For anyone passing will be in Seoul next month, be sure to check Jo’s cross photographs at the 2017 Seoul Photo Festival.
In particular, I plan to write about Listen to the City’s Protest as I think it presents a number of useful things to think about in the current political climate. A number of the things I wanted to write about have already come to pass–major protests here in the US and considerations of how to maintain political action in order to effectively affect change rather than simply channel anger or disappointment.
And there are some fluffier books that are more fun to talk about.
And a new conversation about considerations when building a library for an academic institution. It’s been conducted, I’ve just got to find time to transcribe it…
Something for everyone.
In a recent New York Times Magazine On Photography column, Teju Cole wrote, “the apparent neutrality of photographs can conceal as much as it reveals–especially when the subject is violence or prejudice.” Cole’s column explores the layers of opportunity for misrepresentation through photographs due to their supposed “facticity”. Noh Suntag’s Red House examines exactly this dynamic in photographic representation using North Korea as a foil.
The Korea Artist Prize describes Noh as producing “photographs that detail real-life situations directly related to the division of Korea” and showing “how deeply the division has permeated the daily lives of the Korean people and has thus distorted the entire society.” Red House explores these themes from a subject’s presentation to the act of representing that subject with the camera through the use and consumption of the resulting photographs. Further, Noh’s photographs (and more specifically his text) acknowledge that this distortion is personal–his use of the camera in relation towards his subjects functions as a kind of mirror of his own biases.
North Korea is a particular subject that amplifies Noh’s themes. Despite the obviousness of the statement, it is necessary to note that there are few if any other places in the world where two countries’ identities are so intertwined with such fraught political, cultural and historical push and pull. Furthermore, the North’s near obsession with image and the way it presents itself to the South and the larger outside world is similarly unique. This exaggerated manipulation of its own image leads outsiders to a particular kind of fascination and creates an intense need to record what is seen. These three ideas form the basis for the three chapters in Red House.
Everyone has seen the kinds of photographs that comprise the book’s first chapter: the masses of people participating in the DPRK’s Arirang Festival events. Any reader will almost certainly have an image of thousands of people in synchronized motion come into their mind’s eye. Most of these images are interchangeable because the subject has been designed to present a particular message to do so by being seen by the camera. The scenes are an elaborate propaganda construction. Noh’s color photographs of the brightly colored Arirang Festival in 2005 are, on first glance, as interchangeable as a typical tourist’s photograph or a photojournalist’s photograph. As one flips through Noh’s photographs one becomes aware of a modulation of push and pull between overarching vistas of hundreds of people and relatively intimate tight shots of a dozen people. Within the small groups one can see variations in the individual participants’ movements. Looking back to the broad vistas these variations remain in one’s mind and the intended view is broken. Noh makes the underlying construction of the spectacle apparent. This opening set of photographs recalls Seung Woo Back’s series Utopia and Blow Up. Like Back, Noh is seeking interstitial truths within tightly controlled state spin.
With the subject as construction firmly argued, Noh moves next to the thought or thoughtlessness that occurs in the recording of this scene. Despite the almost certain knowledge that this careful grooming of particular scenes–even mundane scenes, shapes what they see, foreigners nonetheless are eager to record these scenes and their trespass into them. In this chapter Noh switches to a stark black and white reportage style which is often exaggerated through the use of an on camera flash. Noh wants us to see that he is now looking critically at the spectacle of the spectator turned witting or unwitting collaborator. The black and white is a visual marker that he is looking in a way that is significantly different than the tourists with their point and shoots that he is photographing. For him it is the almost desperate desire to record the experience of being here in North Korea that is of interest. The scene that elicits this desire is secondary.
In the final chapter of Red House, Noh turns his attention to South Korea and the way that the North becomes manifest within the South. The North becomes a straw man, a bogey man, a savior. Its role and meaning shift depending upon who is invoking it. In this way the North becomes a mirror for a range of opinions and viewpoints in the South. The one failing in this set of photographs is the need for extensive caption information to know what one is being shown; without the captions, which are often interpretive, many of the images are oblique. The upside to these captions is that Noh’s own biases are suggested. The reader is faced with having to revisit all that he has seen to this point to consider the manipulation inherent in all of the preceding images.
