Candida Höfer II
Candida Höfer II
| Contact | Aylin Kowalewsky |
|---|---|
| Edition | 50 |
| Technique | pigment-print |
| Passepartout | 46 × 60 cm |
| Image Size | 30 x 45 cm |
| Price | € 1.200 (incl. 7% VAT) |
| Details | signed and numbered, packed together with book 'Candida Höfer – Kunsthistorisches Institut Bonn' in bespoke box |
Candida Höfer (b. 1944, Eberswalde; lives and works in Cologne) studied in the first photography class of Bernd Becher at the Kunstakademie Düsseldorf, together with Andreas Gursky, Axel Hütte, Thomas Ruff and Thomas Struth. Her works have been exhibited 2002 at documenta 11 and in 2003 she represented Germany at the 50th Biennale di Venezia alongside Martin Kippenberger.
Books on Candida Höfer
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Candida Höfer
Kunsthistorisches Institut Bonn35€ Add to cartThe Kunsthistorisches Institut Bonn, Yesterday and Today
The imposing presence of architecture captured in the absence of humans: that is the defining characteristic of the photographs with which Candida Höfer (b. 1944, Eberswalde; lives and works in Cologne) has risen to international renown. In 1992, she captured the Kunsthistorisches Institut der Rheinischen Friedrich- Wilhelms-Universität Bonn in ten analogue black-and-white pictures that have not been on public display. In 2020, Höfer returned to the institute to take more pictures using a digital camera. The two series now make their public début in the institute’s halls and are gathered in this book. Undertaking a historically and aesthetically captivating comparison, Höfer probes the ways in which university life has changed over almost three decades.
Candida Höfer was a member of Bernd Becher’s inaugural photography class at the Kunstakademie Düsseldorf. Her works were shown at documenta 11 in 2002, and in 2003, she and Martin Kippenberger represented Germany at the 50th Biennale di Venezia.
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Candida Höfer
Editions 1987–202044€ Add to cartAll of Candida Höfer’s Editions in One Book
Candida Höfer’s (b. Eberswalde, 1944) shots of deserted libraries, opera houses, concert halls, churches, and museums have made her a member of the international photographic avant-garde. One strand in her acclaimed oeuvre are editions—photographic prints in small formats issued in larger numbers—that Höfer produces to support institutions and art publishers. Gathered for the first time in this book, with an introductory essay by Anne Ganteführer-Trier, the around one hundred such editions she created between 1987 and 2020 offer a representative cross-section of Candida Höfer’s art.
Candida Höfer studied in the first photography class of Bernd Becher at the Kunstakademie Düsseldorf. Her works have been exhibited at documenta 11 and in 2003 she represented Germany at the 50th Biennale di Venezia alongside Martin Kippenberger.
