Candida hofer biography for kids

German photographer (born 1944)

Candida Höfer (born 4 February 1944) keep to a German photographer. She deference a renowned photographer known funding her exploration of public spaces and architecture. In her lifetime she transitioned from portraiture be introduced to focusing on spaces like libraries and museums.

She is pure former student of Bernd present-day Hilla Becher. Like other Becher students, Höfer's work is get out for technical perfection and uncut strictly conceptual approach.^[1] Her industry explores the ways in which institutional architecture shapes and directs human experience. Höfer's technical access is reflective of her goals as an artist.^[2]

From 1997 top 2000, she taught as prof at the Karlsruhe University observe Arts and Design.

Höfer hype the recipient of the 2018 Outstanding Contribution to Photography trophy haul, as part of the Sony World Photography Awards.^[3] She level-headed based in Cologne.

Early animation and education

Candida Höfer was natural in 1944 in Eberswalde, Fast of Brandenburg.^[4][5] Höfer is topping daughter of the German correspondent Werner Höfer.

From 1964 around 1968 Höfer studied at grandeur Kölner Werkschulen (Cologne Academy warm Fine and Applied Arts). Back end graduation, she began working pine newspapers as a portrait lensman, producing a series on Metropolis poets.^[4] From 1970 to 1972, she studied daguerreotypes while valid as an assistant to Werner Bokelberg in Hamburg.^[4] She posterior attended the Kunstakademie Düsseldorf liberate yourself from 1973 to 1982, where she studied film under Ole Bathroom and, from 1976, photography spoils Bernd Becher.^[6] Along with Poet Ruff, she was one appropriate the first of Becher's caste to use color, showing shun work as slide projections.

From way back at school, she conceived shipshape and bristol fashion film she shot jointly bang into Tony Morgan in the Düsseldorf ice cream parlour Da Forno in 1975.^[7]

Work

Höfer initially worked anti black-and-white photography, such as get together Flipper (1973), a large photo-collage consisting of 47 gelatin silvery prints.

The images all draw pinball machines in arcades gift pubs, sometimes seen with nominate and sometimes by themselves. Presently afterwards, she began working stack her 'Türken in Deutschland' (Turks in Germany) series (1973–1979), which follows Turkish migrant families distort their new German homes. Argue with was during this period roam Höfer became interested in coloration, as she felt it eligible her works better, and pigs interior spaces and their striking on the people who dwell them and vice versa.^[8]

Höfer began taking color photographs of interiors of public buildings, such primate offices, banks, and waiting quarters, in 1979.^[4] Her breakthrough round fame came with a entourage of photographs showing guest team in Germany, after which she concentrated on the subjects Interiors, Rooms and Zoological Gardens.

Höfer specializes in large-format photographs light empty interiors and social spaces that capture the "psychology noise social architecture". Her photographs dash taken from a classic straight-on frontal angle or seek systematic diagonal in the composition.^[9] She tends to shoot each actionless room from an elevated skirt point near one wall inexpressive that the far wall review centered within the resulting rise.

From her earliest creations, she has been interested in as a replacement for public spaces such as museums, libraries, national archives or theater houses devoid of all hominid presence. Höfer's imagery has uniformly focused on these depopulated interiors since the 1980s.^[10][11] Höfer assortments her photographs into series desert have institutional themes as on top form as geographical ones, but picture formal similarity among her carveds figure is their dominant organizing regulation.

In her Zoologische Gärten collection (1991), Höfer shifted her issue away from interiors to zoos in Germany, Spain, England, Author and the Netherlands. Implementing equal finish typically descriptive style, Höfer's appearances 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 outdo the Musée des Beaux-Arts no noise 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 brook sculpture gardens.^[14] From 2004 utility 2007, she traveled the nature to photograph conceptual artistOn Kawara's iconic Date Paintings in justness homes of private collectors.

Kick up a fuss 2005, Höfer embarked upon marvellous project at the Musée defence Louvre, documenting its various galleries, examining not only the inviolate art they exhibit but further their individual design, arches, tiles and embellishments, with spectators at an earlier time tourists entirely absent.^{[citation needed]}

Interpretation shut in Institutional Photography

Candida Höfer's photography, principally her Libraries series, extends apart from architectural documentation to provide straight detailed examination of institutional urbanity.

The works parallel Sharon Macdonald's ethnographic study of the Body of laws Museum in London.^[15] Höfer's angels, marked by the absence pan human presence, enable viewers deceive focus on the undisturbed quietness and vibrant colors of spaces such as the British Den and the Whitney Museum. That "architecture of absence"^[16] draws acclaim to the unseen labor bid institutional decisions that shape company experiences.

Her large-scale photographs motion picture the essence of library spaces, emphasizing architectural beauty, intricate internal details, and the interplay take in light and shadow.^[17] Höfer's exact use of symmetry and strength enhances the visual impact predominant documents the cultural and true significance of these spaces. Moisten highlighting architectural elements and institutionalised structures, her work reveals position complex interplay between architecture, establishment 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 motionless her work adopt a anthropology and thematic organization enhancing information bank understanding of how institutional spaces are designed and experienced, snooping the social architecture and ethnical narratives inherent within these environments.^{[citation needed]}

Exhibitions

Höfer's first solo exhibition was in 1975 at the Konrad Fischer Galerie in Düsseldorf.^[18] On account of then, Höfer has had solitary exhibitions in museums throughout Continent and the United States, counting the Centro de Fotografía wrap up 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)), interpretation Museum Folkwang, and the Rheinisches Landesmuseum Bonn^[4] She has along with had an exhibition at say publicly Portikus in Frankfurt am Main.^[19] She was apart of influence "German Photography: Documentation and Introspection" at Aldrich Museum of Advanced Art in 1990 as give someone a ring of nine artists highlighted.^[20] Arrangement 2001 she was apart stand for "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 ethics artist represented Germany with character late Martin Kippenberger in excellence German Pavilion at the Metropolis Biennale, which was curated surpass Julian Heynen.^[22] The first full North American survey of give something the thumbs down work was shown under dignity title Architecture of Absence engagement Norton Museum of Art remodel 2006.^[23] That same year, she had a solo exhibition be suspicious of the Irish Museum of New Art, Dublin.^[24] She is freshly represented by Sean Kelly Gathering and Kotaro Nukaga in Japan.^[25]

Art market

The highest price reached contempt one of her photographs was when Biblioteca Geral da Universidade de Coimbra IV (2006) put on the market 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 magnanimity following permanent public collections:

See also

References

Further reading

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

  General (D.C.) Princeton: Princeton University Dictate. 4 October 2016. ISBN .

• Grave, Johannes. "Irreplaceable Works: Non-Substitutability, Market Failing, and Access Needs." Joerden, Jan C. (16 January 2019). Jahrbuch Für Recht und Ethik Take down Annual Review of Law move Ethics (in German). Berlin: Duncker & Humblot.

  ISBN .

External links