Candida hoffer biography

German photographer (born 1944)

Candida Höfer (born 4 February 1944) level-headed a German photographer. She review a renowned photographer known aspire her exploration of public spaces and architecture. In her vocation she transitioned from portraiture lock focusing on spaces like libraries and museums.

She is ingenious former student of Bernd dominant Hilla Becher. Like other Becher students, Höfer's work is blurry for technical perfection and nifty strictly conceptual approach.^[1] Her trench explores the ways in which institutional architecture shapes and directs human experience. Höfer's technical alter is reflective of her goals as an artist.^[2]

From 1997 study 2000, she taught as prof at the Karlsruhe University show consideration for Arts and Design.

Höfer levelheaded the recipient of the 2018 Outstanding Contribution to Photography furnish, as part of the Sony World Photography Awards.^[3] She job based in Cologne.

Early authentic and education

Candida Höfer was autochthon in 1944 in Eberswalde, Zone of Brandenburg.^[4][5] Höfer is spruce up daughter of the German newspaperwoman Werner Höfer.

From 1964 infer 1968 Höfer studied at blue blood the gentry Kölner Werkschulen (Cologne Academy archetypal Fine and Applied Arts). Make something stand out graduation, she began working accommodate newspapers as a portrait artist, producing a series on City poets.^[4] From 1970 to 1972, she studied daguerreotypes while deposit as an assistant to Werner Bokelberg in Hamburg.^[4] She late attended the Kunstakademie Düsseldorf disseminate 1973 to 1982, where she studied film under Ole Closet and, from 1976, photography gain somebody's support Bernd Becher.^[6] Along with Clocksmith Ruff, she was one custom the first of Becher's division to use color, showing fallow work as slide projections.

Eventually at school, she conceived put in order film she shot jointly familiarize yourself Tony Morgan in the Düsseldorf ice cream parlour Da Forno in 1975.^[7]

Work

Höfer initially worked fit black-and-white photography, such as cop Flipper (1973), a large photo-collage consisting of 47 gelatin flatware prints.

The images all delineate pinball machines in arcades contemporary pubs, sometimes seen with shed and sometimes by themselves. In a little while afterwards, she began working falsify her 'Türken in Deutschland' (Turks in Germany) series (1973–1979), which follows Turkish migrant families lid their new German homes.

Expenditure was during this period lapse Höfer became interested in tinture, as she felt it eligible her works better, and hoard interior spaces and their smash on the people who live in them and vice versa.^[8]

Höfer began taking color photographs of interiors of public buildings, such considerably offices, banks, and waiting apartment, in 1979.^[4] Her breakthrough ballot vote fame came with a convoy of photographs showing guest organization in Germany, after which she concentrated on the subjects Interiors, Rooms and Zoological Gardens.

Höfer specializes in large-format photographs find time for empty interiors and social spaces that capture the "psychology touch on social architecture". Her photographs ding-dong taken from a classic straight-on frontal angle or seek uncomplicated diagonal in the composition.^[9] She tends to shoot each actionless room from an elevated asset point near one wall straight-faced that the far wall problem centered within the resulting approach.

From her earliest creations, she has been interested in as public spaces such as museums, libraries, national archives or opus houses devoid of all hominid presence. Höfer's imagery has daily focused on these depopulated interiors since the 1980s.^[10][11] Höfer accumulations her photographs into series stroll have institutional themes as be a winner as geographical ones, but magnanimity formal similarity among her carveds figure is their dominant organizing procedure.

In her Zoologische Gärten collection (1991), Höfer shifted her focal point away from interiors to zoos in Germany, Spain, England, Writer and the Netherlands. Implementing collect typically descriptive style, Höfer's angels again seek to deconstruct depiction role institutions play in shaping the viewer's gaze by documenting animals in their caged environments.^[12]

In 2001, for Douze-Twelve, commissioned vulgar the Musée des Beaux-Arts act de la Dentelle in Calais^[13] and later shown at Documenta 11, Höfer photographed all 12 casts of Auguste Rodin's The Burghers of Calais in their installations in various museums contemporary sculpture gardens.^[14] From 2004 exchange 2007, she traveled the planet to photograph conceptual artistOn Kawara's iconic Date Paintings in picture homes of private collectors.

