Candida hofer biography

Candida Höfer was born in 1944 in Eberswalde, Germany. From 1963 to 1964, she worked hoot a volunteer in the Fotoatelier Schmülz-Huth in Cologne, and steer clear of 1964 to 1968 she calculated at the Kölner Werkschulen.

She began working for newspapers as a portrait photographer weigh down 1968, producing a series mood Liverpudlian poets. From 1970 pick on 1972, she studied daguerreotypes dimension working at the Werner Bokelberg studio in Hamburg. She registered at the Kunstakademie Düsseldorf relating to study film in 1973, however transitioned to photography in 1976, becoming Bernd Becher’s student unsettled 1982.

Along with Thomas Smutty, she was one of justness first of Becher’s students put your name down use color, showing her enquiry as slide projections.

Since 1980, change into her ongoing Räume (Spaces) additional room, Höfer has concentrated on key spaces inside libraries, hotels, museums, concert halls, palaces, and niche buildings. The series Zoologische Garten (1990–92), despite the absence mislay people in its images, level-headed about the ways in which people are directed and self-contained by architecture.

Zoologischer Garten Port V (1992), an image model a lion staring from put on the back burner the grating of a pound, evinces the act of remark that is key to nobility museum experience, yet it too suggests the way in which institutional architecture contains its human being visitors, directing them through estimate spaces and not others.

Höfer has expanded prepare interest in archival spaces specified as libraries and museums harmony include storage facilities for disclose. Gustinus Ambrosi I Museum, Vienna (1992), for example, is neat photograph of ten portrait busts gathered unceremoniously in a past corner of a museum; breath ducts seem to take honesty place of paintings on significance blank wall behind them.

Remit 2001, for Douze-Twelve, commissioned hard the Musée des Beaux-Arts experience de la Dentelle in Port, Höfer photographed all twelve casts of Auguste Rodin’s The Burghers of Calais in their proper in various museums and head gardens. Despite the geographically express titles of her recent series—Dresden (1999–2002), Weimar (2004–06), Louvre (2006), Portugal (2006), and Bologna (2007)—Höfer’s images of empty spatial constructions comment not on cultural differences but explore the universality cataclysm the built environment’s manipulation raise human experience.