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10 January 2025
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Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
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Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
close
Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
close
Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
close
Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
close
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for more images
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Candida Höfer
German, born 1944
Universitätsbibliothek Hamburg, 2000
,
2002
Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
close
Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
close
Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
close
Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
close
Candida Höfer
Universitätsbibliothek Hamburg, 2000
, 2002
close
Contact the gallery
for more images
Zoom
Medium
Photographs, Prints and multiples, Two chromogenic prints on photo paper flush-mounted to forex board
Markings
Signed “H.C.” by the artist in black ink on a label affixed to the reverse
Price
Price on Request
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Caviar20
Toronto
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About this Artwork
Edition
Ed. of 25
Size Notes
24"H 24"W (each)
Movement
Contemporary Art, Düsseldorf School of Photography
Literature
Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 156-157 and pp. 382-382.
Image Rights
Published by Edition Schellmann
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Description
Candida Höfer is one of the most distinctive and influential late 20th century photographers.
As a student of Bernd and Hilla Becher, Höfer established her signature style in the late 1970's/early 1980's in Germany with her technically precise large-scale images of public spaces void of any visitors.
Along with her contemporaries, including Thomas Struth, she helped evolve a new genre of urban and institutional portraiture; creating images that were void of sentimentality or nationalism.
This diptych is a classic example of Höfer's work. The architectural and decorative details of this grand library, specifically the arches on each floor, create a pattern that approaches abstraction. Her photographs investigate the forms and structures of spaces, as well as their details. This approach leads her to very personal portraits of spaces.
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