To the present day, Bernd & Hilla Becher have published 15 books with Schirmer/Mosel, and there is no end in sight since the archive of industrial buildings the Düsseldorf-based photographers Bernd and Hilla Becher compiled over more than 50 years still contains many undiscovered treasures. Documenting buildings of the industrial age threatened with dereliction or demolition, they created a hitherto unique photographic inventory in individual "portraits" and typological series. The photographers received international recognition with various prizes and awards, as well as held exhibitions of their works in galleries and museums all over the world. The latest exhibition project is a small, carefully compiled show at Museo Morandi in Bologna, which will open on January 23, 2009. Alongside 14 duotone plates, the accompanying catalog will contain an interview with Hilla Becher (Bernd Becher died in 2007), conducted by Gianfranco Maraniello, Director of Museo Morandi.
Celebrating Hilla Becher's 80th birthday, we offer again the title Basic Forms presenting the range of industrial buildings documented by the artists."--Publisher website.
The more than two hundred striking duotone plates in Hilla and Bernd Becher's Industrial Facades continue the famousD?orf photographers' formal investigation of industrial structures, in this case the frontal elevations of factory buildings. Like the Bechers' earlier books on water towers, blast furnaces, and gas tanks, Industrial Facades once again clearly displays their serenely cool, rigorous approach to the structures they photograph as vaariations on an ideal form. The Bechers make no attempt to analyze or explain their subjects. Captions contain only the barest of information: time and place. Industrial Facades covers the whole range of periods and designs representing this building type: from austere brick buildings of the early industrial age and the arched windows and turrets decorating historicist facades, to the concrete and glass functionalist constructions of the 1950s and 1960s, to today's rectangular, windowless halls. These photographs give the lie to Louis Sullivan's often misunderstood motto, "form follows function," for the external appearance of the factory buildings shown here are hardly determined by their internal working processes. For this reason, the Bechers' photographs do not really illustrate the development of modern industrial architecture, nor the achievements of functionalist building, but rather the achievements of banal, everyday architecture, produced by builders trained in crafts or by engineers trained in the necessities of the industrial process. * Not for sale in France, Germany, Switzerland, Belgium, and Austria
Typological, repetitive, at times oddly humorous, Bernd and Hilla Becher's photographs of industrial structures are, in their cumulative effect, profoundly moving. The Becher's serenely cool, disarmingly objective, and notoriously obsessive images of watertowers, gas tanks, grain elevators, blast furnaces, and mine heads have been taken over a period of almost thirty years, under overcast skies, with a view camera that captures each detail and tonality of wood, concrete, brick, and steel. Blast Furnaces represents a continuation of, but also a counterpoint to the Bechers' earlier book Watertowers. There basic functional elements were hidden or clothed in disguises, whereas the 256 duotone prints included here record a purely functional and exposed architecture, built to contain heat, pressure, and accumulations of gases and unhindered by any outside constraints. The blast furnace is the symbol of the steel industry. Like other building types which attract the Bechers, it is also an endangered industrial species. Essentially giant, cone-shaped circular stoves, blast furnaces dominate the cityscapes of Pittsburgh, Youngstown, and Birmingham much as religious structures dominated medieval cities. These photographs, taken between 1961 and 1989, convey the unique characteristics, physical complexity, and eerie presence in the landscape of blast furnaces in Great Britain, Belgium, France, Austria, Germany, and the United States. Bernd and Hilla Becher teach at the Dusseldorf Art Academy. They began their collaborative photographic enterprise in 1957, when they did a study of workers' houses in their native Germany. The Bechers follow in a distinguished line of German photographers that includes August Sander, Albert Renger-Patzsch, and Werner Manz, all of whom contributed in different ways to the definition of "objective" photography. A selection of their photographs is on view throughout 1990 at the Dia Art Foundation galleries in New York, and they will represent Germany in the 1990 Venice Biennale.
