German-born Bernd and Hilla Becher began their artistic collaboration in 1959 and married two years later. What makes their work so compelling is the visual rigor they use to attack a particular subject. The work above is part of a series of images that focus on water towers. Like a biologist cataloging butterflies, the couple creates a compelling field of observation that one can endlessly use to compare and contrast the chosen subject matter. The thrill is initially in realizing how many variations of the “water tower species” exist. Then, as you delve into each image you notice the subtle differences in both context and design. The water tower series was their first work, and ever since they have never strayed from photographing architectural or industrial structures. Their body of work is extensive and at times, by its very nature, overwhelming.
Interestingly, their work received a “sculpture” award at the 1990 Venice Biennale — the award was granted because their photographs capture the sculptural properties of architecture. The Bechers referred to the subjects of their work as “anonymous sculptures” in a book published in 1970. The term reinforces the couple’s idea that these industrial structures are “found objects” — a nod to Marcel Duchamp’s readymades. The work speaks powerfully to the impact of industry on our economy and environment. It is also a celebration of overlooked beauty found in forms innocently made to serve a specific function. There is an honesty of expression when you consider that fashioning a sculpture was never the intent of each unknown designer. These types of water towers can occasionally be found today; however, it is not hard to imagine a day when this series of photographs is a visual record of an extinct structure.