Candida Höfer’s photographs reveal her interest in documenting
collections of like things. Over the past twenty years, Höfer has
created a systematic visual study of details within public spaces such
as zoos, the interiors of office buildings, theaters, museums, and
library reading rooms. Höfer’s straightforward and detached style at
first seems clinical and purely documentary. Since the early 1980s
people have been noticeably absent from Hofer’s photographs. Instead,
she uses her camera to note repeated forms within public spaces such as
furniture, lighting fixtures, ceiling or floor tiles, chairs, and
tables, creating patterns and a sense of orderliness. Höfer also often
emphasizes the ironic by drawing the viewer’s attention to things out of
place. In Deutsche Bucherei Leipzig IX, the presence of
people is strongly implied by the empty desks and lights, as well as by
the books at the end of the room, evoking a sense of their purpose as
vehicles of collected human history and knowledge.
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