현대 사진예술의 쟁점들

이용환 ( Lee Yonghwan ) 현대사진영상학회 2020 현대사진영상학회논문집 Vol.23 No.3

It is the age of post-photography, referring to the era of electronic photography. Digital photographs can be modified and manipulated any time so they might be false images. A digital photograph can be an index but may morph into an icon. Photographs can be the products of either a virtual world or a fictional imagination. Any post-photographic expression brought about a revolutionary change in artistic photography. The assertion that a photograph is a mark of light is no longer objective. Photographs in the era of post-photography feature a composition of time, a mixture of the past and present, a representation of past memories, a coexistence of two and three dimensions, a coexistence of fragmented history, and the mode of pastiches. A photograph here is nothing but a material for representation. And yet, photography’s realistic ontology is still effective and much more photographs tend to reinforce photography’s realistic aspects. As a result, photography as art comes to have much more diverse forms. We are living in an age of the post-Internet after post-photography. Photography has already been part of art. Artists employ or utilize re- intermediated mediums in accepting information in this post-Internet era. In this era imaging technology has merged with contemporary art. A contemporary metaphor maintains its meaning in a relation incessantly altering like rhizomes. The concept of readymade has still been appropriated, profoundly influenced by the motive and dynamism of the post-Internet environment. The post-Internet is an extensive account of the artistic convention that takes something networked and integrated for granted. As we are living in the era of nonlinear technical images, the material property of marks engendered by photography’s contact with light have disappeared in the digital environment of contemporary art and photography. The everyday in which the virtual is mixed with the real through any in-intermediation and solidarity with time, place, space, and medium. As a real space is connected to a virtual space by the advancement of Internet technology and social networking sites, art materials have turned into something immaterial and any representations force us to perceive a virtual space as a new reality. The medium of photography is given a new status as media art in the deconstruction of genre in the the post-Internet era. Two-dimensional photography is asked to have a three-dimensional perception of space with the progress of technical videos, forging a united front with sculpture and video as an arrangement of time. As photography has become the medium to incarnate all aspects of post-modernism, we realize we have to become the subject to perceive the world, not merely choose time. Both language and expression are altered as the medium changes. We witness the medium of photography enriching art history across the world. The problem of whether photography is art or not is no longer a matter of discussion. It is nothing but a medium. What should be asked again is what we should do with this medium.

Study on the Commercial Photography of the Post Photography Era

Daewook Kim,Joungwoo Joo 보안공학연구지원센터 2015 International Journal of u- and e- Service, Scienc Vol.8 No.8

The beginnings of digital photography were humble, but now are overwhelming the silver halide photography in 2015. The term Post-Digital Photographic Era mentioned by Fred Ritchin refers to a characteristic image of digital photography with the appearance of digital photography and the beginning that the surrounding infrastructure changes. It means the era that the value framework that the existing photography had changes and a new paradigm begins to appear. Such a new paradigm is giving direct changes, i.e. technology generalization, to photographers and predicting drastic changes to society, culture, politics, and economy. This study looks at the present of photography through literature review of analog photos and digital photos from 1839 to 2015 and based on this literature, investigates the currently-emerging trends of photography and the post-photographic era. It also looks at various cases of technological advancement and presents the future directions for photography. Roland Barthes thought that photography is what was passed away, what was in the past, and what was dead. Through consideration on digital photography, virtual reality, and 3D image – products of various efforts for reviving such dead photos, it looks at the world of visual illusion, ultimate purpose of something virtual and studies the images of photography beyond being ubiquitous, the end of desire for a graphic virtual world.

사진과 드로잉: 드로잉을 위한 사진으로부터 사진을 위한 드로잉으로

이필 ( Phil Lee ) 한국미학예술학회 2014 미학예술학연구 Vol.41 No.-

Photography had long been used for an aid of drawing and had gradually acquired its status as an artistic medium. Since the late twentieth century, many photographers have been using drawing to create their photographic works. This recent phenomenon shows a shifted relationship between photography and drawing, what I call “from photography for drawing to drawing for photography.”This essay aims to illuminate ambiguous boundaries between photography and drawing in contemporary art photography by examining the long dynamic relationships between the two media. I explore how artists used early forms of photography such as camera obscura and camera lucida to achieve likeness of the object. These two devices required the use of artists` hands to draw images reflected on or seen through them. However, the invention of the “photogenic drawing”, and daguerreotype in the nineteenth-century, made human hands unnecessary in acquiring likeness. Photography has since then interacted with major art movements of the twentieth-century in various ways. Recently contemporary photographers such as Jungjin Lee, Ku Sungsoo, and Jason Evans appropriate drawing techniques to make their photographs. I discuss these artists` use of drawing in the context of the post-medium condition and further observe that the development of digital and printing technologies has called for the aesthetic of drawing for photography. My art historical analysis of the hybrid condition of photography and drawing provides a theoretical insight into a recent perspective for considering drawing as a meta-medium.