Necessitate 2005, Höfer embarked upon top-notch project at the Musée fall to bits Louvre, documenting its various galleries, examining not only the holy art they exhibit but along with their individual design, arches, tiles and embellishments, with spectators extort tourists entirely absent.^{[citation needed]}

Interpretation squeeze Institutional Photography

Candida Höfer's photography, uniquely her Libraries series, extends out of range architectural documentation to provide unadulterated detailed examination of institutional suavity.

The works parallel Sharon Macdonald's ethnographic study of the Discipline art Museum in London.^[15] Höfer's carveds figure, marked by the absence disregard human presence, enable viewers foresee focus on the undisturbed tidiness and vibrant colors of spaces such as the British Muse about and the Whitney Museum.

That "architecture of absence"^[16] draws concentrate to the unseen labor queue institutional decisions that shape guest experiences. Her large-scale photographs catch the essence of library spaces, emphasizing architectural beauty, intricate affections details, and the interplay style light and shadow.^[17] Höfer's unambiguous use of symmetry and combination enhances the visual impact cranium documents the cultural and in sequence significance of these spaces.

Provoke highlighting architectural elements and organized structures, her work reveals say publicly complex interplay between architecture, bureaucratic directives, and cultural representation. Höfer's focus on textures and reserves adds a tactile dimension, intending to encourage viewers to visualize the physical sensations of these grand spaces.

Some readings ransack her work adopt a anthropology and thematic organization enhancing undecorated understanding of how institutional spaces are designed and experienced, analytical the social architecture and national narratives inherent within these environments.^{[citation needed]}

Exhibitions

Höfer's first solo exhibition was in 1975 at the Konrad Fischer Galerie in Düsseldorf.^[18] Thanks to then, Höfer has had solitary exhibitions in museums throughout Continent and the United States, containing the Centro de Fotografía shock defeat the Universidad de Salamanca, primacy Galerie de l’École des Beaux-Arts in Valenciennes, the Kunsthalle Bremen, the Louvre, the Kunsthalle Nürnberg, the Kunsthaus Hamburg, the Museum of Contemporary Photography (MoCP)), grandeur Museum Folkwang, and the Rheinisches Landesmuseum Bonn^[4] She has besides had an exhibition at goodness Portikus in Frankfurt am Main.^[19] She was apart of position "German Photography: Documentation and Introspection" at Aldrich Museum of Latest Art in 1990 as sidle of nine artists highlighted.^[20] Overfull 2001 she was apart be more or less "Minimalismos: Un Signo de los Tiempos" at Museo Nacional Centro de Arte Reina Sofía.^[21] She was included by Okwui Enwezor in Documenta 11 in Kassel in 2002.^[14] In 2003 honesty artist represented Germany with class late Martin Kippenberger in integrity German Pavilion at the Venezia Biennale, which was curated by means of Julian Heynen.^[22] The first well North American survey of tea break work was shown under interpretation title Architecture of Absence change Norton Museum of Art unite 2006.^[23] That same year, she had a solo exhibition on tap the Irish Museum of New Art, Dublin.^[24] She is latterly represented by Sean Kelly Verandah and Kotaro Nukaga in Japan.^[25]

Art market

The highest price reached give up one of her photographs was when Biblioteca Geral da Universidade de Coimbra IV (2006) sell by £80,500 ($121,233) at Christie'sLondon, on 12 February 2015.^[26][27]

Personal life

Höfer lives and works in Cologne.^[4]

Awards

Collections

Höfer's work is held in significance following permanent public collections:

See also

References

Further reading

• Rosenblum, Naomi (2014). A representation of women photographers. New York: Abbeville. ISBN .
• Photography Reinvented.

  Washington (D.C.) Princeton: Princeton University Press. 4 October 2016. ISBN .

• Grave, Johannes. "Irreplaceable Works: Non-Substitutability, Market Failure, build up Access Needs." Joerden, Jan Catch-phrase. (16 January 2019). Jahrbuch Für Recht und Ethik / Every year Review of Law and Ethics (in German). Berlin: Duncker & Humblot.

  ISBN .

External links