European Photography No. 93.
Edited by Andreas Muller-Pohle.
80 pp., illustrated throughout, 9½x11¾".
European Photography 93 featuring exciting works by nine contemporary artists: Frank Herfort, Marcus Koppen, Stephanie Potter Corwin, Eva Stenram, Alain Delorme, Diego Ehlers Fabro, Kerry Skarbakka, Andreas Meichsner, and Tom-Oliver Schneider.
Also in this issue:
Unmanned Photography, by Moritz Neumüller: 'Camera-bearing pigeons, satellites or webcams - the pictorial world of unmanned photography not only awakens the enthusiasm of secret service agents and the military, it is also of interest to artists. A brief survey of a very contemporary image trend.'
How Do We Look at Animals, by Damian Zimmermann: 'In 1980, John Berger raised the question, 'Why look at animals?' Thirty years later, the question that arises is how do we look at animals? A survey of seven current photography books.'
Here Comes the Digital Photobook!, by Markus Schaden: 'The e-book is conquering photography ? both for contemporary works and to revive lost works from times past. A subjective view of the current state of affairs.'
International Photography Museums, by Benjamin Füglister: 'Museums are places where collections are preserved. Soon after its invention photography was also being archived in museums around the world, but it was 1949 before the first photography museum was founded as an independent institution, the George Eastman House in Rochester. And it was almost another half a century before photography found its way on a broad scale into the world of museums. As the term museum is not protected, it is used to describe all kinds of activities. For the purposes of our research and our selection for the table on the right, we have taken the collection as our criterion and restricted our attention to institutions devoted exclusively or primarily to photography. Meanwhile, given the digital dematerialization of photography, it is to be expected that the classical photography museum with its collection of prints will become a rare phenomenon confronted with whole new concepts and strategies for crossmedia collections.'