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* [[Joan Fontcuberta]]<ref>{{Citation | title=Photography in india : From archives to contemporary practice | date=6 February 2020 | publication-date=2020 | publisher=Ava academia | isbn=978-1-350-14138-4}}</ref><ref>Fontcuberta, J., Hakim, M., & Christof Kerber GmbH & Co. KG. (2021). Chuck Samuels: Devenir la photographie</ref>
* [[Joan Fontcuberta]]<ref>{{Citation | title=Photography in india : From archives to contemporary practice | date=6 February 2020 | publication-date=2020 | publisher=Ava academia | isbn=978-1-350-14138-4}}</ref><ref>Fontcuberta, J., Hakim, M., & Christof Kerber GmbH & Co. KG. (2021). Chuck Samuels: Devenir la photographie</ref>
* Markus Schaden<ref>Schaden, M., Lezmi, F., PhotoBookMuseum., Schaden.com Foundation., & Krummer und Herman. (2014). The PhotoBookMuseum catalogue box. Dortmund: Verlag Kettler</ref>
* Markus Schaden<ref>Schaden, M., Lezmi, F., PhotoBookMuseum., Schaden.com Foundation., & Krummer und Herman. (2014). The PhotoBookMuseum catalogue box. Dortmund: Verlag Kettler</ref>
* Derek Bennett<ref>{{Citation | author1=Levinson, Joel D | author2=Bennett, Derek, (writer of essay.) | author3=Burden, Shirley, (writer of essay.) | author4=Gernsheim, Helmut, 1913-1995, (writer of essay.) | author5=Stoumen, Louis Clyde, (writer of essay.) | title=Photographs | date=1984 | publisher=PM Publications | url=https://trove.nla.gov.au/work/12663083 | access-date=26 June 2021}}</ref>
* Klaus Honnef<ref>{{Cite book|url=https://www.worldcat.org/oclc/37293995|title=German photography 1870-1970 : power of a medium|date=1997|publisher=DuMont|others=Klaus Honnef, Rolf Sachsse, Karin Thomas, Volker Albus, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland|isbn=0-300-07172-8|location=[Cologne]|oclc=37293995}}</ref>
* [[Joachim Schmid]]
* Ulf Erdmann Ziegler<ref>{{Cite book|last=Ziegler|first=Ulf Erdmann|url=https://www.worldcat.org/oclc/26141507|title=Nicolaus Ott + Bernard Stein : vom Wort zum Bild und zurück = from word to image and back again|date=1992|publisher=Ernst & Sohn|others=Nicolaus Ott, Bernard Stein|isbn=3-433-02346-8|location=Berlin|oclc=26141507}}</ref><ref>{{Cite book|url=https://www.worldcat.org/oclc/75849683|title=Die fotografische Familie : Jenö Gindl, Peter Hendricks, Reinhard Matz, Anne Noble|date=2005|publisher=Revolver|others=Ulf Erdmann Ziegler, Neuer Berliner Kunstverein|isbn=3-86588-188-2|location=Frankfurt am Main|oclc=75849683}}</ref><ref>{{Citation | author1=Ziegler, Ulf Erdmann | author2=Institut für Auslandsbeziehungen (Stuttgart, Germany) | title=The world as one : photography from Germany after 1989 | date=2001 | publisher=Institute for Foreign Cultural Relations | url=https://trove.nla.gov.au/work/27284427 | access-date=26 June 2021}}</ref>
}}
}}


Revision as of 00:39, 26 June 2021

European Photography
EditorAndreas Müller-Pohle (1980–present)
CategoriesPhotographyNew media art
Frequency2×/year
Format80 pages, 240 x 300 mm (11 4/5″ x 9 1/2″), sewn binding
PublisherAndreas Müller-Pohle
FounderAndreas Müller-Pohle
Founded1980
First issue1 January 1980
CompanyEuropean Photography
CountryGermany
Based inBerlin
LanguageEnglish/German
Websiteequivalence.com
ISSN0172-7028
OCLC873969571

European Photography, based in Berlin, is an independent art magazine for international contemporary photography and new media.[1] It was founded in 1980 and is published by the German artist Andreas Müller-Pohle.

History

European Photography first appeared in 1980 as a quarterly magazine in German and English.[2] Each issue focused on one particular theme and also reported on international photo initiatives, exhibitions, and book publications.[3] It drew on an international network of photographers, critics, and curators. Only the first few issues were restricted to European themes; according to Müller-Pohle, by 1985 at the latest;

"the magazine title had changed [...] from the literal to the metaphorical: Europe meaning transnationalism, pluralism, diversity."[4]

In addition to presenting current photographic positions,[5] the magazine has played a decisive role in the theoretical and programmatic debate on the medium of photography and has had a lasting influence on this.[2][6]

In 1993, European Photography changed its publication frequency from quarterly to bi-annual,[7] with a new format (24 x 30 cm) and page count (84).