A new edition of the first book by photographers Bernd and Hilla Becher, featuring framework houses of the Siegen region of Germany. Bernd and Hilla Becher have profoundly influenced the international photography world over the past several decades. Their unique genre, which falls somewhere between topological documentation and conceptual art, is in line with the aesthetics of such early-twentieth-century masters of German photography as Karl Blossfeldt, Germaine Krull, Albert Renger-Patzsch, and August Sander. Framework Houses, their first and most famous book, was originally published in Germany in 1977 and quickly went out of print. This new edition of that classic work takes advantage of reproduction and printing technologies not available in 1977. Most of the houses in the book were built between 1870 and 1914 in the Siegen region of Germany, one of the oldest iron-producing areas of Europe. The houses were built by immigrants who came to work in the mines or blast furnace plants. In 1790 a law was enacted to save wood for iron production by preventing its excessive use for house-building. The law prescribed the amount of lumber structurally required and forbade the construction of elements serving only ornamental purposes. It also specified the maximum strength for beams, sills, cornerposts, and studs. A functional framework, combined with neoclassical proportions, determined the new type of house; it was also applied to other buildings such as barns, churches, schools, inns, shops, factories, and mine structures.* Not for sale in France, Germany, Switzerland, Belgium, and Austria
Another volume in the Bechers' lifelong project of documenting the architecture of industrial structures. Bernd and Hilla Becher's photography can be considered conceptual art, typological study, and topological documentation. Their work can be linked to the Neue Sachlichkeit movement of the 1920s and to such masters of German photography as Karl Blossfeldt, August Sander, and Albert Renger-Patzsch. Their photographs documenting the architecture of industrial structures, taken over the course of forty years, make up the most important body of work to be found in independent objective photography. This volume adds cooling towers to a list of photographic projects that includes book-length studies of water towers, blast furnaces, gas tanks, mineheads, and frame houses.Since the end of the nineteenth century, cooling towers have formed a striking part of electricity and steel works. The first cooling towers were wood-clad structures at coal mines; more recent examples are the steel or concrete constructions seen at nuclear power stations. The simplicity of these forms and their hermetically sealed external skins create an impressive, monumental effect. The Bechers have been photographing cooling towers since the 1960s. This volume contains 236 photographs of cooling towers—in all their different shapes and structural forms—from Belgium, England, France, Germany, Holland, and the United States, and includes a short text by the Bechers.
presents four principally different forms of gas holders or gas tanks in 140 photographs taken during the years 1963-1992 in Great Britain, France, Belgium, Germany, and the United States
The core themes of Bernd and Hilla Becher's extensive work from the early 1960s on were the coal mines and steel mills in the German ruhr region and other iron smelting regions of the world, from Lothringen to Pittsburgh. By way of a contribution to the European Capital of Culture "Ruhr.2010" program, the Josef Albers Museum Quadrat in Bottrop has compiled a comprehensive exhibition with photographs by Bernd and Hilla Becher on this key subject. The exhibition centers on the "industrial landscapes," as the two artists called them. The Bechers did not seek to depict these areas as individual architectural objects, but rather to contextualize them as complete facilities and heavy industry complexes in their urban and rural environment. Now that iron smelting as an industry has almost completely disappeared from the Ruhr region and the European coal mining industry is following hard on its heels, this collection of impressive pictures, which includes photographs from the German Siegerland region, Great Britain, France, and the USA, provides an overview, which we can already deem to be nostalgic, of a past era of industrial history. Our publication accompanies the exhibition with a total of 154 duotone plates of mines and iron works from all over the world. Heinz Liesbrock, art historian and Director of the josef Albers Museum, wrote the introductory essay to this publication. As well as famous Becher icons, the volume also features many previously unpublished photographs.
Bernd and Hilla Becher's photographic documentation of the abandoned and demolished Hannover Coal Mine resurrects the colliery before the viewer s eyes: the three winding towers spanning a period of about 100 years; the power station with its cooling towers; the adjacent coking plant; and the spectacular conveyor belts traversing the entire compound. 200 black-and-white photographs selected from a total of 600 negatives taken between 1971 and 1974 present panoramic views of the plant and its individual structures from several perspectives. The photographic narrative of entire plants has previously been given little notice in the reception of the Bechers work. Reminiscent of the documen tation of Zeche Hannibal published in 2000, the present volume is another important contribution to the interpretation of their oeuvre.
The great photographers of industrial landscapes offer a stunning retrospective of their most compelling work, featuring coal mines, iron ore mines, steel mills, power stations with cooling towers, lime kilns, and grain elevators, among other subjects.
This publication brings together a transcript of a discussion, installation views of the 2013 exhibition as well as an introductory interview with Lewis Baltz by the head curator of Albertina's photographic collection, Walter Moser.This comprehensive compilation enables a well-founded insight into the oeuvre of one of the most multifaceted photographic artists of our time.English and German text.
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