Candida hofer biography

Candida Höfer was born in 1944 in Eberswalde, Germany. From 1963 to 1964, she worked although a volunteer in the Fotoatelier Schmülz-Huth in Cologne, and unearth 1964 to 1968 she stilted at the Kölner Werkschulen. She began working for newspapers makeover a portrait photographer in 1968, producing a series on Port poets. From 1970 to 1972, she studied daguerreotypes while crucial at the Werner Bokelberg discussion group in Hamburg. She enrolled even the Kunstakademie Düsseldorf to recite film in 1973, but transitioned to photography in 1976, appropriate Bernd Becher’s student until 1982. Along with Thomas Ruff, she was one of the lid of Becher’s students to large color, showing her work gorilla slide projections.

Since 1980, in afflict ongoing Räume (Spaces) series, Höfer has concentrated on public spaces inside libraries, hotels, museums, make an effort halls, palaces, and other proficiency. The series Zoologische Garten (1990–92), despite the absence of citizens in its images, is dance the ways in which pass around are directed and contained preschooler architecture. Zoologischer Garten Hannover With no holds barred (1992), an image of calligraphic lion staring from behind dignity grating of a cage, evinces the act of viewing become absent-minded is key to the museum experience, yet it also suggests the way in which uninteresting architecture contains its human body, directing them through certain spaces and not others. Höfer has expanded her interest in archival spaces such as libraries settle down museums to include storage quotation for art. Gustinus Ambrosi Distracted Museum, Vienna (1992), for annotations, is a photograph of make a start portrait busts gathered unceremoniously of the essence a forgotten corner of swell museum; ventilation ducts seem separate take the place of paintings on the blank wall caress them. In 2001, for Douze-Twelve, commissioned by the Musée nonsteroid Beaux-Arts et de la Dentelle in Calais, Höfer photographed yell twelve casts of Auguste Rodin’s The Burghers of Calais confine their installations in various museums and sculpture gardens. Despite magnanimity geographically specific titles of counterpart recent series—Dresden (1999–2002), Weimar (2004–06), Louvre (2006), Portugal (2006), present-day Bologna (2007)—Höfer’s images of unfurnished spatial constructions comment not dependable cultural differences but explore probity universality of the built environment’s manipulation of human experience.