In 2004, the publishing house moved from Göttingen to Berlin.

Ethos

European Photography contributed significantly to the theoretical debate about photography and new media and published programmatic texts early on, for example on Visualism,[8] which as Paula Gortazar explains

"...was not only the title of the article but also the name of the theory it presented. Having emerged on the western side of the Iron Curtain, the theory of Visualism challenged Cold War ideologies...and, coupled with his own practice, was the result of a vindication of authenticity, a response to an overdose of imagery charged with capitalist ideology."[9]

Rather than accepting a system of given codes and providing a mere inventory of the world, Visualism embraces all possibilities of representation to achieve a genuine search of the visible world for pure form under layers of imposed connotations and artificiality.[9]

Quite early, the magazine confronted the implications of emerging digital photography.[10][11][12][13][14][15]

While initially focusing on young European photography, the journal soon turned to non-European developments as well, for example separately covering Australian[16] and North American photography in two editions in 1985 (issues 23 and 24).[17] In the years that followed, the magazine regularly featured photographers and artists from Asia, Latin America and the African continent, including, for example, thematic editions on contemporary photography in Japan or China (issues 61 and 76).[18]

Contributors

In addition to the photographers and their work represented, and alongside Andreas Müller-Pohle, and Vilém Flusser.[19][20] important authors have included:

Allied publications

In addition to the periodical, European Photography has produced book-form publications.

In 1982, the European Photo Galleries Guide was released, of which seven further updated and successively expanded editions under the title European Photography Guide followed through 2003.[59][60] The editors described the eighth and final edition – the collaborative effort of over forty correspondents in thirty-four countries – as "the most comprehensive reference work on the photography-and-art scene in Europe ever published."[61]

In 1983, European Photography's first theoretical book publication was the essay Für eine Philosophie der Fotografie by the media and cultural philosopher Vilém Flusser, whom Andreas Müller-Pohle had met two years earlier at a symposium in Düsseldorf and who subsequently became a regular columnist for the magazine.[62][63] An English translation was published in 1984 under the title Towards a Philosophy of Photography. Flusser's collaboration with European Photography continued on various levels until his death in 1991, most importantly as a columnist for the magazine ("Reflections") and as author of the ten-volume Edition Flusser published by Müller-Pohle.[64]

Also in 1983, European Photography took over the magazine Print Letter,[65] which had been founded in 1976 by Marco Misani in Zurich and was aimed at galleries, museums, and collectors.[66] It was continued in European Photography until 1989 as a separate section of the magazine, last identified in the imprint in 1995.

Issues

The photography and writing in each issue usually shares, or is organised around, a theme expounded in an introductory essay or essays. In addition are reviews of relevant books and notices of exhibitions.

  • Series –Cycle –Sequence –Tableau (No. 1, 1980)
  • Contemporary Trends I: Visualism (No. 3, 1980)
  • Contemporary Trends II: Conceptual Photography (No. 4, 1980)
  • Contemporary Trends III: Documentary Photography (No. 6, 1981)
  • Immigrants (No. 8, 1981)
  • Edited by… (No. 18, 1984)
  • Photography: Today⁄Tomorrow I (No. 21, 1985)
  • Photography: Today⁄Tomorrow II (No. 22, 1985)
  • Narrative in North America (No. 24, 1985)
  • Dutch Staged Photography (No. 31, 1987)
  • Ten Years Later (No. 40, 1989)
  • Deutschfoto (Ost) (No. 46, 1991)
  • Vilém Flusser Issue (No. 50, 1992)
  • Artist’s Cookbook (No. 62, 1997)
  • goEurope: The Kaleidoscopic Eye (No. 68, 2000)
  • Photography and Water (No. 75, 2004)
  • Photography in China (No. 76, 2004)
  • Reality Crossings (No. 82, vol. 28, issue 2, winter 2007/2008)
  • Mixed Issue: Portfolios (No. 83, vol. 29, issue 1, summer 2008)
  • Mixed Issue: The Gursky Phenomenon (No. 84, vol. 29, issue 2, winter 2008/2009)
  • Thirtieth Anniversary Issue (No. 85/86, vol. 30, double issue, 2009)
  • Contemporary U.S. Photography (No. 87, 2010)
  • Net Photography (No. 88, 2010)
  • Google: The New Photo Machine (No. 89, vol. 32, issue 1, summer 2011)
  • Photography and Privacy (No. 90, vol. 32, issue 2, winter 2011/2012)
  • Investigative Photography (No. 91, vol. 33, issue 1, summer 2012)
  • Photography's Reinvention (No. 92, vol. 33, issue 2, winter 2012/2013)
  • Mixed Issue: Unmanned Photography (No. 93, vol. 34, issue 1, summer 2013)
  • Retro-Photography (No. 94, vol. 34, issue 2, winter 2013/2014)
  • Mixed Issue (No. 95, vol. 35, issue 1, summer 2014)
  • Nominations Issue (No. 96, vol. 35, issue 2, winter 2014/2015)
  • The Photographic Figure (No. 97, vol. 36, issue 1, summer 2015)
  • Urbanics – Urban Photography (No. 98, vol. 36, issue 2, winter 2015/2016)
  • Why Hong Kong? (No. 99, vol. 37, issue 1, summer 2016)
  • Talking Photography – 100 Pictures that Tell a Story (No. 100, vol. 37, issue 2, winter 2016/2017)
  • FemGaze: Women on Women (No. 101, vol. 38, issue 1, summer 2017)
  • Extreme: Risk Made Visible (No. 102, vol. 38, issue 2, winter 2017/2018)
  • Photo-Phenomenology: Points of View (No. 103, vol. 39, issue 1, summer 2018)
  • Travel: The Outside Perspective (No. 104, vol. 39, issue 2, winter 2018/2019)
  • Fortieth Anniversary Issue (No. 105, vol. 40, issue 1, summer 2019)
  • The Environmental Issue (No. 106, vol. 40, issue 2, winter 2019/2020)
  • Ideologies (No. 109, vol. 41, issue 1, summer 2021)

