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On View

Gwacheon

The Art of Photography

23.Sep.2014 - 19.Apr.2015

  • The Art of Photography
  • Lim Young Kyun, <Untitled 853009>, 1985
  • Lim Young Kyun, <Untitled 853004>, 1985
  • Cho Hee-Guu, <From Garden of Genders 1>, 1994
  • Cho Hee-Guu, <From Garden of Genders 2>, 1994
  • Park Jin-Ho, <Neurose No.10>, 1995
  • Lee Kyu-Chul, <Space and Visual Perception>, 1988
  • Cho Hyun-Du, <Work 7>, 1964
  • Cho Hee-Guu, <Untitled>, 1996
  • Hwang Kyu Tae, <Transformation Series-Sun II>, 1994
  • Hwang Kyu Tae, <Reproduction 1>, 1995
  • Lee Jung Jin, <PAGODAS 98-8>, 1998
  • Lee Jung Jin, <PAGODAS 98-5>, 1998
  • Lee Jung Jin, <Wind 07-84>, 2007
  • Kim Dae-Soo, <The land of wisdom I>, 1996
  • Kim Dae-Soo, <The land of wisdom II>, 1996
  • Kim Dae-Soo, <The land of wisdom III>, 1996
  • Debble Han, <Seated Three Graces>, 2009
  • Choi Bong-Lim, <Untitled>, 2005
  • Gwon O-Sang, <A Statement of 420 pieces on Twins>, 1999
  • Park Hong-Chun, <Seoul I>, 2000
  • Cho Nam-Boong, <Landscape of the mind 1>, 1993

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The Art of Photography

Lim Young Kyun, <Untitled 853009>, 1985

Lim Young Kyun, <Untitled 853004>, 1985

Cho Hee-Guu, <From Garden of Genders 1>, 1994

Cho Hee-Guu, <From Garden of Genders 2>, 1994

Park Jin-Ho, <Neurose No.10>, 1995

Lee Kyu-Chul, <Space and Visual Perception>, 1988

Cho Hyun-Du, <Work 7>, 1964

Cho Hee-Guu, <Untitled>, 1996

Hwang Kyu Tae, <Transformation Series-Sun II>, 1994

Hwang Kyu Tae, <Reproduction 1>, 1995

Lee Jung Jin, <PAGODAS 98-8>, 1998

Lee Jung Jin, <PAGODAS 98-5>, 1998

Lee Jung Jin, <Wind 07-84>, 2007

Kim Dae-Soo, <The land of wisdom I>, 1996

Kim Dae-Soo, <The land of wisdom II>, 1996

Kim Dae-Soo, <The land of wisdom III>, 1996

Debble Han, <Seated Three Graces>, 2009

Choi Bong-Lim, <Untitled>, 2005

Gwon O-Sang, <A Statement of 420 pieces on Twins>, 1999

Park Hong-Chun, <Seoul I>, 2000

Cho Nam-Boong, <Landscape of the mind 1>, 1993

No reservation exhibition
  • Period 23.Sep.2014 - 19.Apr.2015
  • Venue Gallery 6
  • Artists HWANG KYU TAE, LEE, KYU-CHUL, CHO HEE-GUU etc
  • Organ
    ized by / Suppo
    rted by
    MMCA
  • Admission       Free Entry

  • Exhibition
    introduction

The birth of the camera, a tool for photography, is based on the development of optical technologies and chemical technologies in relation to lenses and films, respectively. Photography was considered greater than paintings at recording objects, and yet it was the very capability that placed photography in the realm of technology rather than in the realm of art. It is irony that photography have pursued the path of painting to earn a position as an art form. Artists explored a wide range of potentials of photography both as an artistic expression and as a record of facts. Photography invented in the 1830s was acknowledged as an art form as late as 1910 after passing through the era of pictorialism when photographers were bent on producing images as delicate as paintings.

After the era of pictorialism, photographers returned to the technological basics of photography. By doing so they enhanced its artistic qualities and ventured on a new possibility of art by employing a variety of techniques.

In terms of technology, photography is composed of two processes: capturing an object and developing and printing images to be fixed on the paper. Focused on the traits of photography in terms of the medium and technology, artists have pioneered a new realm of art by producing unique and experimental images. With the advancement of digital media, contemporary photography is, in particular, considered a potent instrument to provide radical visual experiences, rather than just a tool for recording or reproduction. Against the general assumption that photographs record things objectively, some artists present a fantastic space which cannot be found in the real world in a way that is to be perceived as real. Others try to convert a real space into a fantasy using various techniques in the process of shooting, developing and printing. To sum up, photography, which is based on technology, has earned a place as an art form, equal to other fine art genres, in contemporary art history with the dedication of photographers with great artistic vision who carried out experiments with various techniques.

This exhibition is organized to explore how such experiments with photographic techniques, an essential part of photography, have evolved and finally helped it earn a place as art through MMCA collection of outstanding contemporary photographs by Korean artists. It focuses on meaningful experiments with techniques and new production methods in Korean art history aimed at highlighting the diverse features of contemporary photography. It is a rare opportunity to deepen the understanding of the medium of photography.

Photographic Techniques

Artists conducted a variety of technical experiments with light and light sensitive chemicals based on the understanding of basic principles of the camera. Some delved into figuring out how to directly capture objects on the photographic paper without the help of the camera. Some tried to overcome the differences in the way human eyes saw the world and the camera lens captured an image of the world. And others focused on capturing completely staged scenes betraying the general assumption that images were always real. They introduced various photographic techniques to express unique notions and ideas to push the boundaries instead of being content with the traditional function of the camera to simply preserve the forms of objects.

Darkroom Techniques

Almost all the processes of analogue photography including developing and printing are conducted in the darkroom with an exception of shooting process. Various techniques applied to the developing and printing processes make images push the boundaries of photography to become close to painting and by adding manipulation in the shooting phase, artists are able to reproduce surreal images which are never to be found in the real world.

 

Lightroom Techniques

The lightroom, as compared to the darkroom, used to be a place in which the photographer conducted ex post facto works after developing and printing photographs. The lightroom was not considered as important as the darkroom in producing images since all the works performed in the lightroom were no more than a simple job such as the examination of developed and printed images, cutting and pasting photographs or drawing onto them. But with the development of the digital camera and image-editing softwares, ex post facto manipulation conducted in the lightroom has become a crucial part in the process determining the quality of photographs. These days photographs are usually revised with the help of softwares and exist as a data in a digitalized form. As a result, almost all the limits in relation to expression, have been overcome, which helps photographers explore infinite potentials of photography in a wide variety of ways.

Installation Techniques

Photography is not any more limited to two dimensional frames. Artists have introduced three dimensional photographs and photography installations, transcending the traditional two dimensional form of photographs. These techniques have encouraged artists to reconsider their approach to photography. 

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