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 As well as famous Becher icons, the volume also features many previously unpublished photographs.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

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.

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.

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.

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.

Unread book in perfect condition.

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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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.

Large softcover, very gppd with light wear. Illustrated.

Photographs by Bernd and Hilla Becher of industrial structures amid their natural surroundings.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.Industrial Landscapes introduces a new aspect to the Bechers' photography, one that will surprise connoisseurs of their work. Whereas their previously published works concentrated on isolated industrial objects, they now show huge industrial sites amid their natural surroundings. They move away from the objective, severe image to present slightly more narrative, interpretive images of the industrial environment as a whole. Although the photographs in Industrial Landscapes were taken over the past forty years, they are published here for the first time. The industrial structures shown include a wide range of coal mines, iron ore mines, steel mills, power stations with cooling towers, lime kilns, grain elevators, and so on. They represent industrial regions in Belgium, France, Germany, Great Britain, the Netherlands, and the United States (Alabama, Michigan, Ohio, and Pennsylvania).

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.

German photographer Thomas Ruff (born 1958) is closely associated with the city of Düsseldorf though his studentship under Bernd and Hilla Becher, but he actually hails from the small town of Zell am Harmersbach, in the Black Forest. Ruff's Interior series, made during his student days (prior to the Bechers) between 1979 and 1983, is located there. Taken in the homes of his family and friends, and photographed in sober black and white, it draws the viewer immediately into the atmosphere of 1960s and 1970s Germany, showing the farmhouse in which Ruff's mother grew up, along with its barn, toolshed and silo, a young bull and nearby woodland paths. When Ruff undertook his long-term Jpegs project, imagery of the Black Forest cropped up again. All of Ruff's Black Forest-related series are collected in this catalogue, along with two other series, Stars and Nudes.