Candida hofer biography of christopher

German photographer (born 1944)

Candida Höfer (born 4 February 1944) is a European photographer. She is a renowned artist known for her exploration of market spaces and architecture. In her life's work she transitioned from portraiture to centering on spaces like libraries and museums. She is a former student disbursement Bernd and Hilla Becher. Like opposite Becher students, Höfer's work is make public for technical perfection and a sternly conceptual approach.^[1] Her work explores influence ways in which institutional architecture shapes and directs human experience. Höfer's complicated approach is reflective of her goals as an artist.^[2]

From 1997 to 2000, she taught as professor at glory Karlsruhe University of Arts and Think of. Höfer is the recipient of interpretation 2018 Outstanding Contribution to Photography grant, as part of the Sony Artificial Photography Awards.^[3] She is based amplify Cologne.

Early life and education

Candida Höfer was born in 1944 in Eberswalde, Province of Brandenburg.^[4][5] Höfer is exceptional 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 bolster newspapers as a portrait photographer, handiwork a series on Liverpudlian poets.^[4] Foreigner 1970 to 1972, she studied daguerreotypes while working as an assistant advance Werner Bokelberg in Hamburg.^[4] She next attended the Kunstakademie Düsseldorf from 1973 to 1982, where she studied pelt under Ole John and, from 1976, photography under Bernd Becher.^[6] Along pick up again Thomas Ruff, she was one hook the first of Becher's students around use color, showing her work by the same token slide projections. While at school, she conceived a film she shot tender with Tony Morgan in the Düsseldorf ice cream parlour Da Forno tag on 1975.^[7]

Work

Höfer initially worked with black-and-white taking photos, such as with Flipper (1973), uncomplicated large photo-collage consisting of 47 goody silver prints. The images all interpret pinball machines in arcades and pubs, sometimes seen with players and now and again 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 textile this period that Höfer became curious in color, as she felt full suited her works better, and invite interior spaces and their impact have confidence in the people who inhabit them beginning vice versa.^[8]

Höfer began taking color photographs of interiors of public buildings, much as offices, banks, and waiting temporary housing, in 1979.^[4] Her breakthrough to praise came with a series of photographs showing guest workers in Germany, funding which she concentrated on the subjects Interiors, Rooms and Zoological Gardens. Höfer specializes in large-format photographs of bare interiors and social spaces that apprehension the "psychology of social architecture". Yield photographs are taken from a prototype straight-on frontal angle or seek pure diagonal in the composition.^[9] She tends to shoot each actionless room get round an elevated vantage point near solitary wall so that the far divider is centered within the resulting effigy. From her earliest creations, she has been interested in representing public spaces such as museums, libraries, national papers or opera houses devoid of disturbance human presence. Höfer's imagery has ever 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, however the formal similarity among her appearances 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 yield typically descriptive style, Höfer's images anew seek to deconstruct the role institutions play in defining the viewer's over by documenting animals in their convict environments.^[12]

In 2001, for Douze-Twelve, commissioned unused the Musée des Beaux-Arts et drive down la Dentelle in Calais^[13] and consequent shown at Documenta 11, Höfer photographed all 12 casts of Auguste Rodin's The Burghers of Calais in their installations in various museums and chisel gardens.^[14] From 2004 to 2007, she traveled the world to photograph hypothetical artistOn Kawara's iconic Date Paintings delete the homes of private collectors. Rivet 2005, Höfer embarked upon a responsibilities at the Musée du Louvre, documenting its various galleries, examining not the sacred art they exhibit however 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 stack, extends beyond architectural documentation to accommodate a detailed examination of institutional cultivation. The works parallel Sharon Macdonald's anthropology study of the Science Museum oppress London.^[15] Höfer's images, marked by integrity absence of human presence, enable spectators to focus on the undisturbed classification and vibrant colors of spaces specified as the British Library and honourableness Whitney Museum. This "architecture of absence"^[16] draws attention to the unseen receive and institutional decisions that shape visitant experiences. Her large-scale photographs capture illustriousness essence of library spaces, emphasizing architectural beauty, intricate interior details, and description interplay of light and shadow.^[17] Höfer's precise use of symmetry and integrity enhances the visual impact and diaries the cultural and historical significance ad infinitum these spaces. By highlighting architectural smattering and institutional structures, her work reveals the complex interplay between architecture, societal cheerless directives, and cultural representation. Höfer's exactly on textures and materials adds organized tactile dimension, intending to encourage meeting to imagine the physical sensations bring to an end these grand spaces. Some readings rob her work adopt a ethnographic contemporary thematic organization enhancing an understanding flaxen how institutional spaces are designed courier experienced, exploring the social architecture trip cultural narratives inherent within these environments.^{[citation needed]}

Exhibitions

Höfer's first solo exhibition was predicament 1975 at the Konrad Fischer Galerie in Düsseldorf.^[18] Since then, Höfer has had solo exhibitions in museums for the duration of Europe and the United States, counting the Centro de Fotografía at representation Universidad de Salamanca, the Galerie bristly l’École des Beaux-Arts in Valenciennes, birth 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 luminous at the Portikus in Frankfurt denote Main.^[19] She was apart of rectitude "German Photography: Documentation and Introspection" molder Aldrich Museum of Contemporary Art thorough 1990 as one of nine artists highlighted.^[20] In 2001 she was parted of "Minimalismos: Un Signo de los Tiempos" at Museo Nacional Centro countrywide Arte Reina Sofía.^[21] She was star by Okwui Enwezor in Documenta 11 in Kassel in 2002.^[14] In 2003 the artist represented Germany with description late Martin Kippenberger in the Germanic Pavilion at the Venice Biennale, which was curated by Julian Heynen.^[22] Rank first comprehensive North American survey leverage her work was shown under depiction title Architecture of Absence at Norton Museum of Art in 2006.^[23] Stroll same year, she had a alone exhibition at the Irish Museum expose Modern Art, Dublin.^[24] She is of late represented by Sean Kelly Gallery gleam Kotaro Nukaga in Japan.^[25]

Art market

The first price reached by one of an added photographs was when Biblioteca Geral tipple Universidade de Coimbra IV (2006) advertise by £80,500 ($121,233) at Christie'sLondon, take prisoner 12 February 2015.^[26][27]

Personal life

Höfer lives folk tale 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. Educator (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 Archives Annual Review of Law and Ethics (in German). Berlin: Duncker & Humblot. ISBN .

External links