The exhibition for Hilla Becher : « The Typological View »Press release :
The Typological View—Exhibition for Hilla Becher
An exhibition by Die Photographische Sammlung/SK Stiftung Kultur
Im Mediapark 7, 50670 Cologne
With photographs by Bernd and Hilla Becher, Max Becher and Andrea Robbins, as well as by Boris Becker, Laurenz Berges, Natascha Borowsky, Wendelin Bottländer, Frank Breuer, Susanne Brodhage, Ralf Brueck, Götz Diergarten, Volker Döhne, Chris Durham, Elger Esser, Claudia Fährenkemper, Anna Ferrer, Bernhard Fuchs, Ulrich Gambke, Edith Glischke, Claus Goedicke, Andreas Gursky, Candida Höfer, Axel Hütte, Manfred Jade, Jörg Paul Janka, Christof Klute, Matthias Koch, Christian Konrad, Yoonjean Lee, Katharina Mayer, Ralph Müller, Thomas Neumann, Simone Nieweg, Tata Ronkholz, Martin Rosswog, Thomas Ruff, Jörg...
ROSPHOTO in Saint-Petersburg presents an exhibition of Boris Becker
Student of the famous Bernd Becher, Boris Becker started his career in photography in mid-1980s. Becker was influenced by his predecessors, August Sander, Karl Blossfeldt, Albert Raenger-Patsch, Bernd and Hila Becher, Stephen Shore, as well as his contemporaries like Jim Dine. These artists share the interest to the everyday and mundane, and to possibilities of its visual representation.
The most numerous of Becker's series includes hundreds of photographs of Second World War bunkers in Germany. Becker is the author of other urban and natural landscape typologies. Staying apart from the traditional historical representation of landscape, Becker is interested by formal structures and color, in the first place. Each of Becker's works is the result of careful conceptual, formal, iconogra...
Photographs, 1984-2009 - Boris BeckerBoris Becker (*1961) is considered one of the most prominent representatives of contemporary German photography. Together with other names such as Andreas Gursky, Axel Hütte, and Thomas Struth, he belongs to a generation of photographers who reworked the detached style of their renowned teachers Bernd and Hilla Becher into a personal yet still highly characteristic visual language. Boris Becker, Photographs 1984-2009, the first solo show of the artist in Belgium, traces an overview of Boris Becker’s body of work – from the early 1980’s to the present – and presents images from his most well-known photo series: Bunkers, Houses, Constructions, Fields and Landscapes, Fakes and Artefacts. In his imposing, almost dazzlingly detailed colour pictures of isolated structures, landscapes, and objects, ...
Der Rote Bulli - Stephen Shore and the New Düsseldorf PhotographyStephen Shore as the American inspiration for the renown German Becher class ? With this spectacular thesis the NRW-Forum Düsseldorf is focusing for the first time on an important chapter in the recent history of photography: the transatlantic influence on photography in the 1970s and 1980s. Right at the heart of this chapter is a friendship between three artists that was forged in New York in the year 1973. It was in this sprawling American metropolis that the 26-year-old Stephen Shore met the Düsseldorf photographer Hilla Becher, whose typological photographic documentation of water-towers, which she had put together with her husband, Bernd Becher, had gone on display at Ileana Sonnabend’s renowned gallery the previous year. Two years later, Stephen Shore and the Bechers became the only col...
Landscape without Horizon Near and Far in Contemporary PhotographyCurator: Bettina Paust
Of great interest today, landscape photography is generally characterised by the horizon as an aid to perception. Within the international discourse on contemporary landscape photography, the present exhibition is the first to focus on those artistic visions which, each in its own way, mask and eliminate the horizon as the line separating earth from sky.
The process of perceiving and experiencing land as landscape is a phenomenon that originated in the art of the early modern age. Ever since the Renaissance, Western artists have employed perspective with its prominent horizon as a method to depict the threedimensional world. From the beginning of the twentieth century, however, this pattern of perception and representation has been transcended, as numerous artistic developments show.