Candida Höfer - Editions 1987-2020 (MINT CONDITION, SHRINK-WRAPPED) - 2020

FANTASTIC PUBLICATION by Candida Höfer, born 1944, about her 'Special editions' between 1987 and 2020 -
in BRANDNEW CONDITION.

A fascinating overview of more than three decades of artistic work by renowned photographer Candida Höfer – featuring impressive photographs of public and private spaces around the world. This high-quality book brings together exclusive images from 1987 to 2020 and impressively documents Höfer's artistic development. An indispensable work for art lovers, photography collectors and anyone who is enthusiastic about visual spatial aesthetics.

Candida Höfer studied in Bernd Becher's first photography class at the Düsseldorf Art Academy (together with Andreas Gursky, Thomas Ruff, Thomas Struth, Axel Hütte, Tata Ronkholz and others). Her work was exhibited at documenta 11 in 2002, and she represented Germany alongside Martin Kippenberger at the 50th Venice Biennale in 2003.

New, mint, unread; still originally shrink-wrapped in publisher's plastic foil.
COLLECTOR'S COPY.

This is the LAST EXCLUSIVE BEST-OF-PHOTOBOOKS AUCTION by 5Uhr30.com, Cologne, Germany -
STARTING THIS YEAR.

Candida Höfer belongs to the international avant-garde of photography with her deserted photographs of libraries, opera houses, concert halls, churches and museums. Her well-known oeuvre also includes editions photo prints in modified formats and larger editions, which the artist produced to support institutions and publishers. Between 1987 and 2020, 105 editions were published, which are presented here for the first time in their entirety, complete with all production details. They form a representative cross-section of Candida Höfer's entire visual oeuvre.

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Dr. Cantz’sche Verlagsgesellschaft. 2020. First edition, first printing.

Hardcover (as issued). 210 x 260 mm. 260 pages. Photos: Candida Höfer. Design: Berlin Book Book. Edited and text: Anne Ganteführer-Trier. Text in English and German.

Great publication by Candida Höfer, famous student of the first Becher class - in perfect condition.

Bernhard 'Bernd' Becher (1931-2007), and Hilla Becher, born Wobeser (1934-2015), were German conceptual artists and photographers working as a collaborative duo. They are best known for their extensive series of photographic images, or typologies, of industrial buildings and structures, often organised in grids. As the founders of what has come to be known as the 'Becher school' or the "Düsseldorf School of Photography", they influenced generations of documentary photographers and artists in Germany and abroad. They were awarded the Erasmus Prize and the Hasselblad Award.

The Düsseldorf School of Photography refers to a group of photographers who studied at the Kunstakademie Düsseldorf in the mid 1970s under the influential photographers Bernd and Hilla Becher.
Known for their rigorous devotion to the 1920s German tradition of Neue Sachlichkeit (New Objectivity), the Bechers’ photographs were clear, black and white pictures of industrial archetypes (pitheads, water towers, coal bunkers).
Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff and Thomas Struth modified the approach of their teachers by applying new technical possibilities and a personal and contemporary vision, while retaining the documentary method their tutors propounded.

'Candida Höfer is a daughter of the German journalist Werner Höfer. From 1964 to 1968 Höfer studied at the Kölner Werkschulen (Cologne Academy of Fine and Applied Arts). After graduation, she began working for newspapers as a portrait photographer, producing a series on Liverpudlian poets. From 1970 to 1972, she studied daguerreotypes while working as an assistant to Werner Bokelber in Hamburg. She later attended the Kunstakademie Düsseldorf from 1973 to 1982, where she studied film under Ole John and, from 1976, photography under Bernd Becher. Along with Thomas Ruff, she was one of the first of Becher's students to use color, showing her work as slide projections. While at school, she conceived a film which she shot jointly with Tony Morgan in the Düsseldorf ice cream parlour Da Forno in 1975.
Höfer initially worked with black-and-white photography, such as with Flipper (1973), a large photo-collage consisting of 47 gelatin silver prints. The images all depict pinball machines in arcades and pubs, sometimes seen with players and sometimes by themselves. Shortly afterwards, she began working on her 'Türken in Deutschland' (Turks in Germany) series (1973–1979), which follows Turkish migrant families in their new German homes. It was during this period that Höfer became interested in colour, as she felt it suited her works better, and in interior spaces and their impact on the people who inhabit them and vice versa.
Höfer began taking color photographs of interiors of public buildings, such as offices, banks, and waiting rooms, in 1979. Her breakthrough to fame came with a series of photographs showing guest workers in Germany, after which she concentrated on the subjects Interiors, Rooms and Zoological Gardens. Höfer specialises in large-format photographs of empty interiors and social spaces that capture the 'psychology of social architecture'. Her photographs are taken from a classic straight-on frontal angle or seek a diagonal in the composition. She tends to shoot each actionless room from an elevated vantage point near one wall so that the far wall is centered within the resulting image. From her earliest creations, she has been interested in representing public spaces such as museums, libraries, national archives or opera houses devoid of all human presence. Höfer's imagery has consistently focused on these depopulated interiors since the 1980s. Höfer groups her photographs into series that have institutional themes as well as geographical ones, but the formal similarity among her images is their dominant organizing principle.
In her Zoologische Gärten series (1991), Höfer shifted her focus away from interiors to zoos in Germany, Spain, England, France and the Netherlands. Implementing her typically descriptive style, Höfer's images again seek to deconstruct the role institutions play in defining the viewer's gaze by documenting animals in their caged environments.
In 2001, for Douze-Twelve, commissioned by the Musée des Beaux-Arts et de la Dentelle in Calais 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 and sculpture gardens. From 2004 to 2007, she traveled the world to photograph conceptual artist On Kawara's iconic Date Paintings in the homes of private collectors. In 2005, Höfer embarked upon a project at the Musée du Louvre, documenting its various galleries, examining not only the sacred art they exhibit but also their individual design, arches, tiles and embellishments, with spectators and tourists entirely absent.
Höfer's first solo exhibition was in 1975 at the Konrad Fischer Galerie in Düsseldorf. Since then, Höfer has had solo exhibitions in museums throughout Europe and the United States, including the Centro de Fotografía at the Universidad de Salamanca, the 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)), the Museum Folkwang, and the Rheinisches Landesmuseum Bonn. She has also had an exhibition at the Portikus in Frankfurt am Main, She was included by Okwui Enwezor in Documenta 11 in Kassel in 2002. In 2003 the artist represented Germany with the late Martin Kippenberger in the German Pavilion at the Venice Biennale, which was curated by Julian Heynen. The first comprehensive North American survey of her work was shown under the title Architecture of Absence at Norton Museum of Art in 2006. That same year, she had a solo exhibition at the Irish Museum of Modern Art, Dublin. She is currently represented by Sean Kelly Gallery and Kotaro Nukaga in Japan.
The highest price reached by one of her photographs was when Biblioteca Geral da Universidade de Coimbra IV (2006) sold by 121.233 US Dollar at Christie's London, on 12 February 2015.'
(Wikipedia)