929), depicted a cross-section of German society with seven 'types', organized by profession. All pictures i took can be locate within the city of Sydney and i also applied the same contrast between light and darkness for each series with the intend to represent how the city are reflected through the glass surface of automatic doors. Duotone photographs, Documents imperiled industrial structures. In a photographic project spanning five decades, Bernd and Hilla Becher documented the soon-to-be-forgotten architectural forms of industry - Mine Heads, Blast Furnaces, Water Towers, Coal Bunkers, Cooling Towers, Industrial Facades, Gas Tanks, Grain Elevators, to name but a few. By the 1960s, the legacy of industrialised conflict, the reality of economic globalisation, and the failure of totalising urban planning had all but extinguished such optimism. The Bechers' 224 photographs of watertowers comprise a . Their photographs focused on the disappearing industrial architecture of Europe and the USA and they were well known for using a grid layout. In their "typologies"—series of objective black-and-white photos—the Bechers sought to illuminate and catalogue the similarities and variations in design among particular building types, such as framework houses, water towers, and blast furnaces. Thomas Struth's photographs range from street scenes, to posed 'family portraits', to both posed and candid scenes inside the world's museums - Struth's works offer many views of contemporary society. The Bechers’ work does not elaborate on the passing of the industrial age beyond the images themselves. Bernd and Hilla Becher: Life and Work by Susanne Lange is the most recent of MIT's Becher publications. This approach was most obviously reflected in the exhibition of their work which was often in the form of sets of images arranged in a grid. They used only large format cameras to obtain the fine detail they wanted and only black and white film, evoking the practice of the New Objectivity movement. Bernd and Hilla Becher were two German photographers whose systematic documentation of their country's industrial landscape has served as the basis for an entire school of contemporary photography. Industrial photography, practiced by commercial photographers, was, as art critic Michael Collins observed, "commissioned to record both great and everyday industrial and civic projects" while adding that most "industries would maintain a photographic record of their operations." Photography. Bernd and Hilla Becher worked collaboratively for nearly half a century documenting industrial German structures. Thus I acquired this book, Basic Forms of Industrial Buildings , published by Schrimer/Mosel Verlag in conjunction with the Becher's Hasselblad Award in 2004. This site uses Akismet to reduce spam. In a photographic project spanning five decades, Bernd and Hilla Becher documented the soon-to-be-forgotten architectural forms of industry - Mine Heads, Blast Furnaces, Water Towers, Coal Bunkers, Cooling Towers, Industrial Facades, Gas Tanks and Grain Elevators, to name but a few. In so doing, they also ask us to question what we are looking for as well as what we are looking at. Bernd and Hilla Becher are probably the best known practitioners in the - admittedly small - industrial landscape photography genre. Bernd Becher (1931-2007) and Hilla Becher (1934-2015) worked together as photographers beginning in 1959. Their work--at once conceptual art, typological study, and topological documentation--has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand . The new grid format also allowed, when viewed from a distance, to be more of an imposing presence, while, on close scrutiny, the individual images took on a fascinating individuality. Classification: Photographs. During their 40-year career, Bernd and Hilla Becher created their own architectural typology as they photographed buildings in a unique style. View Bernd and Hilla Becher's 1,320 artworks on artnet. Selling for $4.3 million, Gursky's Rhine II (the second in a series of six) set a record-breaking price for a photograph in 2011. Giving it some sort of possibility to be looked at otherwise it would just be heaps of paper. Bernd (1931-2007) grew up in a town located near a blast furnace, where many people worked in steel and mining. In subsequent decades, the Düsseldorf School trained and influenced a number of new German photographers including Elger Esser, Frank Breuer, Simone Nieweg, Petra Wunderlich, and Laurenz Berges, as well as the Canadian photographer Edward Burtynsky. As a result, the photograph was presented visually as if placed within the tradition of a gallery "masterpiece" while also taking on an observational quality. The Bechers are accused of omitting the context of their images (although they often shot landscapes containing their subjects providing a sense of their immediate location). Bernd and Hilla Becher were a young couple living in Düsseldorf, making conceptual art together. Dimensions: 