"We want to offer the audience a point of view, or rather a grammar, to understand and compare the different structures. Through photography, we try to arrange these shapes and render them comparable. To do so, the objects must be isolated from their context and freed from all association."
—Bernd & Hilla Becher
來源
紐約Sonnabend畫廊（2011年）
過往展覽
A major retrospective of Bernd and Hilla Becher's work is currently on view at the Metropolitan Museum of Art in New York until 6 November 2022.
文學
Individual images:
MIT Press, Bernd and Hilla Becher: Water Towers, pls. 88 and 94 Lange and Gaines, Bernd and Hilla Becher: Life and Work, pls. 13 and 49, pp. 110 and 169 De Beaupré, et al, Bernd und Hilla Becher: Printed Matter 1964/2013: Éphemera, Catalogues Et Ouvrages Monographiques, pp. 32, 37, 56, and 58 Art-Press Verlag, Bernd und Hilla Becher, Anonyme Skulpturen -- Eine Typologie Technischer Bauten, 1970, n. p. Sonnabend Gallery, Hilla and Bernd Becher, n. p. Schirmer/Mosel Verlag, Bernd & Hilla Becher: Typologien, n. p. Schirmer/Mosel Verlag, Bernd Und Hilla Becher: Wassertürme, front cover
Husband and wife Bernd and Hilla Becher began photographing buildings and relics of the Industrial Revolution, such as coal mines and cooling towers, in 1959. Like objective scientists removing a specimen from the field, the Bechers framed their subject in a manner that isolated it from its environment. Often, these stark, beautifully detailed prints were then displayed in grid-like structures, forming stunning 'Typologies'.
By the time Bernd Becher became a professor at the Düsseldorf Art Academy in 1976 (policy would not allow Hilla to be a simultaneous appointment), the Bechers' photographs, with their seemingly neutral point of view and serial display, were already being applauded by the international art world as important works of Minimal and Conceptual Art.