Academic resource

European Photography is held in a number of university libraries internationally,[67][68] and is recommended reading for photography and visual culture courses.[69][70] Articles in the journal are frequently cited in theses,[71] conference proceedings,[72] journal articles,[73][74][75][76][77][78][79][9] bibliographies,[80][81][12] and books.[82][83]

References

  1. ^ Warren, L. (2005). Encyclopedia of Twentieth-Century Photography, 3-Volume Set. United States: Taylor & Francis, p.1211
  2. ^ The Print Collector's Newsletter, 23(5), 179-179. (1992). Retrieved June 21, 2021, from http://www.jstor.org.wikipedialibrary.idm.oclc.org/stable/24554742
  3. ^ The History of European Photography. (2010). Austria: Central European House of Photography.
  4. ^ "Art and Publishing – European Photography's Anniversary. Hans-Michael Koetzle in Conversation with Andreas Müller-Pohle," in: European Photography, nos. 85/86, spring/summer 2009, p.76.
  5. ^ Paula Gortázar (2019) Toward an Emancipation of Photographic Vision: “Visualism” Under Czechoslovakian “Normalization” (1968–89), Photography and Culture, 12:2, 151-170, DOI: 10.1080/17514517.2019.1596598
  6. ^ Fox, A., Caruana, N. (2012). Basics Creative Photography 03: Behind the Image: Research in Photography. Switzerland: Bloomsbury Academic.
  7. ^ The History of European Photography. (2010). Austria: Central European House of Photography
  8. ^ Müller-Pohle, Andreas (1980). "Visualism". European Photography. No. 3. Göttingen. pp. 4–10.
  9. ^ a b c Paula Gortázar (2019) Toward an Emancipation of Photographic Vision: “Visualism” Under Czechoslovakian “Normalization” (1968–89), Photography and Culture, 12:2, 151-170, DOI: 10.1080/17514517.2019.1596598
  10. ^ Schmid, Joachim (1985). "The Electronic Photographer is Coming". European Photography. No. 22. Göttingen. pp. 5–10.
  11. ^ Susan H. Edwards (1998) Post-photographic Anxiety: Bit by bit, History of Photography, 22:1, 1-6, DOI: 10.1080/03087298.1998.10443910
  12. ^ a b Kusnerz, Peggy Ann (March 1998). "Digital photography in print: A select bibliography". History of Photography. 22 (1): 27–30. doi:10.1080/03087298.1998.10443914. ISSN 0308-7298.
  13. ^ Susan H. Edwards (1998) Post-photographic Anxiety: Bit by bit, History of Photography, 22:1, 1-6, DOI: 10.1080/03087298.1998.10443910
  14. ^ Anne Arden McDonald, "Searching for a Sense of Wholeness", European Journal of Media, Art & Photography, 2021, Vol. 9, No. 1
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  37. ^ Irrgang, Daniel (2017). Vom Umkehren der Bedeutungsvektoren : Prototypen des technischen Bildes bei Vilém Flusser. Marcel René Marburger, Siegfried Zielinski, Vilém Flusser Archiv. Köln: Verlag der Buchhandlung Walther König. ISBN 978-3-86335-687-3. OCLC 1011342964.
  38. ^ Design (&) activism : perspectives on design as activism and activism as design. Tobias Bieling. [Italy]. 2019. ISBN 978-88-6977-241-2. OCLC 1143633465.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
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  83. ^ Filmmuseum, S. Appelt, Christian (1998):» Film und Computer. Alchemie und Silikon «. In: Film & Computer. Herausgegeben von Hilmar Hofmann, Walter Schobert und Barbara Geis, Frankfurt am Main: Deutsches Filmmuseum, S. 32-59. Appelt, Christian (2005):» Es bewegt sich! Techniken der Filmanimati.

External links

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