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Late Photography” in South Korea

Heungsoon Im, Onejoon Che, Suyeon Yun

Bibliographic Data

ID12910758
AuthorsDong‐Yeon Koh (corresponding author)
Year2015
Volume8
Issue1
Pages81-106
Publication date2015-03-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenuePhotography and Culture (JOURNAL)
Journal identifiersISSN: 1751-4517 • E-ISSN: 1751-4525
PublisherTaylor & Francis (PUBLISHER • GB)
DOI10.2752/175145215x14244337011243
OpenAlexW2008906910
LanguageEN
Citations received1
References cited5

This article examines the recent development of documentary photographs in South Korea in light of David Campany's concept of “late photography.” Natural landscapes by Heungsoon Im, defunct bunkers and military facilities near the metropolitan area by Onejoon Che, and portraits of North Korean expatriates by Suyeon Yun offer intriguing approaches to late photography, which prioritize traces and remnants of tragedies over explicitly shocking images of violence. At the same time, this article underscores the underlying ideological significance of late photography, contrary to Campany's reservation that late photography may offer a less effective way of provoking and engaging viewers with social criticism. Instead, I will argue that Im, Che, and Yun's suggestive ways of alluding to the history of the Korean War (1950–53), military dictatorship, and ideological conflicts might be suitable for representing the ambiguous state of ideological confrontation in the Korean Peninsula

Archaeology · Art · Art history · Bunker · Dictatorship · Ideology · Peninsula · Photography · Political science · Politics · Portrait · Visual arts · History · Japanese History and Culture · Law · Memory, Trauma, and Commemoration · Photography and Visual Culture

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Unique citing works1
Citations per year0,25
Citation span2022 - 2022 (1)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 1

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