공모전에서 기획전의 시대로: 전환기에 선 1990년대 한국 사진

김소희(KIM Sohee) 현대·예술·사진학회 2024 모멘텀 Vol.- No.3

As entered the 1990s, Korean photography underwent a significant turning point compared to the past. This shift was driven by the decline of the competition-based exhibition era, where photography had firmly established itself, and the transition to an era of curatorial photography exhibition. With curatorial exhibitions being held mainly in the museums, these exhibitions reflected a new landscape of Korean photography integrated into the art system. At the starting point of this transformation was The New Wave of The Photography held at the Walker Hill Art Center, Seoul, in 1988. This exhibition was a group show encapsulating the changing aspects of contemporary Korean photography in the 1990s, foretelling shifts in exhibition venues, organizers, and trends. Although photography exhibitions, which began in the late 1980s and became more prominent in the 1990s, have had a significant impact on and played a crucial role in the Korean photography scene, theoretical study remain insufficient. There is still a lack of research on the historical context in which these exhibitions emerged, the ways in which their formats and content reflect various aspects of Korean photography, and the points of intersection between photography and contemporary art. This study aims to examine the transition of Korean contemporary photography from the traditional competition-based exhibition system to curator-led exhibitions, as well as the historical context surrounding this shift. First, it explores how Korean photography art developed and established itself within the framework of the competition system. Additionally, it investigates how photography's institutional transformations have shaped the way its value is determined and how photography has gained a renewed status within Korean contemporary art. Through this analysis, this study seeks to provide insight into the changing landscape of Korean photography in the 1990s.

포스트 포토그래피 시대 미술교육에서의 사진교육의 방향성 고찰

박상돈(Park Sang Dorn) 한국미술교육학회 2015 美術敎育論叢 Vol.29 No.3

우리의 미술교육에서 사진은 ‘새로운’ 매체로 분류되고 있다. 사진은 학생들의 흥미를 유발시켜 참여를 증진시킬 수 있는 흥미로운 도구로서의 매체, 또는 충실한 기록성, 재현성을 우선적 가치로 하는 모더니즘적 도구로 활용되고 있는 것이다. 존재하는 모든 이미지가 디지털 기호화되어 전송되는 현재에 있어 사진이 ‘새로운’ 매체로 분류되고 있다는 점은 사진을 대하는 우리의 관점이 여전히 모더니즘적이라는 생각을 하게한다. 동시에 미술교육의 외부에서 사진교육에 대한 여러 가지 논의가 활발하게 전개되고 있음에도 불구하고 미술교육 안에서는 이러한 흐름의 중요성을 간과하고 있는 것이 아닌가 하는 우려를 갖는다. 본 논문에서는 디지털 시대의 도래와 함께 대두된 포스트 포토그래피에 대한 고찰을 통해 미술교육 외연의 확장과 교육적 활용에 대한 가능성을 모색해보고자 한다. 포스트 포토그래피는 예술적 가치와 창의․인성 교육의 도구로서의 가치를 포괄하며 인간교육으로서의 다양한 지향점을 형성하고 있다는 점에서 그 중요성을 갖는다. 미술교육에서의 사진교육은 동시대의 포스트 포토그래피의 노력과 방향성에 대한 인식을 통해 향후 미술교육 안에서 이러한 시대적 흐름들을 어떻게 수용할 것인지, 또한 그것의 활용에 대한 미술교육적 의미를 어떻게 가치화할 것인지에 대한 방향성을 찾을 수 있을 것이다. Photography is considered ‘new’ medium in art education. It is used as an interesting tool to motivate students to participate more, or as a modernist tool that values good recordability and reproducibility. The fact that photography is categorized as relatively ‘new’ medium even in present day when every image that exists are being transferred digitally makes us think that our perspective on photography is still stuck in modernism. It is also worried if the trend of photography education, which is being discussed actively in various ways outside the field of art education, is ignored in art education. Possibility of expanding the scope of art education and its educational usage will be explored through the study on post-photography that came up front together with coming of digital era. Post-photography is very important for it embraces artistic value and the value as a means of creativity-personality education, and creates various goals for human education. Photography education in art education would be able to find the direction of how to accept trends of the times in the field of art education through recognizing the efforts and direction of contemporary postphotography, and how to valuate art educational meanings on its usage.

