Evelyn Hofer, née en 1922 à Marburg (Allemagne), a aujourd'hui sa place dans l'histoire de la photographie, longtemps réservée au sexe masculin. Comme son compatriote August Sander (1876-1964), témoin de son temps, Hofer ne cherche pas à momifier ses modèles, mais elle a ce grain de fantaisie qui donne à ses images, portraits comme paysages, un petit truc en plumes. Ainsi sa série Just Married, galerie de sourires nuptiaux (New York, 1974), ces camionneurs au repos (Londres, 1962) ou ces grands dadais en short qui portent beau face à l'objectif (Dublin, 1966). Ce sont eux, ces footballeurs du dimanche, qui font la couverture de cette monographie captivante, où tout est bon à voir, y compris, chose si rare, un design raffiné (couleur, mise en page, etc.), en osmose avec celle qui a réussi à saisir à l'arrêt la voiture du président des Etats-Unis, longue comme deux corbillards (Washington, 1965).
This summer the Museum Villa Stuck presents a comprehensive retrospective of the photographer Evelyn Hofer (1922–2009). Including a selection of about 200 works, the exhibition highlights both Hofer’s well-known photographs and her lesser-known works. For the first time in Germany, Hofer’s complete œuvre will be on view, as works from all stages of her career are presented with a special focus on the photo essays for magazines. Close cooperation with the Estate of Evelyn Hofer made it possible for us to examine all photographs and archival material, allowing us to conduct extensive research at the Museum Villa Stuck over the past years.
© Evelyn Hofer
The Museum Villa Stuck has repeatedly focused on the work of internationally renowned women photographers, as, for example, Gre...
We are presenting, for the first time in this combination, works by renowned photographers Saul Leiter (*1923 Pittsburgh, Pennsylvania), Evelyn Hofer (*1922 Marburg a. d. Lahn - †2009 Mexico City) and Raghubir Singh (*1942 Jaipur, Indien - †1999 New York, USA). On display will be three early positions and perspectives of color photography – an american, european and indian view of the world united by the combined efforts for early color photography.
"What could be more natural, more ordinary than a color photograph? No one cared, of course, about the color picture in your wallet; it was the color photograph appearing on the wall of a gallery or art museum that caused the stir".
Kevin Moore in Starburst: Color Photography in America 1970 – 1980
Until the second half of th...