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Biography

Bernd Becher was born in the Siegen District in Germany, in 1931. He studied at the Academy of Art in Stuttgart and Dusseldorf. He began photographing industrial buildings in 1956. Hilla Becher was born in Berlin, Germany, in 1934. She studied at the Academy of Arts in Dusseldorf.

Began working together in 1959.

AWARDS AND PRIZES

2004	Hasselblad Award, Göteborg, Sweden Preisträger Kultursalon Düsseldorf e.V. , Germany
2002	Erasmuspreis, Praemium Erasmianum, Amsterdam, Holland
1994	Goslarer Kaiserring, Germany
1990	Golden Lion of the Biennale in Venice, Italy

SOLO EXHIBITIONS

2012	“Bernd and Hilla Becher,” Sonnabend Gallery, New York “Coal Mines, Steel Mills,” Galerie Rudolfinum, Prague
2011	“Bergwerke und Hütten – Industrielandschaften,” Fotomuseum Winterthur
2010	“Water Towers,” Sonnabend Gallery, New York Konrad Fischer Galerie, Düsseldorf, Germany “Bernd und Hilla Becher Bergwerke und Hütten,” Josef Albers Museum. Quadrat Bottrop Zeche Hannover – Photographien aus dem Ruhrgebiet Bernd und Hilla Becher. Bergwerke und Hütten, RUHR 2010, Essen
2009	Bernd & Hilla Becher Museo Morandi, Bologna Konrad Fischer Galerie, Berlin
2008	“Bernd and Hilla Becher: Landscape/Typology,” the Museum of Modern Art, New York “Bernd and Hilla Becher: Basic Forms,” Getty Museum, Los Angeles
2007	Sonnabend Gallery, New York “Getreidesilos“, Schirmer/Mosel Showroom, Munich Bernd und Hilla Becher: Fachwerkhäuser Industrielandschaften Getreidesilos Schirmer/Mosel Showroom, München
2006	“Typologies anciennes“, Musée des Arts Contemporains, Hornu, Belgium  ”Bernd und Hilla Becher – Zeche Concordia”, SK Stiftung Kultur, Cologne, Germany
2005	“Bernd und Hilla Becher – Typologien industrieller Bauten“, Museum für Fotografie im Hamburger Bahnhof, Berlin, Germany “Basic Forms of Industrial Buildings – Bernd & Hilla Becher“, Kunsthallen Brandts Klædefabrik (Brandts Klædefabrik), Odense, Denmark  ”Bernd & Hilla Becher – The Basic Shapes of Industrial Building”, Nasjonalgalleriet, Oslo, Norway
2004	Centre Georges Pompidou, Paris “Bernd and Hilla Becher – 2004 Hasselblad Award Winner”, Hasselblad Center, Göteborg, Schweden “Bernd & Hilla Becher – Typologien industrieller Bauten“, HDK – Haus der Kunst – Munich, Germany “Early Works”, Andre Simoens Gallery, Knokke-Zoute, Belgium
2003	“Bernd & Hilla Becher – Typologien industrieller Bauten“, Photographic Collection/SK Stiftung Kultur Fraenkel Gallery, San Francisco K21 Kunstsammlung Nordrhein-Westfalen in the house of the estates, Dusseldorf
2002	Sonnabend Gallery, New York “Industriële Structuren werk van Bernd & Hilla Becher”, Stedelijk Museum, Amsterdam, Huis Marseille, Amsterdam and Noordbrabants, Hertogenbosch
2001	“Field Trips”, Museu de Arte Comtemporânea de Serralves, Porto, Portugal (with Robert Smithson)
1999	Sonnabend Gallery, New York, NY SK Stiftung Kultur, Cologne, Germany
1996	Fraenkel Gallery, San Francisco, CA Daniel Weinberg Gallery, San Francisco, CA Brazos Bookstore, Houston, TX Albright-Knox Art Gallery, Buffalo, NY
1995	Sonnabend Gallery, NY Grimaldis Gallery, Baltimore, MD
1994	“Typologies”, Ydessa Hendeles Foundation, Toronto, Canada “Paul Strand, Bernd and Hilla Becher: Typologies”, Gerald Peters Gallery, Santa Fe, New Mexico Olga Korper Gallery, Toronto, Canada Centre d’Art Contemporain, Fribourg, Switzerland Westfalisches Landesmuseum, Muenster, Germany
1993	Sonnabend Gallery, NY Fraenkel Gallery, San Francisco
1992	Daniel Weinberg Gallery, Santa Monica, CA Kamakura Gallery, Tokyo, Japan
1991	Galerie Max Hetzler, Cologne, Germany Ascan Crone, Hamburg, Germany Primo Piano, Rome, Italy Fraenkel Gallery, San Francisco, CA Galerie Pierre Huber, Geneva, Switzerland
1990	Sonnabend Gallery, New York Achenbach, Frankurt, West Germany “Typologies”, XLIV Venice Biennial, Venice; Kolnischer Kunstverein, Cologne; Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA; Cleveland Center for Contemporary Art, Cleveland, OH
1989	Palais des Beaux Arts, Brussels, Belgium Daniel Weinberg Gallery, Los Angeles, CA “American Buildings and Others”, Urbi et Orbi Galerie, Paris, France DIA Art Foundation, New York Galerie Vega, Luettich (Liege), Belgium
1988	Sonnabend Gallery, New York “Hauser”, Bei Konrad Fischer, Dusseldorf “Watertowers“, Kunstverein Munich, Munich, West Germany Magasin, Centre National D’Art Contemporain, Grenoble, France, Palais des Beaux Arts, Brussels
1986	Carnegie Mellon University Art Gallery, Pittsburgh, PA Kamakura Gallery, Chuo-ku, Tokyo “Bernd und Hilla Becher – Bergwerke“, Architekturmuseum in Basel
1985	Museum Folkwang Essen, Essen, Germany ARC/Musee d’Art Moderne, Paris Castello di Rivoli, Torino, Italy Musee d’Art Moderne, Liege, Belgium Sonnabend Gallery, New York