디지털 사진의 ‘작은 역사’: 포스트 사진 비평을 위한 역사적 기준들

최종철(Choi, Jong Chul) 서양미술사학회 2021 서양미술사학회논문집 Vol.55 No.-

본 논문은 포스트 사진이라 명명된 디지털 사진의 실천들이 아날로그 사진과 맺는 변증적 관계를 탐구한다. 윌리엄 미첼, 프레드 리천 등이 논의한 포스트 사진은 객관성과 진실성에 기반한 전통적인 사진 패러다임을 혁파하는 디지털 이미지의 주관성, 가상성, 변조가능성 등을 전면에 내세우며, 사진의 종말적 지평 위에 새롭게 뿌리내린다. 그런데 사진의 종말 이후 사진을 대체하리라 여겨졌던 포스트 사진은 레프마노비치가 지적하는 것처럼 ‘사진을 무화시키는 한편 사진적인 것을 강화하고, 찬양하며, 영속시키는’ 모순을 드러낸다. 즉 마노비치에게 디지털 사진의 성취는 ‘새로운 리얼리즘이 아니라 오직 포토리얼리즘 - 디지털 이미지를 관객에게 익숙한 전통 사진처럼 보이게 만드는 능력’이며 이는 결국 디지털 사진의 혁신적인 가치를 훼손한다는 것이다. 본 논문은 마노비치의 지적이 일견 타당하지만 사진과 포스트 사진 간의 긴밀한 역사적 관계를 인식하지 못함으로써 단지 비판에 머물고 말았다는 판단으로부터 출발한다. 따라서 본 논문은 벤야민과 맥루한, 키틑러 등의 매체 이론을 거시적으로 조망하며, 이를 통해 이전 매체인 사진과 이후 매체인 포스트 사진 사이의 모순적 관계가 매체의 발전사에 고유한 매체의 자기 인식 과정이며, 결국 포스트 사진은 ‘죽은 사진을 뒤쫓는’ 사진의 모순적인 실천이 아니라 ‘포스트’라는 ‘후사경(맥루한)’을 통해 과거 사진의 모순과 부정성을 자기 혁명의 메시지로 삼는 역사적 실천임을 주장할 것이다. 특히 본 논문은 이러한 역사적 시각을 오늘날 디지털 사진 예술에 대입해 봄으로써 기술과 예술, 혁신과 전통 사이에 모호하게 자리 잡은 디지털 사진의 퇴행과 진보성을 가늠하는 비평적 기준을 제안하고자 한다. This paper explores the dialectical relation between analogue photography and digital photography known as the post-photography. As discussed by William Mitchell and Fred Ritchin, the post-photography begins at the ruin of photography where the old medium’s objective and factual paradigm is replaced by digital’s new malleability, subjectivity and virtuality. However, this historical shift turns paradoxical when, as Lev Manovich points out, the post photography implicitly solidifies, glorifies and immortalizes the photographic, while explicitly admitting its end. Post-photography indeed brings ‘not a new realism but more accustomed photo-realism,’ which rather nullifies digital’s true possibility. This paper delves into this paradox; its main claims is that the seemingly paradoxical relation between photography and post-photography is in fact a natural process of self-recognition inherent in all progressive history of technical mediums, and therefore following what Benjamin, McLuhan, and Kittler said in their theories, post-photography is not a paradoxical self-confusion, but a historical self-configuration in which its retrospective vision works as ‘a rear-view mirror(McLuhan)’ to reinstate its message coming from the ruined past. This paper then attempts to apply this insight to art criticism through which one can see more clear line between the technic and techne, progress and retrogress in recent digital art.

후기 사진 시대, 사진 예술의 향방

최종철 ( Jong Chul Choi ) 한국영상미디어협회 예술과미디어학회 2014 예술과 미디어 Vol.13 No.4

This paper examines theoretical grounds of the post-photographic era, and through this, maps out a new direction of contemporary photographic art. The post-photographic era refers to the time in which photogrpahers attempt to deconstruct photography’s aged convention (based on authenticity and objectivity), and in turn reestablish it, in the aid of digital technologies. The first decade of the 21st century was a groundbreaking moment for the post-photographic discourse: during this time, not only was the deconstruction of photogrpahy’s traditional values accelerated, but some remarkable theoretical articualtions were made, leading photography from its doom to a new expanded field. (William J. Mitchell and Fred Ritchin are the names who contributed to this expansion) This paper will introduce some of the most symptomatic changes in photographic discourses, looking specfically into the ways in which the post-photographic art fulfills such various cultural demands coming from the rapid digitalization of the world.