36 x 30.2 cm (14 3/16 x 11 7/8 in.) Precisely engineered modernism, not only in architecture but also in urban planning, would build homes as well as places of work to push aside the inefficiencies and inequalities of the past as well as the false and unnecessary ornament of previous architectural traditions and stand as an heroic monument to progress and confidence in a future built, in pure forms, from iron and concrete. Image from: "Catalogue 213 : Bernd & Hilla Becher," Paris, Avril 2010. galerie213.com. Add to wishlist. Rendered with absolute precision in large format, medium-contrast gelatin silver prints, each structure is centered against a cloudless sky, filling the . About Bernd and Hilla Becher. First Edition, First Printing. What both the Bechers and Adams do however is to refocus our attention on what is to be seen in what we might otherwise fail to notice. But it is not the purpose of these photographs to fictionalise, to explain or to console. Lange, who was given access to the photographer's archives, analyzes the work and method of their fifty year partnership. They see, in the small, everyday things of life the working out of the otherwise invisible forces that shape the way in which society is constituted. It originally stood for a style of photography, until Bernd and Hilla Becher . It expressed the gas tanks unique structure with several dark color fences surrounding the massive tank in a white background. An elegant new edition of Bernd and Hilla Becher's classic black-and-white photographic study of industrial buildings. Bernd Becher and Hilla Wobeser met at an ad agency while attending art school at Dusseldorf Academy. Although the subject matter is unglamorous--mine shafts, blast furnaces, cooling towers, water towers, silos, and gas tanks . Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. Both her mother and her uncle were photographers and she had trained at the Lette-Verein in Berlin (a form of technical school for women) and had served an apprenticeship as a photographer. Bernd (1931-2007) and Hilla Becher, who were influenced by Sander's and his contemporaries' objectivity, systematically photographed architecture of the industrial past according to function . The documentary-photographic style of Bernd and Hilla Becher has had a major influence on the younger generation of German photographers, such as Andreas Gursky, Thomas Ruff and Candida Höfer. Their stark, impersonal pictures of blast furnaces, water towers, gasometers, cooling towers, grain silos and lime kilns emphasised the formal . Add to cart. In 1976 the Bechers, by now well established within the contemporary art world, began teaching photography and establishing a dedicated photographic department at the Kunstakademie Düsseldorf, already known as a leading hub for Conceptual art in Germany. In the same 2012 interview, Hilla Becher, described their approach as unlike that of photographers and more like that of the naturalist, collecting samples; We didn’t really see [our subjects] as artists, but we saw it more like natural history or something like that. HEAD PROP by Tomihiro Kono is a documentation of distinctive head prop work produced by Hair and Head Prop Artist, Tomihiro Kono from 2013-2016.This book gives a clear indication of the insight and path Tomihiro has followed in his ... One keen description of their work that I've read is… The work of Bernd and Hilla Becher occupies precisely this period of transformation, although their representation of it is without any of the violence, disruption or antagonism of the associated politics. Bernd & Hilla Becher, Gas Tanks [Gasbehälter], 1973. These gas tanks photo taken by Bernd and Hilla Becher in a seeming l y quotidian spaces and they all shared a symmetrical settings. The camera positioned each gas tanks in the center and represent as a focal point that has some common abstract quality to each of those pictures. . Duchamp's influence had its greatest impact on Conceptual and Minimalist art movements and the Bechers duly carried over his ideas into the teachings of the Düsseldorf School. An encyclopedic collection of all known Becher industrial studies, arranged by building type. Those students included Thomas Ruff, Thomas Struth, Andreas Gursky, Candida Höfer, Axel Hütte, and others, who became the next generation of leading photographers. An elegant new edition of Bernd and Hilla Becher's classic black-and-white photographic study of industrial buildings. This is to miss the point of their work entirely and is akin to requiring an appreciation of the Sistine Chapel to be refracted through 2000 years of religious oppression. The incursion and subsequent dominance of the ‘industrial’ as a template if not an ideal in domestic architecture is usually associated with the work of Le Corbusier (1887-1965) and is sometimes reduced to his often quoted remark, that “Une maison est une machine-à-habiter.” (Le Corbusier, 1923, Vers une architecture.) In their "typologies"—series