1983	Freedman Gallery, Reading, PA Sonnabend Gallery, New York
1982	Carol Taylor, Dallas, Texas
1981	Sonnabend Gallery, New York Kunstverein, Seigen, WG Retrospective Exhibition: Stedelijk Van Abbemuseum, Eindhoven
1980	Fa chhochschule und Hochschule fur Bildende Kanste, Hamburg, WG Galerie Konrad Fischer, Dusseldorf, Germany Galerie Vega, Liege, Belgium Westfalisches Landesmuseum, Muenster, Germany
1979	Galerie Sonnabend, Paris Kunstbibliothek Tranegarden, Kopenhagen Galleria Massimo Valsecchi, Milan, Italy Kunstraum, Munchen, Germany Gallerie Schweinebraden, Berlin, DDR
1978	Sonnabend Gallery, New York Milwaukee Art Center, Milwaukee, Wisconsin Von Der Heidt Museum, Wuppertal
1977	Sonnabend Gallery, New York Ink, Crex Collection, Zurich, Switzerland Galerie Tanit, Munchen, Germany
1976	Kunsthalle Tubingen, Germany Galerie Konrad Fischer, Dusseldorf, Germany Galleria Massimo Valsecchi, Milano Galleria Forma, Genova, Italy Galerie Presig, Basel, Switzerland
1974-75	Arts Council of Great Britain, London, England
1975	Daniel Weinberg Gallery, San Francisco, CA Galerie Sonnabend, Paris, France Galleria Alessandra Castelli, Milan, Italy Rheinisches Landesmuseum, Bonn, WG Museum of Modern Art, New York
1974	La Jolla Museum of Contemporary Art, CA; Contemporary Arts Center, Cincinnati, OH National Gallery of Canada, Ottawa Wadsworth Atheneum, Hartford, Connecticut Kabinett fur aktuelle Kunst, Bremerhaven, WG Sonnabend Gallery, New York
1973	Galerie Sonnabend, Paris, France Gallery d, Brussels, Belgium Konrad Fischer Gallery, Dusseldorf, WG Galeria Forma, Genova, Italy Galleria Lucio Amelio, Naples, Italy
1972	Sonnabend Gallery, New York Bennington College, Bennington, Vermont International Museum of Photography, Rochester New York Nigel Greenwood Gallery, London, England
1971	Kabinett fur aktuelle Kunst, Bremerhaven, WG; Gegenverkehr, Aachen, WG
1970	Stadtisches Museum, Ulm, WG Moderna Museet, Stockholm, Sweden Galerie Konrad Fischer, Dusseldorf, WG
1969	Stadtisches Kunsthalle, Dusseldorf, WG
1968	Institut Prof. K. Wachsman, Los Angeles; California Goethe Center, San Francisco, CA Stedelijk Van Abbemuseum, Eindhoven, The Netherlands Galerie Ruth Nohl, Seigen, WG Stadtisches Museum Abteiberg, Monchengladbach, Germany
1967	Die Neue Sammlung, Munich, West Germany; Staatlisches Museum fur angewandte Kunst, Munich, WG Technische Hocschule, Karlsruhe, WG Bergbaumseum, Bochum, WG Kunstakademie, Copenhagen, Denmark
1966	Staatliche Kunstakademie, Dusseldorf, West Germany
1965	Galerie Pro, Bad Godesberg, Germany
1963	Galerie Ruth Nohl, Seigen, West Germany

GROUP EXHIBITIONS

2013	“Ileana Sonnabend: Ambassador for the New,” Museum of Modern Art, NY
2011	“De-Natured: German Art from Joseph Beuys to Martin Kippenberger,” Aukland Art Museum at the University of North Carolina , Chapel Hill, NC
2010	“Der Westen leuchtet”, Kunstmuseum Bonn ” New Topographics – Photographs of a Man-Altered Landscape”, San Francisco Museum of Modern Art “Events of the Self: Portraiture and Social Identity”, The Walther Collection, Neu-Ulm “Sidewalk Deli”, Kunstverein Hamburg “La Revanche de L´archive Photographique”, Centre de la Photographie, Genf “Haunted – Contemporary Photography/Video/Performance”, Guggenheim Museum – New York “BRAVE NEW WORLD – From the perspective of Mudam Collection”, Musée d´Art Moderne Grand-Duc Jean, Luxemburg “Realismus – das Abenteuer der Wirklichkeit. Courbet – Hopper – Gursky”, Kunsthalle Emden
2009	“Art of Two Germanys / Cold War Cultures 1945-1989,” Deutsches Historisches Museum, Berlin/Germanisches Nationalmuseum Nuremberg, Germany “1968: Die große Unschuld,” Kunsthalle Bielefeld, Germany Bernd und Hilla Becher / Tobias Hantmann Konrad Fischer Galerie, Berlin Art of Two Germanys/Cold War Cultures Deutsches Historisches Museum, Berlin Kunst und Kalter Krieg – Deutsche Positionen 1945-1989 Germanisches Nationalmuseum, Nürnberg Objectivités – La photographie à Düsseldorf Musée d´Art Moderne de la Ville de Paris
2008	“Second Thoughts,” The Center for Curatorial Studies at Bard College, Annandale-on-Hundson, NY “Die Hande der Kunst,” MARTa Herford, Herford “Made in Munich,” Haus der Kunst, Munich, Germany Sichtbarwerden – Fotografische Werke Hamburger Bahnhof, Berlin Carl Andre, Bernd & Hilla Becher, Sol Lewitt, Bridget Riley Karsten Schubert, London
2007	“20 ans du Musee d’Art Moderne – L’art apres 1960 dans les collections,” Musee d’Art moderne de Saint-Etienne, Saint-Etienne “Die Kunst zu sammeln”, Museum Kunst Palast, Düsseldorf German Photography Museum of Fine Arts, Boston Conceptual Photograpy 1964-1989 Zwirner & Wirth – New York Appearance / Disappearance Bunkier Stzuki, Krakau