디지털 영역으로의 이주가 완료되지 않은 사진의 영역 - 포스트포토그라피 시대의 디지털과 아날로그

홍상현 이주사학회 2025 Homo Migrans Vol.32 No.-

오늘날의 디지털 사진 이미지는 디지털 이미지와 아날로그 사진 사이에서 어떤 중첩된 영역을 보이고 있다. 즉 아날로그라는 과거와 디지털이라는 현재가 사진이라는 이름 안에서 현재진행형으로 동시에 드러나고 있는 것이 지금의 ‘디지털 사진 이미지’이다. 그리고 이러한 현상이 드러나고 있는 오늘날을 포스트포토그라피 시대라고 부르고 있다. 거기에서는 디지털 이미지와 아날로그 사진이 갖는 물리적 차이는 무의미해질 수밖에 없다. 하지만 매체가 갖는 물리적 특성, 그리고 그것으로부터 발생하는 조형적 특징들을 살펴보면 디지털 이미지와 사진은 존재론적으로 동일하지 않다. 즉, 그 두 매체가 갖는 물리적 차이를 중요하게 생각하는 시각에서 바라본다면 그 둘은 전혀 다른 것이 된다. 하지만 현재의 포스트포토그라피 시대에도 그 두 다른 매체는 ‘사진’이라는 이름 안에서 유사한 표현 방법으로 읽히고 있다는 데에서 그 둘을 구분하는 데에 난항을 겪고 있다. Today's digital photographic images exhibit a certain overlapping area between digital and analog photography. In other words, the current ‘digital photographic image’ is a place where the past called analog and the present called digital are simultaneously revealed in the present progressive tense within the name of photography. And today, when these phenomena are being revealed, we call it the post-photography era. There, the physical differences between digital images and analog photographs become meaningless. However, if we look at the physical characteristics of the medium and the formative features that arise from them, digital images and photographs are not ontologically identical. That is, if you look at it from a perspective that values ​​the physical differences between the two media, the two become completely different. However, even in the current post-photography era, it is difficult to distinguish between the two different media because they are read as similar methods of expression under the name of ‘photography.’

사진은 죽음을 어떻게 재현하는가?

주형일(Hyoungil Joo) 한국언론정보학회 2014 한국언론정보학보 Vol.68 No.4

이 논문은 사진과 죽음이 맺는 관계를 고찰하면서 매체로서의 사진이 가진 독특한 특성이 이 관계에 어떻게 영향을 미치고 있는지를 살펴보고 실제로 사진이 죽음을 재현하는 여러 방식들의 구체적 사례들을 분류, 분석함으로써 죽음을 재현하는 사진의 사회적 역할을 이해하는 기회를 제공하고자 한다. 조사 결과, 죽음 사진은 영정사진, 사후사진, 재해 및 전쟁사진, 처형사진, 의학과 법의학적 사진으로 구분되며 애도와 추모, 저항과 투쟁, 통치와 지배, 폭로와 고발의 역할을 한다. Photography is frequently associated with the death because it seems to remind us of our own mortality by representing the dead people. The indexical character of photography reinforces this association. Photography is used in many ceremonial activities and medias to represent death. Five types of death photography can be differentiated: funeral portrait, post-mortem photography, conflict and disaster photography, death penalty photography, anatomic and forensic photography. These death photographies serve for four individual and social purposes: mourning and remembrance, resistance and struggle, rule and domination, disclosure and accusation.

한국 사진 잡지 『사진문화』 연구 -1948년부터 1950년까지-

박혜성 ( Hye Seong Park ),박주석 ( Ju Seok Park ) 한국사진학회 2010 AURA Vol.0 No.23

『Sajin-Munhwa』was a Korean photography magazine founded in July 1948. In the wake of liberation from Japanese rule, Korean photographers of the era also tried to develop a vision for the next generation. 『Sajin-Munhwa』 reflected these efforts and ideas as a whole. Articles in the form of opinion column published in 『Sajin-Munhwa』 clearly showed the contemporary photographers` conception of `photography`. It was a basis for and a starting point of current Korean discourse on photography. 『Sajin-Munhwa』is worth studying as an important historical material that prefigures trends in modern Korean discourse on photography. For researchers studying Korean history of photography 『Sajin-Munhwa』is an important historical material which sheds light on Korean modern visual culture, i.e., the photographic culture. We`ll see how Korean photographic culture developed in a particular context of post-liberation era through 『Sajin-Munhwa』.