of objective black-and-white photos—the Bechers sought to illuminate and catalogue the similarities and variations in design among particular building types, such as framework houses, water towers, and blast furnaces. Jun 28, 2018 - Explore Jack shi's board "bernd hilla becher" on Pinterest. In 1957, while about to start her studies at the Kunstakademie, she was freelancing at the Troost Advertising Agency in Düsseldorf, where she met Bernd, who had been working part-time at the same agency during his vacation. Published to accompany an exhibition held at the Architectural Association, London, from 19 April to 22 May 1999. During the following five decades the artist couple produces mostly tableaus of several parts - consisting of three, nine, twelve or more photos; they call them typologies. In particular, they are accused of paying no attention to the specific historical context of the part played by German heavy industry during the Second World War. Courtesy of Sprüth Magers In a photographic project spanning five decades, Bernd and Hilla Becher documented the soon-to-be-forgotten architectural forms of industry - Mine Heads, Blast Furnaces, Water Towers, Coal Bunkers, Cooling Towers, Industrial Facades, Gas Tanks, Grain Elevators, to name but a few. For example, their images of the collieries of South Wales, near where I live, express the passage of a time imbued with a sense of hiraeth (Welsh – a sense of longing for home), but maybe for a time and place that never really existed. In the mid-1970s the Bechers influenced the development of the so-called "topographic approach" to landscape. In 1957, when a large iron ore mine in his home area was closed, he began to record the site but was frustrated when his drawing could not keep up with the pace of demolition and so he resorted to using a camera. They worked together from this point on, marrying in 1961. Post was not sent - check your email addresses! More in the manner of portraits, their subjects occupied the full frame. Basic Forms represents the culmination of their career. There is no additional editorial, commentary or soundtrack. Gursky's massive and distanced surveys of public spaces, landscapes, and structures contributed to new picture taking in contrast to the Minimalism and Conceptualism of the 1970s. Beyond this, it encourages a consideration of our aesthetic preferences and how we determine what is to be looked at in our environment and how we look – what is prized: what is rejected; what is closely observed: what is passed over; what has beauty (of form): and what does not. Water Towers by Bernd and Hilla Becher. They joined a group that included Stephen Shore, Robert Adams, Lewis Baltz, and Frank Gohlk for the New Topographics: Photographs of a Man-Altered Landscape exhibition at George Eastman House in 1976. South Wales in 1966) taking photographs of what was to become the ‘elephant’s graveyards of architecture. Ruff, for instance, used portraits of blank faces and found pornographic images which he pixilated to create original images. "Düsseldorf School of Photography Movement Overview and Analysis". A curated collection of some of the most powerful and awe-inspiring Brutalist architecture ever built This Brutal World is a global survey of this compelling and much-admired style of architecture. Blast Furnaces represents a continuation of, but also a counterpoint to the Bechers' earlier book Watertowers. Axel Hütte, for instance, creates magical images of natural landscapes such as forests and mountains using compositional elements that copy abstract painting. Buddhists sometimes refer to the ‘thusness’ of things (Tathātā, Skr.) At around this time, he met Hilla Wobesser (1934-2015), who had been born in Potsdam, East Germany. Hilla Becher was a German artist born in 1931 in Siegen, Germany. The Bechers’ wilfully apolitical images represent a critical break in the making of art in Germany which had been compelled to act in the service of the Reich or on behalf of the state in the DDR for the decades prior to and during the Bechers’ career. In the United Kingdom, meanwhile, Struth became known for his 2011 royal commission to photograph Queen Elizabeth II and the Duke of Edinburgh. He was to say of this period that he had been ‘overcome with horror when I noticed that the world in which I was besotted was disappearing.’