Throughout Red House, Noh has shown that photographs are slippery. As he says at the start of the second chapter, “I know about North Korea. However I do not know what I know about it.” His photographs show a great many views of and toward North Korea–and yet how definitive or true any one of them is remains questionable. This is intentional. How can one trust a photograph when it has been manipulated since before it was even made? Everyone manipulates the photograph: the subject, the photographer, the publisher and the viewer. At no time is the meaning of the photograph fixed. In a situation like exists between North Korea and South Korea this manipulation is highly political. Yet, as Noh’s photographs of amateur shutterbugs and political protestors show, this process can be equally apparent in the personal realm.
Publisher: Jung Jongho
Design: Avec_ Noh Younghyun
Translation: Kang-Baek Hyosu
Publishing Co.: Chungaram Media Ltd.
[Sidebar: Nearly ten years after Red House was published, photography as a driver of social media has shown that this manipulation is pursued no less aggressively by individuals than by rogue regimes. Manipulation of our recorded lives in photographs intended for sharing on social media is commonplace. Wanting to show our best selves, we push the bounds of truth.]
Despite the grand subject and lofty conceptual framework, Kyoungtae Kim’s Cathedral de Lausanne 1505–2022 is a rather modest affair in both its design and material construction. The brief text by Kyungyong Lim on the rear cover is short, to the point and written in language that a layperson can understand. The sum of these choices is an approachable and engaging book that encourages the reader to reconsider his or her reading of iconic landmark buildings.
The simple and rough hewn book uses the Cathedral of Lausanne, under constant renovation, as a metaphor for the way that urban spaces are constantly shifting as we remake them building by building, stone by stone, piece by piece. Kyungtae Kim has photographed sections of the cathedral where there is evidence of past or ongoing work on building. The book begins with the darkly printed cover image–a section of decaying stone that gives way, via the card stock cover’s gatefold, to a light colored section of concrete fill where the stone is being repaired.
The interior pages are an alternating mix of uncoated heavyweight stock and lightweight coated stock. The heavyweight pages generally contain sections of wall where either a stone is marked with the date of its replacement or sections of stone where repair work is being done. These photographs are all relatively tight close ups and printed full page. The lightweight coated pages contain longer views of either work sites or larger sections where renovations have been completed and are printed roughly quarter page. The book closes with two scenic shots of the cathedral from either end–these are printed back to back on the lightweight stock and the images ghost into one another through the paper.
The photographs are elegant black and white. While they show their maker’s technical prowess and awareness of formal modernist concerns they are always driven by the conceptual thrust of the book. Beauty is secondary to meaning.
As I wrote about Kim’s On the Rocks, Cathedral de Lausanne “isn’t grand or ostentatious but it is wonderful nonetheless.” It engages the reader to open his or her eyes to the way in which buildings that are culturally and geographically central can be read metaphorical as embodying the process by which the cities that surround them are remaking themselves moment to moment year after year.
Cathedral de Lausanne 1505–2022
Essay: Kyungyong Lim
Editing & Graphic Design: Haeok Shin & Donghyeok Shin
Translation: Yunim Kim
Other peoples’ photographs are strange. This couple embracing on the bed: why does he still wear his shoes while she is barefoot? How tame must a reindeer be to accept food from a human’s outstretched hand? Who’s bicycle is that on top of those two humps of hay on the road? Why is it humorous when an old lady looks through a howitzer of a telescope but oddly unsettling when a man in dark sunglasses looks over a ship’s rail with a pair of binoculars? Who are all of these people? And who took these photographs?
What is going on here?
Photographs are rich in physical facts: what someone wore, where someone stood, who they stood beside, what they were doing. Snapshots serve to jog our memories of why the physical world was in this state and how we felt about the experience of being in that place at that time. Unmoor snapshots from the personal memories that give them specific meaning and they become mysteries open to interpretation and invention.
This is a conceptual performance of sorts. Back poses a question and allows his chosen editors and then we, the readers, to work out the answer to it. Back collected over ten thousand vintage personal snapshots from across the US and selected 2,700 to print. These prints were then presented to eight people (one being Back himself) who were asked to select a set of eight images. These people were invited to add text to photographs if they wished. Memento One and Two are each a cardboard box containing half of the selected photographs. The “prints” are snapshot sized offset reproductions, but their varying paper base colors and surface textures mimics the feeling of flipping through a stack of old photographs. Some photographs are annotated with dates or captions in English or Korean while others are unadorned with text. Several images repeat–often with different text on them. One image of two men skeet shooting towards the ocean appears three times. As readers, we are free to rearrange and mix and match our own sets of images.
This design choice, of loose unbound prints, mirrors the premise. What do these photographs mean? To whoever took them? To ourselves? In some absolute way? Loose prints place the onus on the reader who becomes an active participant in the performance: a kind of detective. The reader must interrogate the stack of prints seeking clues in small fragments of meaning. Who knows if she will find the true meaning through this process of close looking, but she must come to her own conclusions as to what is going on here.
