11/12 | 1983

The lectures from the SYMPOSION ON PHOTOGRAPHY IV are now to be fond here in print: In this issue of CAMERA AUSTRIA you will find – as was our intention in inviting these specific participants to the symposion- varying and , in their relationship to photography as a medium, opposing points of view. In this confrontation we see a manifestation of our conviction- i.e. that there is not just one  valid method, not just one prevalent theoretical standpoint- and we hope that synths can evolve. To those contributions of a practical nature, it should be mentioned that for a number of reasons it was not possible to present all those works referred to by Duane Michals in his text. However, as we believe that Michals’ thoughts on these works are of interest (even without the corresponding photos) to the reader, these passages have been included.

The article by Lewis Baltz is the text of the originally longer and redundant discussion which developed as a result of his works sown at the symposion. Often referred to in this text is his work “Park City” which is not presented in this issue, as it can be found in CAMERA AUSTRIA nr. 5.

Aside from Duane Michals’ and Lewis Baltz’s contributions- which in themselves exemplify of above mentioned conviction – are to be found in this issue the work and texts of Gabriele and Helmut Nothhelfer, Gerhard Roth(in whose text the image world of his literature is put in juxtaposition to that of his photography) , and a work fusing theory and practice by Hartmut Skerbisch and Michael Schuster, who in their contribution at the symposion elevated the situation of the lecturer to a “Szene aux gleichnamigen Stück”(‘the scene the game same name’)

Contributions of a theoretical nature have been provided by Gus Blaisdell and Burghart Schmidt (once again, thesis and antithesis), and by Antje v Graevenitz and Mark Haworth-Booth.

This CAMERA AUSTRIA is a double issue. For a number of reasons we asked ourselves if we should document this symposion in one single issue, as was the cade with the first two symposions, or as with Symposion on Photography III publish wo separate issues . For pracical and financial reasons we decide to publish a double issue . Therefore the CAMERA AUSTRIA at hand has not 48, but twice as many pages; as usual the new exhibitions and shows, book review, and calendar actions have been included.

In response to the rumor that CAMERA AUSTRIA is having difficulties,(which probably stems from our irregular dates of publication) we would like to assure the reader that we are doing quite well. We have not had to increase our subscription price(except for subscriptions abroad) since 1980. Just the same, we believe that in some areas word has not gotten out: with the help of our readers it would be possible to further enlarge the number of subscriptions.

A short preview of the coming issue of CAMERA AUSTRIA: Nr. 13, which is to appear in autumn, begins our fourth year of publication. In spite of all irregularities, we are still on schedule…

The main topic of this coming issue will be photographic activities in Austria: for example, there will be a preview of the exhibition “Geschichte der Fotografie in Östereich” (‘The History of Photography in Austria’) ; this exhibition of about 1000 photos certainly constitutes the most important event of the last years in Austria. Furthermore a synopsis of the relations for attaining subsidies for photography in Austria, and the conclusion of Peter Weibel’s “Geschichte der Künstlerfotografie in Österreich” (‘The History of Photography by Artists in Austria’ )- an article which was to have appeared in this issue- will be include. In addition articles are planned on the American photographer William Eggleston,and an essay by Artuo Carlo Quintavalle  on color photography in Italy – the photos to which are from a show put together  by  Luigi Ghirri. Ghirri will also be the author of an article on William Eggleston.

Christine Frisinghelli, Manfred Willmann