. Basic Forms represents the culmination of their career. Bernhard "Bernd" Becher (German: [ˈbɛçɐ]; August 20, 1931 - June 22, 2007), and Hilla Becher, née Wobeser (September 2, 1934 - October 10, 2015), were German conceptual artists and photographers working as a collaborative duo. Required fields are marked *. New Objectivity photography was exemplified in the works of August Sander, Karl Blossfeldt, and Albert Renger-Patsch. During their 40-year career, Bernd and Hilla Becher created their own architectural typology as they photographed buildings in a unique style. Biography. I may have stumbled over the Bechers' work without knowing it. In this astonishing collection of photographs and drawings, Lisa Mahar-Keplinger documents on of the most American of building types: the grain elevator, revealing them as symbols of the American collective unconscious. Whilst artists may be described as belonging to particular schools, or specific art movements. Husband and wife team Bernd and Hilla Becher have been working together for over 40 years, obsessively documenting relics of 19th century industrial architecture in Europe and North America. They called this approach "typology;" that is the desire "to make families of objects," or "families of motifs." Straight Photographers manipulated darkroom techniques to enhance the photograph with higher contrast and rich tonality. $ 200.00. There is such variety of form and such interesting design, although the design is not consciously aesthetic. The . Notify me of follow-up comments by email. Basic Forms represents the culmination of their career. They are not interested in making euphemistic, socio-romantic pictures glorifying industry, nor doom-laden spectacles showing its costs and dangers. Later, when subsequent Düsseldorf School photographers adopted the large camera format, and their system of hard-and-fast rules governing the goals of objectivity, most of the Bechers' students preferred to place emphasis on the individual picture, though still within the context of an expanded series. Eventually they expanded to their grid system to include more images - all of equal size - and often arranged in rows of three. So we also used the methods of natural history books, like comparing things, having the same species in different versions. This book collects ninety-one of these projects, showcasing the cover and sample layouts from each along with a description of the work. It also includes selections from Ruscha's books and an appendix listing all known Ruscha book tributes. In 1959 the Bechers began collaborating on a project of photographing industrial structures, including water towers, blast furnaces, kilns, and gas tanks, in the Ruhr Valley. So the typology is nothing but comparing and giving it shape. Found insideThe adventurous collection of contemporary artworks assembled by Elaine and Werner Dannheisser has recently been donated to The Museum of Modern Art, New York, where it will be on view from September 23, 1997, to January 20, 1998. Enter your email address to subscribe to this blog and receive notifications of new posts by email. Two years later they marry. The following gallery is prefaced by one of the Bechers’ less well known context setting landscapes. The artistic duo Bernd and Hilla Becher were German photographers that explored the cultural impact of industrial design and the need for preservation through photographic series, memorializing them in single-image, gridded gelatin silver prints. Artist: Bernd and Hilla Becher (German, active 1959-2007) Artist: Bernd Becher (German, 1931-2007) Artist: Hilla Becher (German, 1934-2015) Date: 1960. Transparencies: Small Camera Works 1971-1979' offers an alternative account of one of the most fabled episodes in photographic history: the cross-country journeys that produced Stephen Shore?s luminous new vision of the American landscape, ... As art critic Michael Collins wrote, "While many would perceive this type of photograph as 19th-century in style [...] The Bechers' purpose has always been to make the clearest possible photographs of industrial structures [...] concentrated on the structures themselves and not qualified by subjective interpretations." Bernd Becher and Hilla Wobeser begin to collaborate in 1959. " Schoeller's inspiration for Close was the water-tower series of Bernd and Hilla Becher, his ambition to adapt their systematic approach to portraiture. By digitally altering the image, Gursky was able to make the most of "negative space" in order to accentuate the bare and basic elements of the composition as a whole. Your email address will not be published. During their 40-year career, Bernd and Hilla Becher created their own architectural typology as they photographed buildings in a unique style. These gas tanks were made of steel, insulated against heat and coated in reflective paint and those shown in this sequence were elevated on . He studied painting at the Staatliche Akademie der Bildenden Künste (Academy of Fine/ Visual Arts) in Stuttgart and later at the . Systematically photographing each structure, the artists examined their shared qualities and categorized the . Bernd (1931-2007) grew up in a town located near a blast furnace, where many people worked in steel and mining. Although the subject matter is Blossfeldt photographed plants in magnified detail, emphasizing, in his words, a "totally artistic and architectural structure," while Albert Renger-Patzsch's photographs of manmade and natural forms, took on a scientific precision, as seen in his Intersecting Braces of a Truss Bridge (1928). 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