2006	“Dusseldorf School of Photography and Contemporary Western Masters,” Hannart TZ Gallery, Hong Kong, SAR “Más de lo que los ojos pueden ver”, Museo de Arte Contemporáneo de Monterrey – MARCO, Monterrey, Mexiko ”Shifting Terrain. Contemporary Landscape Photography”, The Wadsworth Atheneum Museum of Art, Hartford, CT, USA ”Why Pictures Now – Fotografie, Film, Video heute”, MUMOK, Vienna, Austria
2005	“Logical Conclusions: 40 Years of Rule-Based Art,” PaceWildenstein, NY “Frontal 7, Düsseldorf Fotografie”, 7th International Photographic Triennial in Tampere, Finland “Künstlerische Konzepte als Drucksache Katalog Künstlerbuch Objektbuch Postkarte Plakat”,  Galerie M + R Fricke, Berlin, Germany “Bernhard Fuchs”, Landesgalerie am Oberösterreichischen Landesmuseum, Linz, Österreich “German Contemporary Photography – Zwischen Wirklichkeit und Bild”, The National Museum of Modern Art, Tokyo, Japan “Summer Exhibition 2005”, Stedelijk Museum Amsterdam (Stedelijk Museum CS), Amsterdam,  Niederlande “International Prints (Multiple Box Sydney)”, Conny Dietzschold Gallery, Sydney, NSW, Australien “Sammlung 2005 – Neupräsentation der erweiterten Sammlung,” K21 KUNSTSAMMLUNG NORDRHEIN-WESTFALEN – im Ständehaus, Düsseldorf, Deutschland “Bilanz in zwei Akten – Sammlung Niedersächsische Sparkassenstiftung”,  Kunstverein Hannover, Hannover, Deutschland “The Last Picture Show – Artists using Photography 1960-1982”,  Miami Art Central, Miami, FL, USA
2004	“Visions of America: Contemporary Art from the Essl Collection and the Sonnabend Collection, New York”; Sammlung Essl, Klosterneuberg, Vienna “Attraversare Genova. Percorsi e linguaggi internazionali del “One on One – Installations from the collection (1968-1988)”, Van Abbemuseum, Eindhoven, Niederlande contemporaneo.”, Villa Croce Museo d’Arte Contemporanea, Genua, Italien “L´Ombre du temps”, Galerie Nationale du Jeu de Paume, Paris, Frankreich “In Focus – Themes in Photography”, Albright-Knox Art Gallery, Buffalo, NY, USA “Friedrich Christian Flick Collection im Hamburger Bahnhof”, Hamburger Bahnhof, Museum für Gegenwart, Berlin, Deutschland “German Art – Deutsche Kunst aus amerikanischer Sicht”, Städelsches Kunstinstitut und Städtische Galerie, Frankfurt/Main, Deutschland “Fotografía alemana contemporánea – Distancia y Proximidad”, MAMBA – Museo de Arte Moderno de la Ciudad de Buenos Aires, Buenos Aires, Argentinien “Paisaje y Memoria”, Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria, Spanien “Beyond Geometry – Experiments in Form 1940s?70s”, Los Angeles County Museum of Art – LACMA, Los Angeles, CA, USA “Love / Hate. From Magritte to Cattelan.”, Villa Manin. Centro d’arte contemporanea, Passariano (UD), Italien “Thomas Struth – Stephen Shore”, Pinakothek der Moderne (Kunstareal München), München, Deutschland “Von Körpern und anderen Dingen… – Deutsche Fotografie im 20. Jahrhundert”, Museum Bochum, Bochum, Deutschland “Neue Editionen”, Edition Schellmann, München, Deutschland “Paysages photographiques”, Guy Ledune, Brüssel, Belgien “The Last Picture Show – Artists Using Photography, 1960-1982”, UCLA Hammer Museum (UCLA Hammer Museum), Los Angeles, CA, USA
2003	“Cruel and Tender”, Tate Modern, London Museum Ludwig, Cologne “Affinities…Now and Then,” Kansas City Art Institute, Kansas City, Missouri “Objective Spaces: Photographers from Germany,” Waddington Galleries, London “Unreal Estate Opportunities,” pkm gallery, Seoul, Korea “ars photographica”, Neues Museum Weserburg Bremen, Germany “Photographs of the Twentieth Century”, Tate Gallery of Modern Art, London, UK “Looking in – Looking out”, Kunstmuseum Basel, Switzerland “JEDE FOTOGRAFIE EIN BILD. SIEMENS FOTOSAMMLUNG”, Pinakothek der Moderne (Kunstareal München), München, Germany “WINGS OF ART – MOTIV FLUGZEUG”, Ludwig Forum für Internationale Kunst, Aachen, Germany “Cruel and Tender. Zärtlich und Grausam. Fotografie und das Wirkliche”, Museum Ludwig, Cologne, Germany “AUFGESCHRAUBT & ABGESTAUBT III – DIE SAMMLUNGEN IM PROZESS DER NEUPRÄSENTATION”, Ludwig Forum für Internationale Kunst, Aachen, Germany “Mouvements de fonds – Acquisitions 2002 du Fonds national d’art contemporain”, MAC – galeries contemporaines des Musées de Marseille, Marseille, France “The Last Picture Show – Artists Using Photography – 1960-1982”, Walker Art Center, Minneapolis, MN, USA “Berlin-Moskau Moskau-Berlin 1950-2000”, Martin-Gropius-Bau, Berlin, Germany “PRIVATE/CORPORATE II – EIN DIALOG DER SAMMLUNGEN”, DaimlerChrysler Contemporary, Berlin, Germany “Journey to Now – John Kaldor Art Projects & Collection”, Art Gallery of South Australia, Adelaide, SA, Australia “AUFGESCHRAUBT UND ABGESTAUBT – DIE SAMMLUNG IM PROZESS DER NEUPRÄSENTATION”,  Ludwig Forum für Internationale Kunst, Aachen, Germany “La Photographie Allemande”, Art & Public, Geneva, Switzerland “Imperfect Innocence – The Debra and Dennis Scholl Collection”,  The Palm Beach Institute of Contemporary Art (PBICA), Lake Worth, FL, USA “Categorically Speaking”, Museum of Contemporary Art Chicago – MCA Chicago, Chicago, IL, USA “Andre – Becher – Buren – Flavin – Lewitt – Schoonhoven – Serra – Zorio”, Baronian_Francey, Brussels, Belgium
