A combination of conceptual artistic discourse, topological documentation and typological study define the ground-breaking practice of Bernd and Hilla Becher. Upon meeting in 1957, the couple embarked on a life-long exploration into the post-war industrial landscape of Europe and North America, resulting in a highly-prolific and celebrated oeuvre of both a functional and aesthetic value. The coolness of the fifteen black and white photographs in Water Towers, 1965-1997 is a remarkable example of the artists’ lifelong practice.

Executed over three decades, the present work is a true portrayal of the artists’ laborious and highly-meticulous practice. The carefully composed ensemble of fifteen photographs of towers creates a beautiful rhythm of undulating and intersecting forms. In an effort to accentuate the monumentality of these industrial constructions, a front full-bodied angle is employed, accentuating the objectivity of the camera lens. Works from this lifelong project such as Water Towers, 1965-1997 thus equally bring to light an aesthetic assessment that would not have traditionally been attributed to large industrial constructions.

Despite its uncontested aesthetic value, the assemblage of Water Towers, 1965-1997 follows a strict traditional methodology for typological documentation, reinforcing the functional aspect of the piece. Devoid of colour and background, the consistency of each composition encourages the viewer to analyse each structure solely on a comparative basis, in turn reiterating the notion of a quasi-scientific documentation of the selected industrial landscape.

Bernd and Hilla Becher, acquired an international reputation for their unprecedented visual documentation of industrial architecture, executed in a coherent and highly-aesthetic manner. The artistic collaboration between these two artists has created a lasting legacy in younger generations, securing their position as leaders in post-war photography.