Candida Höfer (1944, Eberswalde, Germany) has been photographing both public and semi-public spaces in a style defined by an anachronistic approach since 1989. After studying at the Kölner Werkschule between 1964 and 1968, Candida Höfer attended the Kunstakademie in Düsseldorf (Germany), initially reading film with Ole John (1973-1976) and then photography with Bernard Becher (1976 -1982). Following in the tradition of the Düsseldorf School of photography, Candida Höfer has often captured images of waiting rooms, spa resorts, banks, churches, libraries, theaters and museums.
"I do my work. My work is my statement. Generally, I think, there is too much interest in what an artist has to say. Or what she or he looks like, instead of what she or he does."
These transitional spaces are also places where universal culture is accumulated, organized and conserved to an encyclopedic degree, and are photographed by the artist with a rigor and simplicity approaching minimalism.
Immediately recognizable, Candida Höfer’s photographs crystallize the peculiar inherent in places where often an illustrious history clashes with their present-day use. As in Spiegelkantine at Hamburg’s Museum für Kunst und Gewerbe, the lighting for these neutral shots comes solely from the natural light of the location. Spaces normally packed with visitors are shown devoid of human presence: all that remains are the outlines of these architectural products of culture or industry.