2002	Documenta XI, Kassel, Germany “From Pop to Now: Selections from the Sonnabend Collection,” The Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY “ars photographica”, Neues Museum Weserburg Bremen “Fotografie”, Galerie Springer & Winckler, Berlin “In Szene gesetzt – Architektur in der Fotografie der Gegenwart”,  Kunsthaus Kaufbeuren “Die Zweite Schöpfung – Bilder der industriellen Welt”, Martin-Gropius-Bau, Berlin “Schupmann Collection – Fotografie in Deutschland nach 1945”,  Stadtmuseum Münster “The Russian Avant-Garde Book 1910-1934”, Museum of Modern Art, New York “Augenblick – Foto/Kunst in der Sammlung Essl”, Sammlung Essl – Kunst der Gegenwart, Klosterneuburg “Positionen der Fotografie”, Galerie Fahnemann, Berlin / documenta 11, Kassel
2001	“Field Trips – Robert Smithson and Bernd and Hilla Becher,” Fundação de Serralves, Porto, Portugal “Pathos der Sachlichkeit – Industrielandschaft in Meisterwerken der Fotografie”, Ludwig Galerie Schloss Oberhausen “Erstpräsentation”, Museum für Gegenwartskunst Siegen “Art Fashion”, Kunstsammlungen zu Weimar, Schlossmuseum, Weimar
2000	“Fotografie,” Kunstverein, Radolfzell “How you look at it,” Fotografien des 20. Jahrhunderts, Sprengel Museum, Hannover “HausSchau. Das Haus in der Kunst”, Deichtorhallen, Hamburg “Contemporary Art from Germany – German Festival in India 2000-2001”, National Gallery of Modern Art, Mumbai; Birla Academy of Art & Culture, Calcutta u.a.O.
1999	“Views from the Edge of the World,” Marlborough Gallery, New York “Bilder, Fotografien und Handschriften aus der Sammlung  Volker Kahmen”, Kunstverein für die Rheinlande und  Westfalen, Düsseldorf “Zwischen Abbildung und Experiment”, Fotokunst 1950 – 1990 aus der Sammlung Garnatz, Karlsruhe
1998	“Art Today,” Indianapolis Museum of Art, Indianapolis, Indiana “100 Years of Sculpture: From the Pedestal to the Pixel,” Walker Art Center, Minneapolis, Minnesota “Comparative Concepts,” International Center of Photography, New York, NY “Deep Storage,” P.S. 1, Long Island City, New York; Henry Art Gallery, Seattle, WA. “Under “Under Construction,” Olga Korper Gallery, Toronto
1997	Gallery Ram, San Francisco, CA Sonnabend Gallery, New York, NY
1996	Kamakura Gallery, Tokyo, Japan “German Photographers”, John Gibson Gallery, New York, NY “Sammlung Sonnabend” Deichtorhallen, Hamburg, Germany; Bayerische Staatsgemaldesammlungen, Munich, Germany
1995	“Seeing Things: Fifteenth Anniversary Exhibition”, Fraenkel Gallery, San Francisco, CA “From Icon to Irony; German and American Industrial Photography”, Boston University Art Gallery, Boston, MA
1994	“1969”, Jablonka Galerie, Cologne, Germany “The Epic and the Everyday: Contemporary Photographic Art”, Hayward Gallery, London “In the Field: Landscape in Recent Photography”, Margo Leavin Gallery, Los Angeles, CA Sonnabend Gallery, New York, NY
1993	“Systems of Vision”, Ehlers Caudill Gallery Ltd., Chicago “Contemporary German Photographs”, Hirschl & Adler Modern, NY “Out of Sight, Out of Mind”, Lisson Gallery, London “Photoplay: Works from the Chase Manhattan Collection”, Center for the Fine Arts, Miami, FL; Museo Amparo, Puebla, Mexico; Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico; Centro Cultural Consolidado, Caracas, Venezuela; MASP/Museo de Arte de Sao Paulo, Sao Paulo, Brasil; Museo Nacional de Bellas Artes, Buenos Aires, Argentina; Museo Nacional de Bellas Artes, Santiago, Chile
1992	“L’esprit de l’industrie”, Collection du CAPC, CAPC, Musee d’art Contemporain de Bordeaux “Photography in Contemporary German Art: 1960 To The Present”, Walker Art Centers, Minneapolis, MN; Dallas Museum of Art, Dallas, TX; Modern Art Museum of Fort Worth, Fort Worth, TX; Guggenheim Museum Soho, NY; Lannan Foundation, Los Angeles, CA; Museum Ludwig, Cologne, Germany “Becher, Mapplethorpe, Sherman”, Museo de Monterrey, Mexico City, Mexico “Special Collections: The Photographic Order From Pop to Now”, The International Center of Photography Midtown, NY “El Mundo Imaginado: Obras Sobre Papel del Arte Contemporaneo Aleman”, Goethe-Institut, Madrid “New Jersey Collects: Photography”, New Jersey Center for Visual Arts, Summit, New Jersey
