European Photography 87 offers a fresh view of contemporary U.S. photography, featuring new work by Nicole Belle, Emilio Chapela, Tim Davis, Myra Greene, Todd Hido, Whitney Hubbs, Erika Larsen, Matt Lipps, Richard Mosse, Laurel Nakadate, Michael Schmelling, Paul Shambroom, Will Steacy, Greg Stimac, Hank Willis Thomas, and Brian Ulrich.
"Given what has happened in the world since 1989," writes co-editor Wendy Watriss in her introductory essay, "and the ensuing crises that have shaken the United States, it is an appropriate time to look at culture and art in the U.S., particularly photography and photo-based art. The works in this issue of European Photography come from a series of exhibitions of Contemporary U.S. Photography commissioned by FotoFest for its thirteenth international Biennial of photo-based art."
Also in this issue:
Thomas Wiegand on "Collecting Photo Books," answering questions such as, How do you recognize a photo book worth collecting?, Where do you buy photo books, and how do you sell them again?, How do you build up a collection?, How do you handle photo books?
A. D. Coleman questioning the question "Is Copyright Dead?" by paraphrasing Mark Twain: ". . . reports of the death of copyright have been greatly exaggerated."
Marcel René Marburger on the Flusser Archive in Berlin as a stimulating site of dialogue: "Vilém Flusser’s 'Towards A Philosophy of Photography,' published 1982 and since translated into 23 languages, is one of the most influential pieces of contemporary writing on the theory of photography. Flusser would have been 90 this year reason enough to visit the Vilém Flusser Archive in Berlin, which not only preserves his work, but keeps it alive."
Photobook Dummy Award winner Werner Amann with a 7-page feature of his disturbing photo project "American."
"International Photography Magazines": Subsequent to our survey on “International Photography Festivals” (European Photography 84), we are presenting 43 photo magazines, ranging from classic journals like Aperture, Imago and Eikon, to promising recent projects like Der Greif, to equally diverse net media.