European Photography
EditorAndreas Müller-Pohle (1980–present)
CategoriesPhotography
New 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 was founded as a quarterly magazine in German and English in 1980.[2][3][4] Each issue focused on one particular theme and also reported on international photo initiatives, exhibitions, and book publications.[5] It drew on an international network of photographers, critics, and curators. Only the first few issues were restricted to European themes; according to editor/publisher Müller-Pohle, by 1985 at the latest;

"the magazine title had changed [...] from the literal to the metaphorical: Europe meaning transnationalism, pluralism, diversity."[6]

In addition to presenting current photographic positions,[7] 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][8]

In 1993, European Photography changed its publication frequency from quarterly to bi-annual,[9] 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,[10] 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."[7]

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.[7]

Quite early, in a 1985 article by Joachim Schmid,[11] and thereafter, the magazine confronted the implications of emerging digital photography and the developments in diversifying forms of new media art.[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:

The magazine draws on an international editorial network; Vladimír Birgus (Prague), A.D. Coleman (New York), Anthony Georgieff (Sofia), Gu Zheng (Shanghai) Johanna Hofleitner (Vienna), Ian Jeffrey (London), Gottfried Jäger (Bielefeld), Hans-Michael Koetzle, (Munich), Vaclav Macek (Bratislava), Chris Miller (Oxford), David Glenn Rinehart (San Francisco), Johan Swinnen (Antwerp), Christoph Tannert (Berlin)

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.[56][57] 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."[58]

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.[59][60] 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.[61]

Also in 1983, European Photography took over the magazine Print Letter,[62] which had been founded in 1976 by Marco Misani in Zurich and was aimed at galleries, museums, and collectors.[63] It was continued in European Photography until 1989 as a separate section of the magazine, last identified in the imprint in 1995.

Academic resource

European Photography is held in a number of university libraries internationally,[64][65] and is recommended reading for photography and visual culture courses.[66][67] Articles in the journal are frequently cited in theses,[68] conference proceedings,[69] journal articles,[70][71][72][73][74][75][76][7] bibliographies,[77][78][13] and books.[79][80]

