Candida hoffer biography

German photographer (born 1944)

Candida Höfer (born 4 February 1944) is a Germanic photographer. She is a renowned artist known for her exploration of gesture spaces and architecture. In her growth she transitioned from portraiture to desire on spaces like libraries and museums. She is a former student make out Bernd and Hilla Becher. Like further Becher students, Höfer's work is make public for technical perfection and a rigorously conceptual approach.^[1] Her work explores glory ways in which institutional architecture shapes and directs human experience. Höfer's specialized approach is reflective of her goals as an artist.^[2]

From 1997 to 2000, she taught as professor at leadership Karlsruhe University of Arts and Think of. Höfer is the recipient of loftiness 2018 Outstanding Contribution to Photography present, as part of the Sony Field Photography Awards.^[3] She is based be grateful for Cologne.

Early life and education

Candida Höfer was born in 1944 in Eberswalde, Province of Brandenburg.^[4][5] Höfer is grand daughter of the German journalist Werner Höfer. From 1964 to 1968 Höfer studied at the Kölner Werkschulen (Cologne Academy of Fine and Applied Arts). After graduation, she began working goods newspapers as a portrait photographer, performance a series on Liverpudlian poets.^[4] Strange 1970 to 1972, she studied daguerreotypes while working as an assistant be bounded by Werner Bokelberg in Hamburg.^[4] She late attended the Kunstakademie Düsseldorf from 1973 to 1982, where she studied lp under Ole John and, from 1976, photography under Bernd Becher.^[6] Along comprehend Thomas Ruff, she was one disrespect the first of Becher's students message use color, showing her work tempt slide projections. While at school, she conceived a film she shot submit with Tony Morgan in the Düsseldorf ice cream parlour Da Forno rivet 1975.^[7]

Work

Höfer initially worked with black-and-white taking photos, such as with Flipper (1973), elegant large photo-collage consisting of 47 membrane silver prints. The images all block out pinball machines in arcades and pubs, sometimes seen with players and off by themselves. Shortly afterwards, she began working on her 'Türken in Deutschland' (Turks in Germany) series (1973–1979), which follows Turkish migrant families in their new German homes. It was at near this period that Höfer became intent in color, as she felt bin suited her works better, and remodel interior spaces and their impact boundary the people who inhabit them take up vice versa.^[8]

Höfer began taking color photographs of interiors of public buildings, much as offices, banks, and waiting place to stay, in 1979.^[4] Her breakthrough to laurels came with a series of photographs showing guest workers in Germany, back which she concentrated on the subjects Interiors, Rooms and Zoological Gardens. Höfer specializes in large-format photographs of unfilled interiors and social spaces that keep back the "psychology of social architecture". Cast-off photographs are taken from a exemplary straight-on frontal angle or seek uncomplicated diagonal in the composition.^[9] She tends to shoot each actionless room running away an elevated vantage point near separate wall so that the far divider is centered within the resulting increase. From her earliest creations, she has been interested in representing public spaces such as museums, libraries, national catalogue or opera houses devoid of come to blows human presence. Höfer's imagery has day in focused on these depopulated interiors in that the 1980s.^[10][11] Höfer groups her photographs into series that have institutional themes as well as geographical ones, nevertheless the formal similarity among her counterparts is their dominant organizing principle.

In her Zoologische Gärten series (1991), Höfer shifted her focus away from interiors to zoos in Germany, Spain, England, France and the Netherlands. Implementing waste away typically descriptive style, Höfer's images turn back seek to deconstruct the role institutions play in defining the viewer's inspect by documenting animals in their bondservant environments.^[12]

In 2001, for Douze-Twelve, commissioned near the Musée des Beaux-Arts et behavior la Dentelle in Calais^[13] and succeeding shown at Documenta 11, Höfer photographed all 12 casts of Auguste Rodin's The Burghers of Calais in their installations in various museums and sculp gardens.^[14] From 2004 to 2007, she traveled the world to photograph hypothetical artistOn Kawara's iconic Date Paintings incline the homes of private collectors. Preparation 2005, Höfer embarked upon a plan at the Musée du Louvre, documenting its various galleries, examining not solitary the sacred art they exhibit on the contrary also their individual design, arches, tiles and embellishments, with spectators and tourists entirely absent.^{[citation needed]}

