Tag Archives: Industrial Structures

The Bechers on Display at Paris Photo

The work of the photographic duo Bernd and Hilla Becher is indisputably some of the most important in modern photography. This week, a two-part exhibit at Paris Photo highlights the historical significance of the Bechers, most well known for their “typologies”—uniform, photographic studies of industrial structures such as water towers and blast furnaces.

The first part of the show, Bernd and Hilla Becher—Printed materials 1964-2012, features an extensive collection of rare ephemera related to the Bechers’ work. These objects, including posters, invitations and museum catalogues, were amassed by curator and book dealer Antoine de Beaupré for more than ten years.

“You get an historical overview,” said Beaupré. “and also an evolution of how their work developed over the years, especially in the beginning.”

One highlight of the collection is the magazine Anonyme Skulpturen which was printed in 1969 to accompany an exhibition of the Bechers’ work in Düsseldorf. This work would become a monograph of the same name, published in 1970, which is also featured in the Paris show.

The printed objects collected by Beupré represent the Bechers’ work from 1964 to 1977, while a presentation of their monographs, mounted under plexiglass and affixed to the gallery walls, span from 1970 to the present day.

The second section of the Paris show features a selection of 117 photographs chosen by Hilla Becher (Bernd Becher passed away in 2007) from the 1977 book Zeche Zollern II – Photographs of Bernd & Hilla Becher. Together, these prints, objects and publications are a comprehensive tribute to the Bechers’ long and prolific photographic career.


Antoine de Beaupré is a curator and the founder of the Librairie 213 in Paris.

Bernd and Hilla Becher—Printed materials 1964-2012 is on display at Paris Photo from Nov. 15 to 18.

Tom Paiva

Los Angeles photographer, Tom Paiva, often finds himself working in another reality, creating his photographs long after our heads have hit the pillow. Tom received his BFA from the San Francisco Academy of Art, and for the last 15 years has worked as a freelance photographer specializing in large format photography of industrial and maritime settings, as well as architecture and interiors. Tom is passionate about night photography and is a co-founder of The Nocturnes, an organization dedicated to night photography, and has recently started a blog that celebrates twilight and night photography. What I love about Tom’s work is that his night images elevate industrial structures to epic proportions, the same structures that seen during the day don’t get a second glance.

Tom has a new project, Closed Auto Dealerships, that shot at twilight bring a strange beauty to a sad subject.

Closed Auto Dealerships: Over the past year I have been working on this project of the closed auto dealerships in Los Angeles. Well over 3500 dealerships have closed nationwide, laying off an estimated 200,000 people. This presence is felt in these acres of empty asphalt and boarded up buildings.

This impact was an obvious indicator of the ailing economy and inspired me to take the project on and both document and try and capture that feeling of loss. It is particularly powerful when shot at night. While I was scouting and shooting this project, I thought about the people who worked there and the thriving businesses they once were.

Early on, I decided to shoot this project in 8×10, which gave me the discipline to really study the subject and be very deliberate about composition and lighting.

Jeff Mclane

I’ve been doing a lot of traveling lately and one of the treats of air travel is to fly into Los Angeles at night. Looking down on a metropolis of lights, spreading and sprawling into unlimited vistas is slightly mind blowing and makes one realize that the future is now. Los Angeles photographer, Jeff Mclane has captured a sense of that night time landscape focusing on communities surrounding the Port of Los Angeles, offering a glimpse of a terrain tightly bonded with the energy of the nearby industrial structures. Jeff will be sharing six of these large scale photographs in an exhibition, Effulgence, at the Angels Gate Cultural Center in San Pedro, CA opening on May 15 and running through August 14th, with an opening reception on May 15th from 1:20-4pm.

Born in Tulsa, Oklahoma in 1984, Mclane received a BFA from California Institute of the Arts. His work has appeared in such publications as The Collector’s Guide to New Art Photography Vol. 2 and Monocle magazine. In 2010, he was commissioned by the Humble Arts Foundation to produce work for Manual Transmission, which was exhibited in Brooklyn, New York and Miami, Florida. The series, Thirty six Medical Marijuana Storefronts is featured below. His project, Property Lines, was featured on LENSCRATCH in 2009.

The images from Effulgence offer a new perspective of the harbor communities, depicting how towns like San Pedro, Wilmington and Palos Verdes are tied to the visual landscape of the Port of Los Angeles. The generated light from the port, is a constant reminder of the solid presence of the industrial network, and becomes even more apparent during the night hours.

Images from Effulgence

Jeff offers familiar foreground objects such of street lights, residential homes & highway roads; all while being contained in an immense brilliance of commercial trade and industry. These indications of the power and resources surrounding the communities, give insight to how these communities maintain function, and therefore exist in their own active surroundings.

Thirtysix Medical Marijuana Storefronts, Los Angeles, CA was created with the support of Humble Art’s Manual Transmission exhibition.

The choice to photograph medical marijuana dispensaries presented itself as a very current condition of the city. It is a topic in the midst of both revolution and introduction. Legal marijuana now has physical spaces in the city, which give proof to the litigation, and eventual legalization of itself. Now part of the public community, this developing topic has justification, and perhaps (eventual) normalcy.

By choosing to photograph these spaces, I have access to a new landscape, which is photographically untouched. Framing this subject, and visually ordering the storefronts, is in a way an attempt to find order and control to this somewhat socially unrefined topic.