1991	“Typologies: Nine Contemporary Photographers”, Newport Harbor Art Museum, Newport Beach, CA “Contemporary Art from The Collection of Jason Rubell”, Duke University Museum of Art, Durham, NC “Photography: 1980-1990”, Ginny Williams Gallery, Denver, CO “Oikos”, Galerie Gabrielle Maubrie, Paris “Consorts”, Pence Gallery, Santa Monica, CA “Fall & Winter: 1991-1992”, Daniel Weinberg Gallery, Santa Monica, CA Stuart Regen Gallery, Los Angeles, CA “Departures: Photography 1923-1990”, Iris & B. Gerald Cantor Art Gallery, College of Holy Cross, Worcester, Massachusetts; Denver Art Museum, Denver, Colorado; Joslyn Art Museum, Omaha, Nebraska; Pittsburgh Center for Arts, Pittsburgh, Pennsylvania; The Goldie Paley Gallery at Moore College at Art and Design, Philadelphia, Pennsylvania; Telfair Academy of Arts and Science, Inc., Savannah, Georgia
1990	“Assembled: Works of Art using Photography as a Construction Element”, University Art Galleries, Wright State University, Dayton, OH “Signs of Life: Process and Materials, 1960-1990”, Institute of Contemporary Art, University of Pennsylvania, Philadelphia “B.& H. Becher: Oeuvres Recentes”, Art Cologne, Galerie Vega, Plainevaux (Liege), Switzerland “Art Conceptuel, Formes Conceptuelles”, Galerie 1900-2000, Paris “The Past and The Present of Photography”, The National Museum of Modern Art, Tokyo, The National Museum of Modern Art, Kyoto “German Photography: Documentation and Introspection”, The Adlrich Museum of Contemporary Art, Ridgefield “Team Spirit”, Neuberger Museum, SUNY Purchase; Cleveland Center for Contemporary Art, Cleveland; Vancouver Art Gallery, Vancouver, British Columbia; The Art Museum of Florida, International University, Miami; Spirit Square Center for the Arts, Charlotte, NC; Davenport Art Museum, Davenport, IO; Laumeier Sculpture Park, St. Louis, MI “Perspectives on Place: Attitudes Toward the Built Environment”, University Art Gallery, San Diego State University
1989	“Conspicuous Display”, Stedman Art Gallery, Rutgers University, Camden, NJ (Exh. cat.) “Repetition”, Hirschl & Adler Modern, New York, NY “Collecting/Organizing/Transposing”, Maryland Art Place, Inc., Baltimore, MD “Artists of the ’80s: Selected Works from the Maslow Collection”, Sordoni Art Gallery, Wilkes College, Wilkes-Barre, PA “The Big Picture”, Rena Bransten Gallery, New York “Bilderstreit: constraction, unity and frangmentation in art since 1960”, Ludwig Museum in the Rheinhallen, Cologne, West Germany, (exhb. cat.) “Invention and Continuity in Contemporary Photographs”, Gioconda & Joseph H. King Gallery, The Metropolitan Museum of Art, New York “Un’altra obiettivita’: fotografia, arte contemporanea”, Museo d’Arte Contemporanea, Prato, Italy “Sei Artisti Tedeschi”, Costello di Rivara, Italy “New Work by Gallery Artists”, Sonnabend Gallery, New York “Buena Vista”/ John Gibson Gallery, New York (curated by Collins & Milazzo) “Departures: Photography, 1924-1989”, Hirschl & Adler Modern, NY
1988	“Collection Sonnabend”, Centro de Arte Reina Sofia, Madrid; Capc, Musee d’Art Contemporain, Bordeaux, France; Art Cologne, Cologne, West Germany; Hamburger Bahnhof, Berlin, West Germany; Galleria Nazionale d’Arte Moderna, Roma; Museo d’Arte Moderna e Contemporanea, Trent, Italy; Musee Rath, Geneva; Sezon Museum of Art, Tokyo; The Miyagi Museum of Art, Sendai, Japan; The Fukuyama Museum of Art, Hiroshima, Japan; The National Museum of Modern Art, Kyoto “Another Objectivity”, Institute of Contemporary Arts, London
1987	“This is Not a Photograph: 20 Years of Large-Scale Photography, 1966-1986”, The John And Marble Ringling Museum of Art, Sarasota, FL, Akron Art Museum, Akron, OH “Beyond The Image”, First Street Forum:/ St. Louis, MI “Selections From X71-11, Organized by Saul Ostrow, Damon Brandt Gallery, New York Wolff Gallery, New York “Typologies”, Thomas Segal Gallery, Boston, MA
1986	“Bernd & Hilla Becher, Gunther Forg, Reinhard Mucha”, Luhring, Augustine & Hodes Gallery, New York, NY
1985	“Ressemblances/Dissemblances”, Musee d’Art Moderne de la Ville de Liege, Liege, Belgium
1984	“Artistic Collaboration in the Twentieth Century”, Hirschhorn Museum, Washington “Summer Group Show”, Sonnabend Gallery, New York
1983	“The Architectural Impulse”, TWEED-The Gallery, Plainfield, New Jersey “Radical Space/Rational Time”, Henry Art Gallery, University of Washington/ D.C., Seattle, WA “Contemporary Photographers”, Academy of Art-Cranbrook Museum, Bloomfield Hills, MI “Big Pictures”, Museum of Modern Art, New York, NY “Recent European Painting”, Solomon R. Guggenheim Museum, New York “A R S 83”, Helsinki “Photography in Contemporary Art”, Tokyo and Kyoto
1982	“British Mining in Art”, Science Museum, London “Visual Cataloguing & Mapping: Photographs, Installations & Artist’s Books”, Visual Studies Workshop, Rochester, N.Y. “Counterparts: From and Emotion in Photography”, Metropolitan Museum of Art and Traveling Exhibition “Documenta (7)”, Kassel, West Germany
1981	“Land/Urban Scapes”, Islip Twon Arts Center & Gallery, Islip, L.I.