References

  1. ↑ Warren, L. (2005). Encyclopedia of Twentieth-Century Photography, 3-Volume Set. United States: Taylor & Francis, p.1211
  2. ↑ "Reviewed work: European Photography Award 1991, EUROPEAN PHOTOGRAPHY". The Print Collector's Newsletter. 23 (5): 179. 1992. JSTOR 24554742.
  3. ↑ Veeder, Hillary B. (October 2015). "Histories of Periodical Literature of Art & Design 2015" (PDF). Art Libraries Society of North America. Retrieved 6 September 2021.
  4. ↑ “30 Years of European Photography.” Interview by Peter Kunitzky. Eikon, Vienna, no. 69, 2010
  5. ↑ The History of European Photography. (2010). Austria: Central European House of Photography.
  6. ↑ "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.
  7. 1 2 3 4 Gortázar, Paula (2019). "Toward an Emancipation of Photographic Vision: "Visualism" Under Czechoslovakian "Normalization" (1968–89)" (PDF). Photography and Culture. 12 (2): 151–170. doi:10.1080/17514517.2019.1596598. S2CID 201542092.
  8. ↑ Fox, A., Caruana, N. (2012). Basics Creative Photography 03: Behind the Image: Research in Photography. Switzerland: Bloomsbury Academic.
  9. ↑ The History of European Photography. (2010). Austria: Central European House of Photography
  10. ↑ Müller-Pohle, Andreas (1980). "Visualism". European Photography. No. 3. Göttingen. pp. 4–10.
  11. ↑ Schmid, Joachim (1985). "The Electronic Photographer is Coming". European Photography. No. 22. Göttingen. pp. 5–10.
  12. ↑ Edwards, Susan H. (1998). "Post-photographic Anxiety: Bit by bit". History of Photography. 22: 1–6. doi:10.1080/03087298.1998.10443910.
  13. 1 2 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.
  14. ↑ Anne Arden McDonald, "Searching for a Sense of Wholeness", European Journal of Media, Art & Photography, 2021, Vol. 9, No. 1
  15. ↑ Ravanello, R. B. A fotografia digital expandida: do hibridismo às imagens sem referente. Discursos Fotográficos, 15(26), 64-84.
  16. ↑ Anthony Clarke, "Showcase of the best in creative photography," The Age (Melbourne, Victoria, Australia) Wednesday 02 Oct 1985, p.14
  17. ↑ Northwest Herald, WOODSTOCK, ILLINOIS, Monday, December 14, 1987, p.14
  18. ↑ Photography from China: 1934-2008. (2008). United Kingdom: FotoFest, Incorporated.
  19. ↑ Lenot, M. (2017). Flusser and Photographers, Photographers and Flusser. Flusser Studies, 24.
  20. ↑ Flusser, V. (1983). Für eine Philosophie der Fotografie. Germany: European Photography.
  21. ↑ Levinson, Joel D; Bennett, Derek, (writer of essay.); Burden, Shirley, (writer of essay.); Gernsheim, Helmut, 1913-1995, (writer of essay.); Stoumen, Louis Clyde, (writer of essay.) (1984), Photographs, PM Publications, retrieved 26 June 2021{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  22. ↑ Berg, Ronald (2001). Die Ikone des Realen : zur Bestimmung der Photographie im Werk von Talbot, Benjamin und Barthes. München: Fink. ISBN 3-7705-3553-7. OCLC 48675465.
  23. ↑ Boetker-Smith, D., Grainger, K., Heron, F., Pontin, M., & Quay Arts Centre (Newport, Isle of Wight, England). (2006). Unravelling photography: Daniel Boetker-Smith, Karen Grainger, Fergus Heron, Matthew Pontin. Newport: Quay Arts
  24. ↑ Phantom Paradise. Hans Georg Berger - Hervé Guibert. Serindia, Chicago / Edition Salzgerber, Berlin 2019, ISBN 978-1-932476-93-4
  25. ↑ Revelations. The Thomas Herrendorf Collection, Edition Braus 2019, ISBN 978-3-86228-205-0
  26. ↑ Insight. Three journeys into the innermost world of Shiite Islam. Kehrer Verlag, Heidelberg 2017, ISBN 978-3-86828-818-6
  27. ↑ The leader's shadow. The photographer Walter Frentz between avant-garde and Obersalzberg. Edition Braus, Berlin 2017, ISBN 978-3-86228-158-9
  28. ↑ Colberg, Jörg M.; Pearce, Frazer; Foster, Caroline; Platen, Erwin; Brunino, Riccardo; Neyrinck, Mark; Basilakos, Spyros; Fairall, Anthony; Feldman, Hume; Gottlöber, Stefan; Hahn, Oliver (June 2008). "The Aspen–Amsterdam void finder comparison project". Monthly Notices of the Royal Astronomical Society. 387 (2): 933–944. arXiv:0803.0918. Bibcode:2008MNRAS.387..933C. doi:10.1111/j.1365-2966.2008.13307.x. hdl:20.500.11850/12428. ISSN 0035-8711. S2CID 16542934.