Memento One & Two
Seung Woo Back
Essay by Hyeyoung Shin
Designed by Yeoun Joo Park
Courtesy of Gana Art
Published by IANNBOOKS
(no year of publication listed)
Selection One: edition of 400
Selection Two: edition of 400
This blog is a side project for me. First and foremost I am a working commercial photographer and a fine art photographer. Like many photographers, I am fascinated by other photographers’ work because of the ideas that it germinates in my own process. Photo-books are the primary means through which I do this.
Full Metal Jacket is not a photo book exactly; instead, it is a book of informal photographic theory seeking to tease out the cognitive and psychological elements underlying individual photographic processes. Suejin Shin brought together five photographers from different generations and different geographical locations with disparate working methods for a series of ten conversations over nine months. These conversations begin with a particular prompt and grow organically as the discussions unfold. From her introduction:
…the greatest virtue of art comes from raising questions. We began by talking shop, so to speak, about the concerns we share as artists using photography as a medium, swapping insights about our work and its limitations. We talked about what it takes to keep on producing work and why we are compelled to press on even when that spark is lacking. We asked questions to each other and found answers in ourselves.
Here then is access to the working thoughts of five of the best photographers and one of the best curators working in Korea today–or, for that matter, in photography anywhere. The photographers are Bohnchang Koo, Taewon Jang, Hein-Kuhn Oh, Oksun Kim and Sungsoo Khim. These names will be familiar to anyone who has even a passing knowledge of Korean photography. The work of most of these photographers have been discussed on this blog (1, 2, 3, 4, 5) or are in The Queue.
The book is broken into two volumes (supposedly sold together, though I purchased them separately from two different shops). The primary volume includes Shin’s introduction, a small portfolio of work by each photographer and three dialogs, one of which is broken into two parts. The book’s second volume is an English translation of the dialogs. The quarto sized volumes have softcover bindings with lightweight uncoated stock and very good reproduction quality. The design is simple and sparse–allowing the text and images to stand center stage.
The three topics of conversation are “Obsession: Where I Begin,” “Things That Dominate My Work 1 & 2” and “What Keeps You Working”. These three topics form a kind of operating manual for photographers. These are very much the topics that are central in books like Art & Fear, Core Curriculum or The Education of a Photographer, to name three that are on my bookshelf and ignore the dozens of others out there. What makes Full Metal Jacket unique is that it is in the form of conversations. This gives it a very accessible tone that makes engaging with the ideas under discussion easier.
This conversational form is engaging also because the reader begins formulating responses to the anecdotes being shared and questions being posed. One can feel the push and pull of personalities, too. I found myself at turns nodding and at others shaking my head. By way of example, in the first dialog abstraction and repetition are discussed. Oh says that, “Photography is an art form where where you take a very specific subject and make it an abstract theme by showing it repeatedly.” Shin disagrees with Oh’s use of the word “abstraction.” In my mind I reversed his assertion: that we take abstract themes and flesh them out by selecting, sequencing and showing very specific concrete subjects. That repetition is not making concrete subjects abstract so much as serving to make abstract ideas concrete. The discussion nudged me to consider not only how I might re-read Oh’s photographs but also how I might re-consider my own.
When I described the book I noted that each photographer presented a small portfolio of work or work in process. To this point, I’ve not mentioned these photographs because they are not what I feel is the driving content of the book. The photography is supplementary. It enlivens the conversation while grounding it in visual concreteness. Taewan Jang shows the work photographs that have since been published by Hatje Cantz as Stained Ground. Oksun Kim shows photographs pulled from the earlier Hamel’s Boat and some more recently published as The Shining Things. Sungsoo Khim’s portraits leave me flat while her tree studies are stark, haunting and ripe; they ought to be put into a book if they haven’t already. Oh’s “Portraying Anxiety” works are as fraught with emotional intensity as his previous portraits, though they visually blend with his Cosmetic Girls. I’d have preferred to see a larger selection of his in-process “2 Minute Portraits” that he discusses in the text. Bohnchang Koo shows a diverse range of photographs that highlights the full range of projects he’s working on and speaks about in the text. Objet 22, 2009 and Arm & Armor 03, 2010 are near polar opposites yet both wonderful and testify to Koo’s ability to assimilate anything into his personal oeuvre.