1980	“Europe 1980”, Lyon, France Ruhrfestspiele, Recklinghausen “Die Photographic”, Salzburger Kunstverein, Salzburg “Hier and Apres”, Montreal Museum of Fine Arts, Montreal “Exploration in the 70’s”, Plan for Pittsburgh, Pittsburgh, Pa. “Artist and Camera”, Arts Council Great Britain “The Photograph Transformed”, Touchstone Gallery, New York “Situation Imagery”, Fine Arts Gallery, University of California, Irvine
1979	“Photographies”, Sonnabend Gallery, Paris, France “Industrial Sights”, Whitney Museum of American Art, Downtown Branch, New York “Views Over America”, Museum of Modern Art, Penthouse Gallery, New York “The Third Biennale of Sydney”, Sydney, Australia “5 mal 30”, Stadtisches Kunsthalle, Dusseldorf, WG “Concept-Narrative-Document”, Museum of Contemporary Art of Chicago, Chicago, Illinois “Deutsche Fotografie nach 1945”, Kessler Kunstverein, Kassel, West Germany
1978	“Grids”, The Pace Gallery, New York; Akron Art Institute, Ohio “Ink Zurich Documentation 1”, Zurich, Switzerland “Work from the Crex Collection in Louisiana Museum Stedelijk van Abbemuseum, Lenbach Haus, Munich, WG Kunstlerehen, Badischer Kunstverein, Karlsruhe “Summer Group Show”, Sonnabend Gallery, New York
1977-78	“Europe in the Seventies: Aspects of Recent Art”, Hirshorn Museum and Sculpture Gallery, Washington, D.C.; San Francisco Museum of Modern Art, San Francisco, CA
1977	“Documenta (6)”, Kassel, West Germany “XIV Internationale Biennale Sao Paulo, Sao Paulo, Brazil “Europe in the Seventies”, Art Institute of Chicago, Chicago “Kunst und Architektur”, Magers Gallery, Bonn “Tendenzen der Kunst in der Bundersrepublik Deutschland nach 45”, Budapest Giuli Gallery, Lecco, Italy Civica Gallery, Modena, Italy “Sonderschau Deutschland”, Art 8, Basel, Switzerland “Vogel Collection”, University of Michigan, Museum of Art “New York/New York”, Light Gallery, New York “Summer Drawing Show”, The Art Association Of Newport, Rhode Island University of Rhode Island, Kingston, R.I. “Photography as an Art Form”, John and Marble Ringling Museum of Art, Sarasota, Florida “Sequential ’77”, Harkness House, New York Visual Art Museum, School of Visual Arts, New York
1976	“Identite”, Centre d’Arts Plastiques Contemporains, Bordeaux, France Rennes Museum, France Jerusalem Museum, Jerusalem, Israel “Illusions of Reality”, National Gallery, Canberra, Australia Suzanne Hilberry Gallery, Birmingham, Michigan
1975	“New Media”, Malmo Kunsthalle, Malmo, Sweden “Modern Typologies”, Eastman House, Rochester, New York “Sequenced Photographs”, University of Maryland Art Gallery, Baltimore, Maryland “Locate/Order/Measure”, University of Colorado, Boulder Johnson Gallery, Middlebury College, Middlebury, Vermont
1974	“Idea and Image”, Art Insitute Chicago, Chicago “Image and Idea in Recent Art”, Photokins, Cologne, WG Kunstverein, Heidelberg, West Germany
1973	“Contemporanea”, Rome, Italy “Festival d’Automme a Paris”, Paris, France “Incontri Internazionali d’Arte”, Rome, Italy Gallery D, Brussels, Belgium Yale University School of Art, New Haven, Connecticut
1972	“Documenta (5)”, Kassel, West Germany “13 Artists Chosen for Documents”, Sonnabend Gallery, New York George Eastman House, Rochester, New York “Paris-Amsterdam-Dusseldorf”, Solomon R. Guggenheim Museum, New York “Spoleto Festival”, Spoleto, Italy
1971	“Prospect ’71”, Kunsthalle Dusseldorf, West Germany “2nd Biennale”, Nurnberg, West Germany
1970	“Information”, Museum of Modern Art, New York “Strategy Gets Art”, International Festival, Edinburgh, Scotland
1969	“Prospect ’69”, Stadtische Kunsthalle, Dusseldorf, WG “Concept”, Stadtische Museum Schloss, Morsbroich “Conception”, Stadtische Museum, Leverkusen, German

ARTICLES


2003	Galloway, David. “Celebrating Industrial Landscapes” The International Herald Tribune, Saturday, December 20
2002	Ziegler, Ulf Erdmann Ziegler. “The Bechers’ Industrial Lexicon.” Art in America, June, pp. 93-101, 140-142 “The Long Look.” The Tate Magazine, Sept/Oct, issue 1, pp. 74-79
2001	Boudier, Laurent. “Le droit d’inventaire de Bernd et Hilla Becher.” Le Journal des Arts, no. 121, May 24
1996	Baker, Kenneth. “Bechers’ Monuments to Industry.” San Francisco Chronicle, May 10
1995	Calhoun, Catherine. “The Getty Bombshell.” American Photo, March/April, pp. 20-22. Karmel, Pepe. “The Next Logical Step in Industrial Scenes.” The New York Times, 31 March 1995, p. C21.
1994	Codognato, Mario. “Collection: Attilio Codognato.” Galeries, Spring, No. 59, pp. 90-97. Collins, Tom. “Straight, No Chaser.” Santa Fe Reporter, May 11-17, p. 23. …”Word of Mouth.” Conde Nast Traveler, May, p. 56. Garrels, Gary. “Bernd og Hilla Becher.” Bild: Fotografi i tysk samtidskunst, June, pp. 20+21. Adlmann, Jan, Ernst. “Hilla and Bernd Becher.” The, June, p. 57. Bonetti, David. “Imposing order on chaos in pop culture.” The San Francisco Examiner, 8 July 1994, pp. D5-D6. Baque, Dominique. “De Hiroshima a Glooscap: identifications d’une ville.” Artpress, November, no. 196, pp. 40-49.
1993	Hagen, Charles. “Making Industrial Buildings Look Like Butterflies.” The New York Times, Friday, Jan. 22, p. C15. Kimmelman, Michael. “Dismantling Artistic Barriers.” The New York Times, Fri., 12 February 1993, pp. C1 + C24. …”New York: German Photography.” Flash Art News, Vol. XXVI, No.170, May/June, p. 99. …”Out of Sight at the Lisson.” Flash Art News, Vol. XXVI, No. 170, May/June, p. 107. Villaespesa, Mar. “El Coleccionista O La Mirada Turbadora.” Photovision, no. 24, pp. 17-44, 50. Bogard, Georges. “Reviews: Permanent installations of contemporary art.” Canadian Art, Summer, pp. 68-71. Cameron, Dan. “Gas Tanks, by Bernd & Hilla Becher.” Bookforum, Artforum, Dec.. XXXII, no. 4, p. 74.
