European Photography, based in Berlin, is an independent art magazine for international contemporary photography and new media.Warren, L. (2005). Encyclopedia of Twentieth-Century Photography, 3-Volume Set. United States: Taylor & Francis, p.1211 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.“30 Years of European Photography.” Interview by Peter Kunitzky. Eikon, Vienna, no. 69, 2010 Each issue focused on one particular theme and also reported on international photo initiatives, exhibitions, and book publications.The History of European Photography. (2010). Austria: Central European House of Photography. 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.""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.In addition to presenting current photographic positions, 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.Fox, A., Caruana, N. (2012). Basics Creative Photography 03: Behind the Image: Research in Photography. Switzerland: Bloomsbury Academic.
In 1993, European Photography changed its publication frequency from quarterly to bi-annual,The History of European Photography. (2010). Austria: Central European House of Photography 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, 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."Visualism is a system of representation that seeks form within the visible world, rather than utilizing established codes or inventories.
Quite early, in a 1985 article by Joachim Schmid, and thereafter, the magazine confronted the implications of emerging digital photography and the developments in diversifying forms of new media art.Anne Arden McDonald, "Searching for a Sense of Wholeness", European Journal of Media, Art & Photography, 2021, Vol. 9, No. 1Ravanello, R. B. A fotografia digital expandida: do hibridismo às imagens sem referente. Discursos Fotográficos, 15(26), 64-84.
While initially focusing on young European photography, the journal soon turned to non-European developments as well, for example separately covering AustralianAnthony Clarke, "Showcase of the best in creative photography," The Age (Melbourne, Victoria, Australia) Wednesday 02 Oct 1985, p.14 and North American photography in two editions in 1985 (issues 23 and 24).Northwest Herald, WOODSTOCK, ILLINOIS, Monday, December 14, 1987, p.14 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).Photography from China: 1934-2008. (2008). United Kingdom: FotoFest, Incorporated.
Contributors In addition to the photographers and their work represented, and alongside Andreas Müller-Pohle, and Vilém Flusser,Lenot, M. (2017). Flusser and Photographers, Photographers and Flusser. Flusser Studies, 24.Flusser, V. (1983). Für eine Philosophie der Fotografie. Germany: European Photography. 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.Swinnen, J. (2003). European Guide 8, International guide'European Photography'. In European Guide 8, International guide 'European Photography'. European Photography.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. 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."European Photography Guide 8, ed. Vladimir Birgus and Lea Gryze (Göttingen: European Photography, 2003)
In 1983, European Photographys 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.Klaus Sander, "Flusser-Quellen. Eine kommentierte Bibliografie Vilém Flussers von 1960–2002," URL : http://s3.amazonaws.com/arena-attachments/1485097/d85714e287d539db39da46f0e5198b20.pdf"Andreas Müller-Pohle. Interview," in: Flusser Studies, no. 10, 2010, URL: https://eprints.soton.ac.uk/179859/1/photography-beyond.pdf 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.https://equivalence.com/edition-flusser/ Edition Flusser
Also in 1983, European Photography took over the magazine Print Letter,Horenstein, H., Hart, R. (1989). The Photographer's Source: A Complete Catalogue. United States: Simon & Schuster. which had been founded in 1976 by Marco Misani in Zurich and was aimed at galleries, museums, and collectors.Derek Bennett, "Interview with Marco Misani," in: European Photography, no. 13, 1983, p. 44. 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,Katz, B., Katz, W. A., Katz, L. S. (1992). Magazines for Libraries. United Kingdom: Bowker. and is recommended reading for photography and visual culture courses. Articles in the journal are frequently cited in theses,Rameder, A. (2016). Azadeh Akhlaghi's photograph series" By an eye Witness" in the context of staged photography in Tehran/Iran (Doctoral dissertation, uniwien). conference proceedings,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. journal articles,Albers, P., & Nowak, M. (1999). Lomography: Snapshot photography in the age of digital simulation. History of photography, 23(1), 101-104.Pagotto, M. B. (2018). The" Ecology of Information" in the Work of Brazilian Artist Rosângela Rennó. International Journal of the Image, 9(3).Von Amelunxen, H. (2001). Denis Roche. European photography: art magazine, 22(70), 14-23.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)Papavasileiou, I. G. (2020). The Post Readymade Photographed Object. International Journal of the Image, 11(2).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 bibliographies,Lewandowsky, M. (2012). Bibliografie. In Im Hinterhof des Realen (pp. 169-180). Wilhelm Fink. and books.Richter, G., Derrida, J., Fort, J. (2010). Copy, Archive, Signature: A Conversation on Photography. United States: Stanford University Press.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.
References
External links Official website