Category: Theory: landscape

Bernd and Hilla Becher:

Posted on Posted in art school, on photographers, Theory: landscape, Theory: narrativeTagged

Bernd and Hilla Becher, by and about

  • Becher, Bernd and Hilla. lndustribauten 1830-1930 I Eine fotografische Dokumentation von Bernd und Hilla Becher. Introduction by Wend Fischer. Munich: Die Neue Sammlung (Staatliches Museum fur angewandte Kunst). March 6-April 16, 1967.
  • Eindhoven, Netherlands. Stedelijk van Abbemuseum. Bernd and Hilla Becher. 1967.
  • lndustriebauten: 10 Fotografien von Bernd und Hilla Becher .. Limited edition portfolios of 10 gelatin silver prints with an introduction by Johannes Cladders. Monchengladbach, Germany. Stadtisches Museum, 1968.
  • Becher, Bernd and Hilla. “Anonyme Skulpturen.” Kunst-Zeitung, [Dusseldorf:
    Verlag Michelpresse], (2) (January 1969).
  • Becher, Bernhard and Hilla. Anonyme Skulpturen: Eine Typologie technischer Bauten. Dusseldorf, Germany: Art-Press Verlag, 1970. Published simultaneously as: Anonyme Skulpturen: A Typology of Technical Constructions. New York: Witenborn and Co., 1970.
  • Becher, Bernhard and Hilla. Form genom funktion Fotografisk dokumenttion av industribyggnader. Poster and catalogue for the exhibition at Moderna Museet, Stockholm, 1970. Malmo, Sweden: Moderna Museet, 1970.
  • Becher, Bernhard and Hilla. Die Architektur der Forder-und Wassertiirme.
    Essays by Bernd and Hilla Becher, Heinrich Shonburq, and Jan Werth. Munich:
    Prestel-Verlag, 1971.
  • Sobieszek, Robert A. “Two Books of Ultra-Topography.” Image 14 (4) (September 1971): 11-13.
  • Andre, Carl. “A Note on Bernhard and Hilla Becher.” Artforum 11 (4) (December, 1972): 59-6.
  • Kassel, Germany. Documenta V. 1972.
  • Arts Council of Great Britain. With an interview by Lynda Morris. Bernd and Hilla Becher. London: The Arts Council of Great Britain, 197 4.
  • La Jolla Museum of Contemporary Art, La Jolla, California. Bernd and Hilla Becher. Introduction by Germano Celant, translated by Anna Canepa and Charles Leslie. La Jolla California, February 23-March 31, 197 4.
  • Becher, Bernd and Hilla. Fotografien 1957 bis 1975. Bonn: Rheinisches Landesmuseum, 1975.
  • Becher, Bernd and Hilla. Fechwerkheiiser des Siegener lndustriegebietes.
    Munich: Schirmer/Mosel, 1977. Reprinted: Munich: Schirmer/Mosel, 2000. Published simultaneously with Framework Houses of the Siegen Industrial Region. Munich: Schirmer/Mosel, 1977. Reprinted: Cambridge, Mass, and London, England: MIT Press, 2001.
  • Becher, Bernd and Hilla. Water Towers. Forward by Reyner Banham; commentary by Weston J. Naef. Cambridge, Massachusetts and London, England: The MIT Press, 1988.
  • Becher, Bernd and Hilla. Blast Furnaces. Cambridge, Massachusetts and London, England, 1990.
  • Becher, Bernd and Hilla. Tipologie Typologien Typologies. Introduction by Klaus Bussmann. Exhibition catalogue. Munchen: Schirmer/Mosel Verlag, 1990.
  • Grundberg, Andy. “Seeking Human Qualities in Industrial Forms.” Review. New York Times. January 7, 1990.
  • Becher, Bernd and Hilla. Pennsylvania Coal Mine Tipples. Exhibition catalogue. New York: The Dia Center for the Arts, 1991.
  • Becher, Bernd and Hilla. Gas Tanks. Cambridge, Massachusetts, and London, England: The MIT Press, 1993.
  • Becher, Bernd and Hilla. lndustriephotographie. Im Spiegel der Tradition. Edited by Monika Steinhauser. Richter Verlag, Dusseldorf: Kunstgeschichtliches lnstitut der Ruhr-Unlversltat, 1994.
  • Becher, Bernd and Hilla. Industrial Fecedes. Introduction by Klaus Bussmann.
    Cambridge, Massachusetts and London, England: The MIT Press, 1995.
  • Becher, Bernd and Hilla. Mineheads. Cambridge, Massachusetts and London, England: The MIT Press, 1997.
  • Becher, Bernd and Hilla. Industrial Landscapes. Interview by Susanne Lange.
    Cambridge, Massachusetts and London, England: The MIT Press, 2002.
  • Becher, Bernd and Hilla. Cooling Towers. Cambridge, Massachusetts and London, England: The MIT Press, 2005.
  • Becher, Bernd and Hilla. Grain Elevators. Cambridge, Massachusetts and London, England: The MIT Press, 2006.
  • Lange, Susanne. Translated by Jeremy Gaines. Bernd and Hilla Becher Life and Work. Cambridge, Massachusetts and London, England: The MIT Press, 2007.

Eliot Porter – Exempted

Posted on Posted in dye transfer, on photographers, Theory: landscape

A barely photographer. He was an activist, more active in the shadows … He worked from a privileged position. Even now, he is held on high within the weekend photographers. He selected ready to grasp subjects presented from a position of craft privilege. Dye transfer is a highly regarded means of printing; so highly regarded that it gains respect with just the mention, even though, in its time, it was done by thousands, by the thousands.

[ elsewhere I post the progression of the process ]

The painter Jorge Fick (b.1932 -2004) printed much of Porter’s work between 1962 to 1968. David Rathbun (b.1943- 2020)printed for Porter from 1971 to 1974. Jim Bones (b.1943–)was Porter’s printer from late 1974 to 1977. Porter printed his own work until 1988, when he employed Bob Widdicombe (b.1949 –).[ as of July 2021 ]

Porter’s library contained many more books on birds than on photography or art. His library index is heavy on Ansel Adams and Charles Darwin. His art history seems to come from the Newhall’s and little else. Philosophy nor poetry would fill a back pocket. Thousands of books, few on photography or artists.

Pictures of birds are harder to draw than to photograph; even using Dye Transfer.

Eliot Porter and Kodak’s pathways
Eliot Porter and his labs

see dye transfer best and worst