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Property of Enron BERND & HILLA BECHER (b. 1931 and 1934) WATER TOWERS...

Currency:USD Category:Everything Else / Other Start Price:NA Estimated At:40,000.00 - 60,000.00 USD
Property of Enron BERND & HILLA BECHER (b. 1931 and 1934) WATER TOWERS...
BERND & HILLA BECHER
(b. 1931 and 1934)
WATER TOWERS
(i) ST. QUENTIN, ASINE, F 1987
(ii) RECKLINGHAUSEN, D 1978
(iii) BRAINE-LE-COMTE, B 1986
(iv) GOOLE YORKSHIRE, GB 1997
(v) CONNANTRE, MARNE, F 1972
(vi) BERKA/WIPPER THUERINGEN, D 1995
(vii) WATERLOO, B 1993
(viii) AYWAILLE/LIÈGE, B 1980
each signed, titled, numbered of five and
dated on the reverse
set of eight black and white photographs
23 x 193/4 in. (58.4 x 50.2 cm) each
executed 1972-1995
each work is from an edition of five
ESTIMATE: $40,000-60,000
PROVENANCE
Sonnabend Gallery, NEW YORK
LITERATURE
K. Bussmann, BERND & HILLA BECHER: TYPOLOGIEN, TYPOLOGIES, MUNICH, 1999, n.p. (comparative literature; four of the eight images illustrated in variant water tower typologies)
R. Banham and W. Naef, WATER TOWERS: BERND AND HILLA BECHER, MASSACHUSETTS, 1988, pls. 62, 73, 82, 193 and 207 (prints taken before 1988 illustrated individually)
B. and H. Becher, ANONYME SKULPTUREN: A TYPOLOGY OF TECHNICAL CONSTRUCTIONS, NEW YORK, WITTENBORN, 1970, n.p. (comparative literature; water towers photographed during or before 1970)
With no intention of joining a specific art movement, the Bechers' "anonymous sculptures" were immediately discovered and embraced by the avant-garde art community of the 1960s. Bernd and Hilla Becher (formerly Hilla Wobeser) simply shared a passion and formed a life collaboration, mutually focused on documenting elements of the disappearing industrial landscape. The industrial utility of these structural elements, which was decreasing rapidly in a time of swift technological advancement, blinded most from the beauty of their forms. The Bechers wanted to awaken public sight, as they traveled throughout Europe and the United States, methodically documenting industrial structures, categorized into "typologies" by their functional criteria. Since the early 1960s, the Bechers have been obsessively seeking out these endangered structures, including blast furnaces, storehouses, mineheads, gas tanks, grain elevators and water towers, and cataloguing them photographically, always maintaining their formulaic method. The "typologies" are the varying arrangements of their photographs of functionally common structures. It is the visual power of these "families" that awakens the viewer to the beauty of these structures, as they allow us to see their static commonality, as well as their ornamental and material diversity.
The Bechers' "template" method has involved the same routine over the 40 years they have been working together. To maintain the neutrality and purity of their aesthetic, their process involves great patience, as it is dependent on weather conditions, seasons, time of day and gaining approved access to industrial sites. The Bechers approached these nine water towers as they do all their subjects, with ladders and scaffolding that would allow them a mid-elevation viewpoint, in order to create a composition free of vertical distortion. They would have waited for that perfect moment when cloud cover was evenly diffused, so that no modeling or dramatic shadow would create any sense of theatricality. Their work is quite apparently influenced by Karl Blossfeldt's elegant and controlled plant studies and Renger-Patzsch's photographic interest in industry and the machine. The controlled, systematic approach of their work is reflective of August Sander's comparative cataloguing of the "People of the 20th Century." Eugene Atget most definitely shared a similar vision, as he systemically traveled through Paris and environs, obsessively documenting those publicly overlooked architectural elements, such as door knockers, fireplaces, storefronts and banisters, to preserve them for posterity.
The Bechers' water tower documents celebrate the monumental structures, as if they were documenting the elegant verticality of great cathedrals. Through these precise compositions, the viewer is able to understand the sculptural quality of the varying structures and the great power that they store in their tanks. These tanks, often structured well above treeline, hold back water whose pressure has huge gravitational energy. The top-heavy structures seem to defy physics and do so by the mastered use of materials such as steel, concrete, wood or stone. Their tanks hold water that provided life to the surrounding industrial landscape and to the nearby citizens. The Bechers successfully convey these structures as maintainers of life, doomed to the inevitable fate of replacement by industry that is more current. This is an early family of water towers mounted together by the Bechers. These nine towers are similar in functional concept, but they represent an aesthetically diverse cross-section. Their later typologies are often groupings of even more disparate designs and often each photograph is printed larger and framed individually, but displayed together.
Bernd and Hilla Becher, through Kunstakademie in Düsseldorf, trained many successful contemporary photographers, including Andreas Gursky, Thomas Struth, Thomas Ruff and Candida Höfer.