In most of the reviews that I write, I am seeking to place the work at hand into a cultural context and present a possible interpretation. This is the central functioning of criticism: to define what the work is and why it is of value (or not). In this case, Full Metal Jacket‘s dialogs do much of my work for me. I am, a bit superfluous, especially in regards to the second part of the critic’s job. I will close by simply recommending this book highly, if one can find it.
Full Metal Jacket
Suejin Shin with Bohnchang Koo, Taewon Jang, Hein-kuhn Oh, Oksun Kim & Sungsoo Khim
Assistant Curator: Youna Kim
Copy Editing: Jeongeun Kim, Kyoungeun Kim
Translation Korean to English: Yoona Cho
Design: Yeounjoo Park
Printing and Binding: Munsung, South Korea
If you’re in NYC, take a moment to swing by Foley Gallery.
Yoon Seungjun’s Automatic Description is a book of car photographs. These photographs are not your everyday glossy advertisement for this years latest iteration of automotive desire. There is no glitz, no sparkle, no sex appeal. These cars are dead.
These cars are literally dead. Yoon has photographed junked junkers in junkyards. It would be a mistake to label this as ruin porn and set it aside with disdain. Yoon’s working method is more in line with the socially conscious impulses of Sebastião Salgado or Edward Burtynsky, though without Salgado’s humanity or Burtyksky’s grand scale. His photography is a critical examination of “the space and environment of modern society,” here that is specifically the junkyard behind the façade of contemporary automobile culture in South Korea. If it also happens to be visually arresting and aesthetically appealing so much the better.
Automatic Description is broken into chapters that build one upon the other. The book begins with “Anatomical Chart – appropriation,” a typological series of images of individual car’s under carriages shot against a black ground. These photographs reduce the automobile to its basic structural form, minus wheels. We see the body frame with the suspension structures, transmission, driveshaft, and exhaust systems hanging from it. With their wheels removed and reoriented in space, these automobiles are no longer vehicles but rather abstract forms. Looking closely, one can find narratives in the abstraction: oil leaks, broken drive shafts, scrapes, rust and burn (?) marks. There are stories in these forms however banal they might be.
Chapter two, “Anatomical Chart – combination,” moves from individual vehicles to the aggregation of them. Vehicles are no longer individual stories. Instead, they interlock in stacks and heaps. Crumpled cars are crumpled in a pile. Hundreds of gas tanks are mounded together. Wiring harnesses are enmeshed in a chaotic singular mess. Pipes of every description writhe together like so many snakes in a pit. The singular story has given way to a history of multitudes. Yoon brings his camera in close for these photographs. We see no ground; the subject fills the frame. We are again seeing this automotive wreckage as abstraction.
“Scraped Car Chart – parade” is the third chapter and takes us off into the new territory of documentary context. Yoon has pulled back to show us the space in which these cars are resting. We see the rows of racks and risers on which the cars rest. Some of the vehicles are half dismantled; others seem as shiny as new. Sunlight glints off of chrome and polish, still. In the middle of the chapter a gatefold presents a long panoramic image of column after column of junked cars. There are obvious joints in the image; it is not a singular panorama. Yoon has constructed this image–no different than we have constructed this entire infrastructure of disposal (such as it is). Just as the infrastructure of roads, highways and city streets has been built to accommodate the relentless drive of automobile culture so has an infrastructure been built to support the end stage inherent in consumerism. When millions are buying cars, millions are inevitable discarding them as well.
Yoon pulls back, once again, in the last chapter, “Scrapped Car Chart – Goryeojang.” Goryeojang refers to a historical custom in the Goryeo period of taking one’s elderly parents into the mountains and leaving them there to die. There was a movie with this title as well in the early 1960’s in which a son takes his mother to the mountains but breaks the custom by returning home with her. The photographs in this chapter are of cars junked in quasi-wild places. Cherry blossoms bloom above one wrecked SUV. A tangle of scrubby bushes grows up through a bright red wreck of a coupe. A luxury sedan has settled into repose on a hillside; it is surrounded by leafless trees of brownest autumn. A white SUV sits upended into a ditch; we see only its tail end with barren trees towering above it. In the chapter’s final photograph the wrecked hulks of a Bongo and Porter intermingle in the background; they are nearly obscured by the thick tangle of branches and new buds in which they have become buried. The organized infrastructure of the preceding chapter is nowhere to be seen. Instead, automobile culture has intruded upon nature. This intrusion marks a breakdown in order that, perhaps, signifies a culture losing its traction and sliding out of control.
