FRANKFURT.- The Städel Museum is staging a comprehensive survey on the Becher Class at the Düsseldorf art academy and the major paradigm shift in the medium of artistic photography with which the Bechers and their students are associated. With the aid of some 200 photographs by Volker Döhne, Andreas Gursky, Candida Höfer, Axel Hütte, Tata Ronkholz, Thomas Ruff, Jörg Sasse, Thomas Struth and Petra Wunderlich – a group of whom some enjoy international renown and others are due for rediscovery –, the exhibition examines the influence exerted by Bernd and Hilla Becher on their students at the Düsseldorf school. What unites the students’ works with those of their teachers? How do they differ? Is there really such a thing as the “Becher School” or is it ‘merely’ a matter of several highly successful photographers who happened to be studying at the ‘right place’ at an especially propitious moment in history? And how have those artists influenced our present conception of what a picture is? Taking the artist duo’s work as a point of departure, the exhibition “Photographs Become Pictures. The Becher Class” will acquaint viewers with the radical changes in the medium of artistic photography that became manifest in the works of the Becher pupils in the eighties and above all the nineties, and investigate the art-historical impact of this development up to the very present. It will feature major large-scale works as well as key early endeavours by the members of what is presumably the most influential generation of German photographers in the field of fine art.
The students of the first in a long line of Becher Classes at the Düsseldorfer art academy introduced elementary changes to contemporary art’s aesthetic, media and economic contexts. They not only contributed decisively to shaping international photography in the 1990s, but also fundamentally redefined the status and perception of artistic photography in general. Their works can be considered as one of the most self-confident emancipations of photography as art in the mediums history, while at the same time reflecting the (not merely digital) moment when the boundaries between the media dissolve.
“Bernd and Hilla Becher’s first – meanwhile world-famous – students played a tremendously important role in establishing photography as an expressive medium on a par with other art forms. The nine artists featured in our show occupy a realm where the distinction between painting and photography is no longer clear. The permeability of the boundary between the media is deliberate in their work, and in that respect they mirror one of the key focuses of the Städel Museum’s collection of contemporary art”, observes Städel director Dr Philipp Demandt.
And exhibition curator Dr Martin Engler adds: “What the teachings of Bernd and Hilla Becher sparked off – and their students developed further – is a new conception of the artwork according to which the boundaries between sculpture, painting and photography dissolve in terms of media and aesthetics alike. In other words, in the very moment in history when photography emancipated itself to become an independent medium, it sounded its own death knell.”
The founding of a chair for artistic photography at the Düsseldorf art academy in 1976 provided perhaps the single most important impulse for a change in how the medium of photography was perceived. In close cooperation with his wife Hilla Becher, Bernd Becher held that chair until 1996. Even before their appointment to the Düsseldorf school, the Bechers had been taking pictures of historical industrial architecture, subscribing to a work concept that exceeded the scope of a common documentary approach in photography. They portrayed mining headframes, blast furnaces, gas tanks, water towers and other testimonies to a vanishing industrial culture – frontally, in central perspective, with fascinating depth of field, and where possible before the backdrop of a uniformly grey sky. They arranged the individual shots in grids to form large-scale tableaus they called typologies. The concern here was no longer merely the illustration of reality, but its perception. Reality could no longer be depicted singly, but only in a multiplicity of simultaneous images. From the formal aesthetic point of view, the staging of the pictorial subjects was now far more than documentary in nature. The affinity to minimal and concept art – evident in the rigour of the pictorial vocabulary, the industrial aesthetic and the new perception of a work in stages – is unmistakable.
Especially in their early work, the students of the first Becher Class explored their teachers’ artistic strategy with great intensity. Yet as they continued to pursue it in the nineties, they did so ever more independently, and in their own highly individual styles. With the aid of various strategies in terms of scale, presentation and motif, and not least of all with abstract pictorial inventions provoked by digital image techniques, they took the interpenetration of the mediums of painting and photography to an extreme. The result was a new concept of the picture that blurs aesthetic and media distinctions. “The dissolution of media boundaries, but also the use of technical innovations, are characteristic of the works of the first Becher Class. It is here that the impact of a changing media culture is felt”, explains Dr Jana Baumann, the co-curator of the exhibition
A show devoted to such a complex phenomenon on the one hand, and such productive teaching activities on the other, must inevitably be limited in scope. “Photographs Become Pictures” concentrates deliberately on the students of the early years of the Becher Class, beginning with Höfer, Döhne, Hütte and Struth in 1976 and ending with the completion of Gursky’s and Sasse’s studies in 1987/1988. In retrospect, it is precisely in the heterogeneity of the first Becher Class – with its wide range of approaches that have influenced our present-day understanding of the pictorial image – that the success of Bernd and Hilla Becher’s teachings is evident.