1992	De Duve, Thierry. “Bernd et Hilla Becher ou La Photographie Monumentaire.” Les Cahiers du Musee national d’art moderne, Spring, pp. 118-124. …”Grist for Camera Lens.” The Los Angeles Times, 16 April 1992. Severin, Ingrid. “Artifacts as Architecture: Photography of Another Space.” Photography, Center Quarterly, #51, Vol. 13, No. 3, pp. 12-13. Levy, Ellen, K. “The Encyclopedic Impulse.” Photography, Center Quarterly, #51, Vol. 13, No. 3, pp. 5-7 Goldberg, Vicki. “Seven Thousand Pictures Are Better Than One.” The New York Times, 23 August 1992, Section 2, pp. 25 + 30. Hebdige, Dick. “America Is an Old Country.” Artforum, Oct., pp. 83-87. Foerstner, Abigail. “Exhibit compares the artistry of ordinary details.” The Chicago Tribune, Dec. 18, Sect. 7, pp. 98 + 106.
1991	Levin, Kim. “Collective Conscious: Contemporary Sculpture Collaborations.” Sculpture, Mar./Apr. pp. 34-39. Galloway, David. “Bernd and Hilla Becher: Kunstverein.” Artnews, Jan, p.173. Grundberg, Andy. “Without Sentimentality, The Work of 6 Germans.” The New York Times, 25 January 1991, pg. C15. “Team Spirit: Cleveland Center for Contemporary Art.” Dialogue, Arts in the Midwest,, Jan./Feb., pg. 34. Cullinan, Helen. “Partnering for artsy mimickry.” The Plain Dealer, Feb. 23. Nemser, Rebecca. “Bernd & Hilla Becher.” The Boston Phoenix, 8 March 1991. Wise, Kelly. “Accessible and remote grids of Bernd and Hilla Becher.” The Boston Globe, Wed. Mar. 13. Rimanelli, David. “Six German Photographers, Sonnabend Gallery.” Artforum, Apr. pp. 122-123. Decter, Joshua. “Six German Photographers at Sonnabend Gallery.” Arts Magazine, April, p. 100. Hirschorn, Michael. “Typologies: The New Soup Cans.” Esquire, July, pp. 20-21. Bonetti, David. “S.F. dealers’ show of shows.” San Francisco Examiner, 12 July 1991, p. D-2. Baker, Kenneth. “Fraenkel Settles Into Spacious New Digs.” San Francisco Chronicle, 30 July, p. E3. Schjeldahl, Peter. “Photos that Never tell a Lie.” Elle Magazine, Sept. pp. 220 + 222. Kohen, Helen, L. “Team Work showcases the art of coloration.” The Miami Herald, 19 September 1991. Ripley, Deborah. “One Step From Death.” Artscribe, Nov./Dec., pp. 126-27.
1990	Grundberg, Andy. “Seeking the Human Qualities in Industrial Forms.” The New York Times, 7 January 1990, pp. Cl + C36. Catoir, Barbara. “Golden Lion for Anonymous Sculptures.” Kultur Chronik, May, pgs. 11-14. Bentley May, John. “Venetian visions.” The Globe and Mail, 26 May. Kimmelman, Michael. “Venice Biennale Opens With Suprises.” The New York Times, 28 May 1990, pp. C11 + C17. Bentley Mays, John. “Biennale’s jury casts tradition aside in awarding prizes.”The Globe and Mail, 29 May 1990, p. D4. Gibson, Michael. “From the Poetic to Kitsch at the Biennale.” I International Herald Tribune, Sat.- Sun., June 2-3. Rohr-Bongard, Linde. “Professionelle Machart.” Capital, June, pp. 264-266. Singelton, Kate. “Ileana Sonnabend Shaping Modern Art History.” International Herald Tribune, 24-25 June 1990, p. 7. Vetrocq, Marcia E. “Vexed in Venice.” Art in America, October, pp. 152-163. Frank, Peter. “Commentary.” Sculpture Magazine, Sept./Oct. pgs. 37-39. Grundberg, Andy. “Sex, Politics And Social Status.” The New York Times, 29 December 1990, pp. 37 + 39.
1988	Smith, Roberta. “West Broadway.” The New York Times, 26 February 1988 Salvioni, Daniela. “Bernd and Hilla Becher.” Flash Art, May-June, 1988, pg. 104. Grimes, Nancy. “Bernd and Hilla Becher.” Artnews, May, p. 166. Weinstein, Matthew, A. “Review: Bernd & Hilla Becher.” Artforum, Summer, pp. 136+137. Chevrier, Jean-Francois. “Review 17.” Galeries, December ’88/ January 89, pp. 71-75.
1987	Miller, John. “Review, Luhring, Augustine, & Hodes.” Artscribe, March/April, p. 82, 83.
1986	Sturman, John. “Bernd & Hilla Becher at Sonnabend.” ArtNews, March. “Bernd & Hilla Becher at Sonnabend.” Artforum (March) p. 114. Sturtevant, Alfred. “Bernd and Hilla Becher at Sonnabend.” Arts (Review), March, pp. 124-125. Miller, Donald. “19th Century minister’s art impresses.” Post-Gazzette, Saturday, February 8. Smith, Roberta. “Art: Gunther Forg and Reinhard Mucha in Show.” The New York Times, 28 November 1986. Indiana, Gary. “Enclosed by System.” Village Voice, Dec. 9, 1986, review.
1983	Raynor, Vivien. The New York Times, 23 January, 1983. Watkins, Eileen. The Sunday Star-Ledger, 23 January. Artner, Alan, G. Chicago Tribune, 28 January. …”Hilla & Bernd Becher.” Arts , May. …”OPENER… gallery plans photograph show.” Reading Times, 26 August. Hejduk, John. “Bernd & Hilla Becher.” Reading Eagle, 11 September. DeSantis, Tullio, Francesco. “These coal tipples tower as photo-art.” Pottsville (P.A.) “Coal mining tipples are untypical subject of exhibit by couple.” Republican, 6 October.
