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Hochofen; and Ilsede/Hannover (Blast-furnace; and Ilsede/Hannover), from Sequence portfolio, 1998

Two offset lithographs, on wove paper, with full margins.
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About the work
P
Phillips

Both I. 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm)
Both S. 19 1/2 x 15 3/4 in. (49.5 x 40 cm)

Both I. 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm)
Both S. 19 1/2 x 15 3/4 in. (49.5 x 40 cm)

Medium
Print
Signature
Signed by both artist's and numbered 47/60 in pencil (there were also 12 artist's proofs), published by Edition Schellmann, New York, … Read more
Bernd and Hilla Becher
German, 1931–2007, 1934–2015
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Bernd and Hilla Becher worked collaboratively for nearly half a century documenting industrial German structures. 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. Exhibited in groups, the prints encourage comparison of form and function, and hint at the history and context of each structure. The Becher style would inform a generation of prominent photographers including Andreas Gursky, Candida Höfer, Thomas Ruff, and Thomas Struth. For the Bechers, to read their photographs was to know and understand deeply these beautiful, yet often forgotten, “sculptures.” The signature neutrality of each image demanded exacting camera angles and light conditions, their methods drawing from both architectural and landscape tradition and broadening the conceptual range and potential of documentary photography.

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share
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About the work
P
Phillips

Both I. 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm)
Both S. 19 1/2 x 15 3/4 in. (49.5 x 40 cm)

Both I. 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm)
Both S. 19 1/2 x 15 3/4 in. (49.5 x 40 cm)

Medium
Print
Signature
Signed by both artist's and numbered 47/60 in pencil (there were also 12 artist's proofs), published by Edition Schellmann, New York, … Read more
Bernd and Hilla Becher
German, 1931–2007, 1934–2015
Follow

Bernd and Hilla Becher worked collaboratively for nearly half a century documenting industrial German structures. 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. Exhibited in groups, the prints encourage comparison of form and function, and hint at the history and context of each structure. The Becher style would inform a generation of prominent photographers including Andreas Gursky, Candida Höfer, Thomas Ruff, and Thomas Struth. For the Bechers, to read their photographs was to know and understand deeply these beautiful, yet often forgotten, “sculptures.” The signature neutrality of each image demanded exacting camera angles and light conditions, their methods drawing from both architectural and landscape tradition and broadening the conceptual range and potential of documentary photography.

Hochofen; and Ilsede/Hannover (Blast-furnace; and Ilsede/Hannover), from Sequence portfolio, 1998

Two offset lithographs, on wove paper, with full margins.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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