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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 As well as famous Becher icons, the volume also features many previously unpublished photographs.

Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.

Bernd and Hilla Becher's lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work--at once conceptual art, typological study, and topological documentation--has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff, and Andreas Gursky. This compelling, exhaustively documented biography describes the Bechers' life and work and offers a critical assessment of their place in the history of photography.Becher scholar Susanne Lange, granted access to the photographers' archives and quoting extensively from interviews with them, writes the first sustained analysis and biography of the Bechers' extraordinary partnership. She discusses, among other topics, both the functionalist and aesthetic dimensions of the Bechers' subject matter, their typologizing (which she finds reminiscent of nineteenth-century naturalists' classificatory schemes), and the anonymous industrial building style favored by German architects. She argues that industrial building types impose themselves on our consciousness as the cathedral did on that of the Middle Ages, and that the Bechers' photographs--which seem at first glance only to record a vanishing landscape--serve to examine this shaping of our perceptions. Their work provides us with a rare opportunity to see how we see.Bernd & Hilla Becher: Life and Work, with 53 duotone plates and more than 200 additional illustrations, is the first book to delve deeply into the sources and vision behind the evocative and melancholy beauty of the Bechers' work. It will be indispensable both as a reference for students of postwar German photography and as a guide for readers who want to know how to approach the Bechers' monumental project.

The catalogue for an exhibition of the Becher's grids of mineheads, watertowers, blast furnaces, framework houses, cooling towers, etc. The show opened at the Venice Biennale in 1990 and later traveled to Germany and the US. Photographs by Bernd and Hilla Becher; preface by Klaus Bussman. Unpaginated [64 pages]; 26 full-page and one full-spread duo-toned b&w plates with a grid of 9, 12 or 15 images per plate; 11.5 x 11.5 inches. Exhibitions list. Text in English, German, Italian.

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.

Good condition ex-library book with usual library markings and stickers.

Second edition, first printing. Fine oversize square hardback, trace tanning to page edges, in a Very Good+ lightly rubbed and worn unclipped dust jacket with minor edgewear and several scrapes on its rear face. A clean, cosmetically worn copy.

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.

Unread book in perfect condition.

Bernd and Hilla Becher's lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work--at once conceptual art, typological study, and topological documentation--has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff, and Andreas Gursky. This compelling, exhaustively documented biography describes the Bechers' life and work and offers a critical assessment of their place in the history of photography.Becher scholar Susanne Lange, granted access to the photographers' archives and quoting extensively from interviews with them, writes the first sustained analysis and biography of the Bechers' extraordinary partnership. She discusses, among other topics, both the functionalist and aesthetic dimensions of the Bechers' subject matter, their typologizing (which she finds reminiscent of nineteenth-century naturalists' classificatory schemes), and the anonymous industrial building style favored by German architects. She argues that industrial building types impose themselves on our consciousness as the cathedral did on that of the Middle Ages, and that the Bechers' photographs--which seem at first glance only to record a vanishing landscape--serve to examine this shaping of our perceptions. Their work provides us with a rare opportunity to see how we see.Bernd & Hilla Becher: Life and Work, with 53 duotone plates and more than 200 additional illustrations, is the first book to delve deeply into the sources and vision behind the evocative and melancholy beauty of the Bechers' work. It will be indispensable both as a reference for students of postwar German photography and as a guide for readers who want to know how to approach the Bechers' monumental project.

Over the course of nearly five decades, Bernd and Hilla Becher documented almost every type of industrial architecture—from water towers and steel mills to gas tanks and grain silos—in Europe and the United States. Whether presenting single shots or their signature typological grids, the Bechers created a photographic testament to the industrial revolution that so emphatically shaped the nineteenth and twentieth centuries. At the same time, however, they also captured a much older manufacturing tradition: the quarrying and processing of stone. This volume, an essential addition to the Bechers' ouevre, is devoted to their photographs of rock-processing plants and lime kilns taken in Germany, France, The Netherlands, Belgium, Switzerland, Austria and Great Britain throughout the 1980s and 90s. Each structure is unique, its details dependent upon the region and the date of its construction, and the book features buildings whose essential function is ancient but which remain important today. Although a small number of these images have been included in previous monographs, this is the first publication to showcase a comprehensive collection of the Bechers' study of stonework and lime kilns.

Andrea Robbins and Max Becher draw on a rich visual vocabulary gleaned as much from travel brochures, postcards and National Geographic as from the photography of Walker Evans, Edward Curtis and Stephen Shore. Their work, a somewhat surreal nonfiction, uses documentary images to examine contradictions of place and cultural identity: that is, when Germans tie on Native American headdresses and Midwesterners parade in Bavarian costumes, Robbins and Becher are there. In their own words, "The primary focus of our work is what we call the transportation of place--situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the new world, such situations are accumulating and accepted as genuine locales. Traditional notions of place, in which culture and geographic location neatly coincide, are being challenged by legacies of slavery, colonialism, holocaust, immigration, tourism and mass-communication. Whether the subject is Germany in Africa, Germans dressing as Native Americans, American towns dressed as Germany, New York in Las Vegas, New York in Cuba or Cuba in exile, our interest tends to be a place out of place with its various causes and consequences." Their work posits vital questions for a globalized world and for photography.