  29. ↑ Michael Wolf : Hong Kong assemblage deconstructed. Marc Feustel (Mentholated sandwich ed.). [Berlin, Germany]. 2015. ISBN 978-3-941825-89-5. OCLC 953488901.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  30. ↑ Musée d'Orsay (2013). Le musée d'Orsay : a 360-degree view. Guy Cogeval, Marc Feustel, Colette Taylor-Jones. Paris: Skira-Flammarion. ISBN 978-2-08-128626-9. OCLC 956386391.
  31. ↑ Photography in india : From archives to contemporary practice, Ava academia (published 2020), 6 February 2020, ISBN 978-1-350-14138-4
  32. ↑ Fontcuberta, J., Hakim, M., & Christof Kerber GmbH & Co. KG. (2021). Chuck Samuels: Devenir la photographie
  33. ↑ Foster, A., Newton, G., & Palmer, D. (2003). Photographica Australis: Asia tour. Paddington, NSW, Australia: Australian Centre for Photography.
  34. ↑ Gierstberg, F., & Bouvier, P. (2006). Dutch dare: Contemporary photography from the Netherlands. Rotterdam: NAi Publishers
  35. ↑ Draeger, Christoph (2003). Memories of terror from a safe distance. Katharina Ammann, Christoph Tannert, Kunstmuseum Solothurn. Frankfurt am Main: Revolver. ISBN 3-936919-60-7. OCLC 54512319.
  36. ↑ lSaxgren, Henrik; Kouwenhoven, Bill; Persons, Timothy; Kongelige Bibliotek (Denmark). Nationale Fotomuseum (2009), Henrik Saxgren : unintented sculptures, Hatje Cantz, ISBN 978-3-7757-2501-9
  37. ↑ Crespo, Carlos; Hug, Catherine; Kouwenhoven, Bill (2013), Badain Jaran : die vergessene Wüste = the forgotten desert, translated by Höfer, Sylvia; Michalski, Chris, Zürich, Schweiz Scheidegger & Spiess, ISBN 978-3-85881-382-4
  38. ↑ Israel, Yaakov (2012). The quest for the man on the white donkey. Bill Kouwenhoven. Amsterdam: Schilt. ISBN 978-90-5330-764-9. OCLC 758984668.
  39. ↑ Polte, Maren (2017). A class of their own : the Düsseldorf School of Photography. John R. J. Eyck. Leuven. ISBN 978-94-6270-104-5. OCLC 983824212.{{cite book}}: CS1 maint: location missing publisher (link)
  40. ↑ Polte, Maren (2012). Klasse Bilder die Fotografieästhetik der "Becher-Schule". Institut für Kunst- und Bildgeschichte der Humboldt-Universität zu Berlin. Berlin. ISBN 978-3-7861-2655-3. OCLC 778586501.{{cite book}}: CS1 maint: location missing publisher (link)
  41. ↑ Albert Renger-Patzsch : die Ruhrgebietsfotografien. Stefanie Grebe, Heinrich Theodor Grütter. Köln. 2018. ISBN 978-3-96098-452-8. OCLC 1050563585.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  42. ↑ Ho, O., & Para/Site yi shu kong jian. (2004). Mapping identities: The art and curating of Oscar Ho = Shen fen he zai : He Qingji de ce zhan gong zuo ji yi shu. Hong Kong: Para/Site Art Space Ltd.
  43. ↑ Honnef, Klaus (2019). Gerhard Richter. Simone Philippi, Karen Waloschek (English ed.). Cologne, Germany. ISBN 978-3-8365-7523-2. OCLC 1132230497.{{cite book}}: CS1 maint: location missing publisher (link)
  44. ↑ Koetzle, Hans-Michael (2020). László Moholy-Nagy. László Moholy-Nagy, David Sanchez. Munich, Germany. ISBN 978-3-7774-3403-2. OCLC 1157266891.{{cite book}}: CS1 maint: location missing publisher (link)
  45. ↑ Ren burri : An eye explosion, Univ of chicago press, 2020, ISBN 978-3-85881-845-4
  46. ↑ Koetzle, Hans-Michael, 1953-, (editor.) & Hock, author of added text., Sabine & Dr. Paul Wolff & Tritschler (Photography firm : Frankfurt am Main, Germany) & Ernst Leitz Museum (Wetzlar, Germany), (exhibition sponsor.) (2019). Dr. Paul Wolff & Tritschler : light and shadow : photographs from 1920 to 1950. Kehrer ; Wetzlar : Ernst Leitz Museum, Heidelberg
  47. ↑ Digital art neue Wege in der Kunst. Wolf Lieser, Tilman Baumgärtel. Potsdam. 2010. ISBN 978-3-8331-5344-0. OCLC 725032916.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  48. ↑ 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.
  49. ↑ 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)
  50. ↑ Prüst, M., Vaudrey, C., Dilg, B., Koenigsberg, A., & Neale, J. (2015). 3 minutes pour comprendre les 50 techniques et styles majeurs de la photographie. Paris: Le Courrier du livre.
  51. ↑ Schaden, M., Lezmi, F., PhotoBookMuseum., Schaden.com Foundation., & Krummer und Herman. (2014). The PhotoBookMuseum catalogue box. Dortmund: Verlag Kettler
  52. ↑ Rencontres africaines de la photographie, In Silva, B., In Byrd, A. I., Mali., & Institut français (Bamako, Mali),. (2015). Rencontres de Bamako: Biennale africaine de la photographie, 10ième édition.