As a member of the photography collective Dream Flower Factory (mentioned here), Yoon shares the collective’s socially minded conscious. This conscious is evident in these photographs. Yoon lures us in with the abstract beauty of the first chapters but is never himself seduced. The title of the fourth chapter makes his concerns crystal clear. Not only are we uncomfortable with the custom he references, but we then must transfer this discomfort to our car culture. We no longer leave our elders in the mountains to die; perhaps one day we will no longer leave our vehicular refuse in the woods to rust away either. If this comes to pass, it will not be a kindness to our elders that drives us, but instead a kindness to future generations.
Publisher: Park Seonsoon
Published by: Photodot
July 1, 2014
Photo Edited by: Yoon Seungjun & Choi Yeonha
Written by: Choi Yeonha
Translation to English: Jaeeun Kwak & Grace Yoon
Designed by: Han Jeongyeon
Printed by DaeHyun Printing & Publishing
Writing about Sogyumo Acacia Band on SeoulBeats, Ambika describes Song Eun Ji’s vocals as “breathy but clear,” and concludes that “their songs are great for sitting back and enjoying the interplay of sounds.” These descriptions could be applied equally well to Pyokisik’s first book of photographs, Shattered–and the comparison is apt as Song writes the introductory essay for the book and the musical duo appears in several of the photographs.
Photography is a record of light on surface–but not simply the light reflected off surfaces before the camera. At its core, photography is the record of light passing through a lens’s optical surfaces and falling on the surface of the recording medium. (Ignore for the moment lensless and experimental photography.) Light is distorted at each link in the imaging chain. Pyokisik’s photographs show the world through surfaces that distort it or reflected in imperfect mirrors. The optical and chemical systems through which they are recorded cause their own distortions. There is a loose and casual snapshot quality to them. This is a personal narrative being subjectively delivered.
The photographs in Shattered have a deep atmospheric quality that plays on these distortions. The opening image is of a bush with the sky behind. It is distorted here and there by water droplets on a surface through which the photographer pointed his camera. A softness pervades the image. (This image appears on the cover as well.) The atmospheric show continues: Light through a wooded scene; flare turns the left hand side of the image to orange flame. A couple sits on a rock outcropping looking across a bay towards a city lit up in the twilight; a long exposure has blurred the scene and the point light sources bleed into the evening haze enveloping them. A woman’s hand holds a half-smoked cigarette; the middle of the frame is lost to lens flare while the top of the frame is out of focus foliage.
Song’s essay is nearly as abstract as the photographs to which it provides context. It can be summed up thusly:
…I have gained clarity in this such as: what am I able to do and what I am not able to do, or between what I think I know and what I do not know, or what I am interested in and what I am not interested in and lastly between what I like and what I do not like. Perhaps, I have come to know how to best reduce the energy of anxiety in my mind.
Clarity is not something that is in ample supply in Shattered. Song closes her essay with this line: “It will all be alright because nothing is stranger than the fact that something is missing in the world.” If we are to take Pyokisik’s photographs as the world, then there is much missing in or elided from them. They present a beautiful view of the world, however much it might be distorted. I am left, however, with questions: Given Sogyumo Acacia Band’s appearance in a handful of the book’s photographs, I wonder if Shattered is about them or if they are merely part of Pyokisik’s social circle? Is there an underlying psychological meaning? Is the anxiety and the hint of depression that Song writes about what ties these photographs together? Are they about being unmoored from the world, a pane of distortion separating the world and the self?
In the end, I am left with beautiful breathy images that toy with the interplay of light on and through surfaces. Many of these images would find a happy home on someone’s wall. Myself, I find an image of smoke in front of a window set in a concrete wall and reflecting a blue sky to be endlessly fascinating. The world is shown as layers of distortion, reflection and hazy elision.
The photographs in Shattered are beautiful, and the book itself is a lovely object beautifully printed on alternating signatures of coated and uncoated paper stocks and a stitched binding without boards. However beautiful, I do not know, quite, what it all means.
Edit: Jeong Eun Kim
Assistants: Hyunjung Son, Sina Kim
Printed in Korea: HeeWoo.com
Interpreters begins with divergence. A Western reader, out of habit, opens the book left to right. The title page and table of content page force this reader to turn the book so the pages open upwards. Flipping to page five, which contains the first plate in the book, the reader is forced again to turn the book so that he is reading right to left. A Korean reader would likely note the orientation of the Hangul on the cover and open the book as intended–though the orientation of the English characters on the cover, title page and table of contents might cause some doubt. Perhaps an insider is not an insider is not an insider.