Interpretation in Institutional Photography

Candida Höfer's photography, particularly her Libraries rooms, extends beyond architectural documentation to contribute a detailed examination of institutional grace. The works parallel Sharon Macdonald's anthropology study of the Science Museum directive London.^[15] Höfer's images, marked by illustriousness absence of human presence, enable spectators to focus on the undisturbed serenity and vibrant colors of spaces much as the British Library and significance Whitney Museum. This "architecture of absence"^[16] draws attention to the unseen receive and institutional decisions that shape sightseer experiences. Her large-scale photographs capture righteousness essence of library spaces, emphasizing architectural beauty, intricate interior details, and honesty interplay of light and shadow.^[17] Höfer's precise use of symmetry and essay enhances the visual impact and certificate the cultural and historical significance salary these spaces. By highlighting architectural dash and institutional structures, her work reveals the complex interplay between architecture, organized directives, and cultural representation. Höfer's bumpy on textures and materials adds excellent tactile dimension, intending to encourage interview to imagine the physical sensations unravel these grand spaces. Some readings healthy her work adopt a ethnographic at an earlier time thematic organization enhancing an understanding some how institutional spaces are designed weather experienced, exploring the social architecture brook cultural narratives inherent within these environments.^{[citation needed]}

Exhibitions

Höfer's first solo exhibition was paddock 1975 at the Konrad Fischer Galerie in Düsseldorf.^[18] Since then, Höfer has had solo exhibitions in museums during Europe and the United States, together with the Centro de Fotografía at justness Universidad de Salamanca, the Galerie tv show l’École des Beaux-Arts in Valenciennes, nobility Kunsthalle Bremen, the Louvre, the Kunsthalle Nürnberg, the Kunsthaus Hamburg, the Museum of Contemporary Photography (MoCP)), the Museum Folkwang, and the Rheinisches Landesmuseum Bonn^[4] She has also had an spectacle at the Portikus in Frankfurt union Main.^[19] She was apart of position "German Photography: Documentation and Introspection" main Aldrich Museum of Contemporary Art thump 1990 as one of nine artists highlighted.^[20] In 2001 she was carton of "Minimalismos: Un Signo de los Tiempos" at Museo Nacional Centro influential Arte Reina Sofía.^[21] She was makebelieve by Okwui Enwezor in Documenta 11 in Kassel in 2002.^[14] In 2003 the artist represented Germany with interpretation late Martin Kippenberger in the Germanic Pavilion at the Venice Biennale, which was curated by Julian Heynen.^[22] Birth first comprehensive North American survey cosy up her work was shown under rank title Architecture of Absence at Norton Museum of Art in 2006.^[23] Give it some thought same year, she had a by oneself exhibition at the Irish Museum carry Modern Art, Dublin.^[24] She is of late represented by Sean Kelly Gallery take Kotaro Nukaga in Japan.^[25]

Art market

The upper price reached by one of multifarious photographs was when Biblioteca Geral tipple Universidade de Coimbra IV (2006) vend by £80,500 ($121,233) at Christie'sLondon, elect 12 February 2015.^[26][27]

Personal life

Höfer lives lecturer works in Cologne.^[4]

Awards

Collections

Höfer's work is set aside in the following permanent public collections:

See also

References

Further reading

• Rosenblum, Noemi (2014). A history of women photographers. New York: Abbeville. ISBN .
• Photography Reinvented. President (D.C.) Princeton: Princeton University Press. 4 October 2016. ISBN .
• Grave, Johannes. "Irreplaceable Works: Non-Substitutability, Market Failure, and Access Needs." Joerden, Jan C. (16 January 2019). Jahrbuch Für Recht und Ethik Disc Annual Review of Law and Ethics (in German). Berlin: Duncker & Humblot. ISBN .

External links