By Jeff L. Rosenheim with contributions by Gabriele Conrath-Scholl, Virginia Heckert, Lucy Sante, and Max Becher For more than five decades, Bernd (1931-2007) and Hilla (1934-2015) Bechercollaborated on photographs of industrial architecture in Germany, France, Belgium, Holland, Great Britain, and the United States. This sweeping monograph features the Bechers' quintessential pictures, which present water towers, gastanks, blast furnaces, and more as sculptural objects. Beyond the Bechers' iconic Typologies, the book includes Bernd's early drawings, Hilla's independent photographs, and excerpts from their notes, sketchbooks, and journals. The book's authors offer new insights into the development of the artists' process, their work's conceptual underpinnings, the photographers' relationship to deindustrialization, and the artists' legacy. An essay by award-winning cultural historian Lucy Sante and an interview with Max Becher, the artists' son, make this volume an unrivaled look into the Bechers' art, life, and career. Jeff L. Rosenheim is Joyce Frank Menschel Curator in Charge of the Department of Photographs at The Metropolitan Museum of Art, New York.

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Unread book in perfect condition.

Large softcover, very gppd with light wear. Illustrated.

Comparing Concepts is a great book with lots of photos by 4 German Photographers. It's comparing the great work of this four classic photographers. August Sander, Karl Blossfeldt, Albert Renger-Patzsh and Bernd & Hilla Becher are well known for their classic black & white photography. A very lucky find. This never opened new book is a treat.

Hilla and Bernd Becher's cool, objective photographs of industrial structures have earned them a special position in international photography. Although their work is widely collected by American dealers and institutions and shown in New York galleries, this is the first time that it has been published in book form in the United States.The Bechers' 224 photographs of watertowers comprise a unique, single minded, even obsessive mission. They were taken from as many as 8 angles, over a period of 25 years, with a stylistic approach so consistent that photographs juxtaposed from the 1950s and 1980s suggest a minute to minute account deadpan portraits of unadorned metal, concrete, and wooden structures.Always taken in overcast skier, or in the hazy sunlight of industrial zones, these seemingly artless photographs belle the elaborate process and decisions involved in creating them elevating the camera on scaffolds or ladders, waiting for clouds to block the sun, enlisting the cooperation of plant foreman and security guards to remove all signs of human life from the scene.The Bechers refer to their photographs as "typology" or "typologies of topographies," situated between established categories such as art and photography. Their work is distancing, deliberately unglamorous, departing from the usual style of architectural photography. Almost everything they photograph is eventually demolished.Hilla and Bernd Becher began their collaborative enterprise in 1957, when they did a study of workers' houses in their native Germany. Through the years, their extensive documentation of industrial landscapes has taken them outside of Germany to France, England, Scotland, Wales, Holland, and the United States. The Bechers follow in a distinguished line of German photographers active in the Rhineland, including August Sander, Albert Renger-Patzsch, and Werner Manz, all of whom contributed in different ways to the definition of "objective" photography.

With the help of elders, educators, and tribal councils of the Klallam Tribes at Elwha, Port Gamble, and Jamestown, Washington, and Becher Bay on Vancouver Island, Timothy Montler has compiled a comprehensive dictionary of the Klallam language. It includes over 9,000 entries, a brief grammatical sketch, and numerous indexes, along with a wealth of cultural information.Klallam is the language of the people whose ancestors lived at Tse-whit-zen, the largest archaeological site in Washington. It is an endangered language being revived through the efforts of the Klallam Language Program. While there are fewer than a dozen speakers of Klallam as their first language, there are hundreds who have gone through tribal language programs in the past twenty years.

A renowned critic and historian offers a radically new account of the meaning of ambitious art photography since the Bechers From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting. Fried further demonstrates that certain philosophically deep problems—associated with notions of  theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, first discussed in his contro­versial essay “Art and Objecthood” (1967)—have come to the fore once again in recent photography. This means that the photo­graphic “ghetto” no longer exists; instead photography is at the cutting edge of contemporary art as never before.Among the photographers and video-makers whose work receives serious attention in this powerfully argued book are Jeff Wall, Hiroshi Sugimoto, Cindy Sherman, Thomas Struth, Thomas Ruff, Andreas Gursky, Luc Delahaye, Rineke Dijkstra, Patrick Faigenbaum, Roland Fischer, Thomas Demand, Candida Höfer, Beat Streuli, Philip-Lorca diCorcia, Douglas Gordon and Philippe Parreno, James Welling, and Bernd and Hilla Becher. Future discussions of the new art photography will have no choice but to take a stand for or against Fried’s conclusions.