In 2014, Candida Höfer (b. Eberswalde, Germany, 1944; lives and works in Cologne) traveled to Mexico, visiting the eight cities Ciudad de Mexico, Guadalajara, Guanajuato, Oaxaca, Puebla, Tepotzotlan, Tlacochahuaya, and Tonantzintla, where she photographed old and new libraries, theaters and opera houses, churches and museums, poorhouses and palaces. Most of the pictures are organized by symmetry along a central axis, a characteristic feature of her art. If these works suggest her training with…
In 2014, Candida Höfer (b. Eberswalde, Germany, 1944; lives and works in Cologne) traveled to Mexico, visiting the eight cities Ciudad de Mexico, Guadalajara, Guanajuato, Oaxaca, Puebla, Tepotzotlan, Tlacochahuaya, and Tonantzintla, where she photographed old and new libraries, theaters and opera houses, churches and museums, poorhouses and palaces. Most of the pictures are organized by symmetry along a central axis, a characteristic feature of her art. If these works suggest her training with Hilla and Bernd Becher, who taught photography in Dusseldorf--she is now the bestknown of their students--others show a "new" Candida Höfer: oldfashioned offices, weatherbeaten walls, and simple stores as well as a few expertly captured details of facades, floors, and interiors. With an essay by the Mexican historian and economist Jose N. Iturriaga.
In 2014, Candida Höfer (b. Eberswalde, Germany, 1944; lives and works in Cologne) traveled to Mexico, visiting the eight cities Ciudad de Mexico, Guadalajara, Guanajuato, Oaxaca, Puebla, Tepotzotlan, Tlacochahuaya, and Tonantzintla, where she photographed old and new libraries, theaters and opera houses, churches and museums, poorhouses and palaces. Most of the pictures are organized by symmetry along a central axis, a characteristic feature of her art. If these works suggest her training with Hilla and Bernd Becher, who taught photography in Dusseldorf--she is now the bestknown of their students--others show a "new" Candida Höfer: oldfashioned offices, weatherbeaten walls, and simple stores as well as a few expertly captured details of facades, floors, and interiors. With an essay by the Mexican historian and economist Jose N. Iturriaga.
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