1981	Nuridsnay, Michael. ArtPress, nr. 45. Wingate, Ealan. Express (New York), Vol. 1, nr. 2. Grauerholz, Angela and Ramsden, Anne. Parachute (Montreal), nr. 22. Zanetti, Paola, Serra. Il Diaframma, (Milan-Italy), (January).
1980	Morris, Linda. “Artist and Camera.” Arts Council of Great Britain, Vogel, Carol. “Bernd und Hilla Becher.” Ingenieur-Architektur.
1979	Artforum (February), p.67.
1978	Artforum (January), p. 52.
1977	Kunstforum Bd., nr.4, pp. 322-327.
1976	Artforum (September), p.50. Magazine Kunst, nr.4, p.115.
1975	Power, Mark. “Sequential Photography.” The Washington Post.
1974	Polak, Clark. Los Angeles Free Press (June 21).
1972	“The Uneven Texture of City Life.” (2 reviews), Village Voice, March 9 Artnews, (April). Gerrit, Henry. “Review.” Artforum, December. Carter Ratcliff, (review) Andre, Carl. “A Note on Bernd and Hilla Becher.” Artforum, December.
1971	Jappe, George. “Projection: The New Trend at Prospect 171.” Studio International.

COLLECTIONSMuseum of Modern Art, New York
Wallraf-Richartz Museum, Cologne, Germany
La Jolla Museum of Contemporary Art, La Jolla, California
Broxton Gallery, Los Angeles, California
Carol and Arthur Goldberg, New York
Massimi Valsecchi, Milan, Italy
Mr. & Mrs. Charles Gilman, New York
Guggenheim Museum, New York
Art Gallery of Ontario, Canada
Denver Art Museum, Colorado
Dallas Museum of Fine Arts, Dallas, Texas

CATALOGUES AND BOOKS

2006	Cooling Towers,Cambridge, Mass: The MIT Press Grain Elevators, Cambridge, Mass: The MIT Press Lange, Susanne. (translated by Jeremy Gaines). Bernd and Hilla Becher: Life and Work, Cambridge, Mass: The MIT Press
2004	Grundformen industrieller Bauten, foreward by Gunilla Knape, text by Susanne Lange, Munich: Schirmer/Mosel Verlag Bernd and Hilla Becher: Typologien Industrieller Bauten, K20 K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, text by Armin Zweite, Thomas Weski, Ludger Derenthal and Susanne Lange, Munich: Schirmer/Mosel Verlag Bernd and Hilla Becher, Centre national d’art et de culture George Pompidou, text by Armin Zweite, Editions du Centre Pompidou, Paris Typologies, Cambridge, Mass: The MIT Press Hochöfen, Schirmer/Mosel, München 1990/2002
2002	Industrielandschaften, Schirmer/Mosel, München 2002 (English edition: Industrial Landscapes; Cambridge, Mass: The MIT Press)
2001	Fachwerkhäuser, Hrsg. Martina Doppe, Museum für Kunst der Gegenwart, Siegen
2000	Zeche Hannibal, forward by Susanne Lange and Els Barents, text by Rudi Fuchs, Munich: Schirmer/Mosel Verlag Framework Houses, Cambridge, Mass: The MIT Press
1999	Thierry de Duve: Basic Forms, Schirmer/Mosel, München
1997	Fördertürme, Munich, Paris and London: Schirmer/Mosel Verlag (English edition: Mineheads; Cambridge, Mass: The MIT Press) August Sander, Karl Blossfeldt, Albert Renger-Patzsch, Bernd und Hilla Becher– Vergleichende Konzeptionen, Hrsg. Photographische Sammlung, Köln
1995	Fineberg, Jonathan. Art Since 1940: Strategies of Being. Prentice Hall, Englewood Cliffs, New Jersey.
1994	Rosenblum, Naomi. A History of Women Photographers. Abbeville Press Publishers, Paris, London, New York.
1993	Photoplay, Works from the Chase Manhattan Collection, NY
1992	Photography in Contemporary German Art: 1960 To The Present, by Gary Garrels, Walker Art Center, Minneapolis, MN Adriani, Goetz. El Mundo Imaginado: Obras Sobre Papel del Arte Contemporaneo Aleman, Goethe-Institut, Madrid New Jersey Collects: Photograph. New Jersey Center for Visual Arts, Summit, New Jersey
1991	Typologies: Nine Contemporary Photographers, Newport Harbor Art Museum, Newport Beach, CA Art Since Mid-Century: 1945 to the Present, by Daniel Wheeler, The Vendome Press, New York Grundberg, Andy, Edmund Yankov. Departures. Photography 1923-1990, (exhibition catalogue), Independent Curators Incorporated, New York
1990	Blast Furnaces, The MIT Press, Cambridge, Mass., London, England Watertowers, The MIT Press, Cambridge, Mass., London, England Typologies, XLIV. Esposizione Internazionale D’Arte, La Biennale di Venezia 1990 German Photography: Documentation and Introspection, The Aldrich Museum of Contemporary Art, Ridgefield, CT Signs of Life: Process and Materials, 1960-1990, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA Assembled: Works of Art Using Photography as a Construction Element, The University Art Galleries, Wright State University, Dayton, OH
1989	Departures: Photography 1924-1989, Hirschl & Adler Modern, New York Sei Artists Tedeschi, Castello di Rivara, Rivara (Torino), Italy
1986	Bernd und Hilla Becher, Kamakura Gallery, Chuo-ku, Tokyo
1985	Fordertume Chevalements Mineheads, Museum Folkwang Essen, ARC/Musee d’Art Moderne de la Ville de Paris, Musee d’Art Moderne de la Ville de Liege, essays by Zdenek Felix(Museum Folkwang Essen) & Suzanne Page (Musee d’Art Moderne de la Ville de Paris, Paris)
1980	Explorations in the 70’s, Pittsburg Plan for Art, essay by Robert Rosenblum
1977	Frachwerkhauser Des Siegener Industriegebietes, Schirmer/Mosel, Munich
1970	Anonyme Skulpturen: Eine Typologie technischer Bauten, Art-Verlag Press, Dusseldorf

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