  53. ↑ Ziegler, Ulf Erdmann (1992). Nicolaus Ott + Bernard Stein : vom Wort zum Bild und zurück = from word to image and back again. Nicolaus Ott, Bernard Stein. Berlin: Ernst & Sohn. ISBN 3-433-02346-8. OCLC 26141507.
  54. ↑ Die fotografische Familie : Jenö Gindl, Peter Hendricks, Reinhard Matz, Anne Noble. Ulf Erdmann Ziegler, Neuer Berliner Kunstverein. Frankfurt am Main: Revolver. 2005. ISBN 3-86588-188-2. OCLC 75849683.{{cite book}}: CS1 maint: others (link)
  55. ↑ Ziegler, Ulf Erdmann; Institut für Auslandsbeziehungen (Stuttgart, Germany) (2001), The world as one : photography from Germany after 1989, Institute for Foreign Cultural Relations, retrieved 26 June 2021
  56. ↑ Swinnen, J. (2003). European Guide 8, International guide'European Photography'. In European Guide 8, International guide 'European Photography'. European Photography.
  57. ↑ Matthews, D. (2005). professional organizations, photographers'. In The Oxford Companion to the Photograph. : Oxford University Press. Retrieved 21 Jun. 2021, from https://www.oxfordreference.com/view/10.1093/acref/9780198662716.001.0001/acref-9780198662716-e-1277.
  58. ↑ European Photography Guide 8, ed. Vladimir Birgus and Lea Gryze (Göttingen: European Photography, 2003)
  59. ↑ Klaus Sander, "Flusser-Quellen. Eine kommentierte Bibliografie Vilém Flussers von 1960–2002," URL : http://s3.amazonaws.com/arena-attachments/1485097/d85714e287d539db39da46f0e5198b20.pdf
  60. ↑ "Andreas Müller-Pohle. Interview," in: Flusser Studies, no. 10, 2010, URL: https://eprints.soton.ac.uk/179859/1/photography-beyond.pdf
  61. ↑ https://equivalence.com/edition-flusser/ Edition Flusser
  62. ↑ Horenstein, H., Hart, R. (1989). The Photographer's Source: A Complete Catalogue. United States: Simon & Schuster.
  63. ↑ Derek Bennett, "Interview with Marco Misani," in: European Photography, no. 13, 1983, p. 44.
  64. ↑ "European photography". European Photography. 1995. ISSN 0172-7028. OCLC 873969571.
  65. ↑ Katz, B., Katz, W. A., Katz, L. S. (1992). Magazines for Libraries. United Kingdom: Bowker.
  66. ↑ Sampson, Debra. "Research Guides: Photography: Periodicals and Ejournals". libguides.academyart.edu. Retrieved 2021-06-21.
  67. ↑ "The European Graduate School". The European Graduate School.
  68. ↑ Rameder, A. (2016). Azadeh Akhlaghi's photograph series" By an eye Witness" in the context of staged photography in Tehran/Iran (Doctoral dissertation, uniwien).
  69. ↑ ALEXANDER, R. C., & SMITH, D. K. ABBATE, Janet (1999) Inventing the Internet. Cambridge, Massachusetts, und London: MIT Press. ABRAMSON, Norman (1970) The ALOHA System–Another Alternative for Computer Communications. In: Proceedings of the Joint Spring Computer Conference, No. 36, S. 281-285. Culture, 6(2), 80-94.
  70. ↑ Albers, P., & Nowak, M. (1999). Lomography: Snapshot photography in the age of digital simulation. History of photography, 23(1), 101-104.
  71. ↑ Pagotto, M. B. (2018). The" Ecology of Information" in the Work of Brazilian Artist Rosângela Rennó. International Journal of the Image, 9(3).
  72. ↑ Von Amelunxen, H. (2001). Denis Roche. European photography: art magazine, 22(70), 14-23.
  73. ↑ Pagotto, M. B. (2010). Opacity and Re-Enchantment: Photographic Strategies in the Work of Rosângela Rennó (Doctoral dissertation, MA thesis, University of New South Wales)
  74. ↑ Papavasileiou, I. G. (2020). The Post Readymade Photographed Object. International Journal of the Image, 11(2).
  75. ↑ Amerika, M., Cubitt, S., Goto, J., Müller-Pohle, A., Najjar, M., Osthoff, S., ... & Zielinski, S. (2010). Photography and Beyond: On Vilém Flusser's Towards a Philosophy of Photography. Flusser Studies, 10, 1-24
  76. ↑ von Braun, Christina (2015). "Staged Authenticity". Gaze Regimes. Wits University Press. pp. 18–32. ISBN 9781868148561. JSTOR 10.18772/22015068561.8.
  77. ↑ Lewandowsky, M. (2012). Bibliografie. In Im Hinterhof des Realen (pp. 169-180). Wilhelm Fink.
  78. ↑ Gunti, Claus (2020). Digital Image Systems. Vol. 116. doi:10.14361/9783839439029. ISBN 9783839439029. S2CID 214415186.
  79. ↑ Richter, G., Derrida, J., Fort, J. (2010). Copy, Archive, Signature: A Conversation on Photography. United States: Stanford University Press.
  80. ↑ 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.
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