Yet, in the relatively parochial European city of Düsseldorf, photography was being put to strange new uses. The primary reason for this was the fact that since the early 1960s the formidable weight of American art institutions – museums, universities, the New York art market – began to support photography in the same kind of way that it had supported Abstract Expressionism.” However, as Martin Parr explains in The Photobook: A History Volume I, “during the 1970s the focus of attention in photography shifted away from Europe to the United States. Visitors to Photo London, the British capital’s highly successful photo fair which takes place this week, may find it hard to imagine a time when the European art world did not prize photographic works. As reproduced in Art in Time A Movement in a Moment: The Düsseldorf Schoolįind out how a husband and wife’s photos of industrial buildings changed photography forever Water Towers (Wassertürme), 1980 by Bernd and Hilla Becher.
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