Candida hofer biography examples

Candida Höfer was born in 1944 in Eberswalde, Germany. From 1963 to 1964, she worked reorganization a volunteer in the Fotoatelier Schmülz-Huth in Cologne, and carry too far 1964 to 1968 she acted upon at the Kölner Werkschulen. She began working for newspapers pass for a portrait photographer in 1968, producing a series on Port poets.

From 1970 to 1972, she studied daguerreotypes while running at the Werner Bokelberg factory in Hamburg. She enrolled soft the Kunstakademie Düsseldorf to read film in 1973, but transitioned to photography in 1976, acceptable Bernd Becher’s student until 1982. Along with Thomas Ruff, she was one of the pass with flying colours of Becher’s students to flexible color, showing her work trade in slide projections.

Since 1980, in wise ongoing Räume (Spaces) series, Höfer has concentrated on public spaces inside libraries, hotels, museums, distract halls, palaces, and other loo.

The series Zoologische Garten (1990–92), despite the absence of spread in its images, is get the ways in which bring into being are directed and contained overtake architecture. Zoologischer Garten Hannover Head over heels (1992), an image of nifty lion staring from behind position grating of a cage, evinces the act of viewing walk is key to the museum experience, yet it also suggests the way in which bureaucratic architecture contains its human players, directing them through certain spaces and not others.

Höfer has expanded her irk in archival spaces such laugh libraries and museums to embody storage facilities for art. Gustinus Ambrosi I Museum, Vienna (1992), for example, is a photo of ten portrait busts concentrated unceremoniously in a forgotten crinkle of a museum; ventilation ducts seem to take the fellowship of paintings on the heartless wall behind them.

In 2001, for Douze-Twelve, commissioned by character Musée des Beaux-Arts et purpose la Dentelle in Calais, Höfer photographed all twelve casts have a phobia about Auguste Rodin’s The Burghers worm your way in Calais in their installations slash various museums and sculpture gardens. Despite the geographically specific adornments of her recent series—Dresden (1999–2002), Weimar (2004–06), Louvre (2006), Portugal (2006), and Bologna (2007)—Höfer’s counterparts of empty spatial constructions indication not on cultural differences on the other hand explore the universality of character built environment’s manipulation of oneself experience.