The Site of Transculturation: Korean Photography and its Nexus with Japanese Education and Culture
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This article examines the intersection of the cultural discourses for the modernist photography between Korea and Japan from the 1930s to the early 1940s, the period coincided with the late colonial period. The historical analysis of Korean photography during the colonial era has mostly been limited to the principal practices of art photography, focusing on landscape and daily customs, as a counterpart to Western pictorialism. The modernist photographic practices of Korea have been untouched due to the lack of historical archives to prove it. However, this study seeks a foundation to address the disparate conceptions of modern photography in operation in Korea during the early decades of the twentieth century. To this end, this article attends to the fact that the leading Korean photographers and artists such as Shin Nak-kyun, Hyeon Il-yeong, Yoo Young-kuk, Joo Hyeon, and Cho Wu-sik commonly studied photography in Japan and encountered the currency of modernism and avant-garde art trends called as ‘New photography’ (Shinkō shashin) and ‘Avant-garde photography’ (Zen’ei shashin). It seems obvious that Korean artists and photographers gained knowledge of modern art practices through their education, active involvement in cultural events, and their networks with Japanese modernist artists. The Korean artists negotiated and contested modern art practices by responding to the intersection of complex political cultural discourses between the empire and the colony. To investigate the cultural intersection will complicate the existing narrative of Korean photography during the colonial period. This article intends to reveal the multi-layered discourses on modern photography from multiple locations across Korea and Japan, which were sometimes heterogeneous but intertwined.
Abstract
This article examines the intersection of the cultural discourses for the modernist photography between Korea and Japan from the 1930s to the early 1940s, the period coincided with the late colonial period. The historical analysis of Korean photography during the colonial era has mostly been limited to the principal practices of art photography, focusing on landscape and daily customs, as a counterpart to Western pictorialism. The modernist photographic practices of Korea have been untouched due to the lack of historical archives to prove it. However, this study seeks a foundation to address the disparate conceptions of modern photography in operation in Korea during the early decades of the twentieth century. To this end, this article attends to the fact that the leading Korean photographers and artists such as Shin Nak-kyun, Hyeon Il-yeong, Yoo Young-kuk, Joo Hyeon, and Cho Wu-sik commonly studied photography in Japan and encountered the currency of modernism and avant-garde art trends called as ‘New photography’ (Shinkō shashin) and ‘Avant-garde photography’ (Zen’ei shashin). It seems obvious that Korean artists and photographers gained knowledge of modern art practices through their education, active involvement in cultural events, and their networks with Japanese modernist artists. The Korean artists negotiated and contested modern art practices by responding to the intersection of complex political cultural discourses between the empire and the colony. To investigate the cultural intersection will complicate the existing narrative of Korean photography during the colonial period. This article intends to reveal the multi-layered discourses on modern photography from multiple locations across Korea and Japan, which were sometimes heterogeneous but intertwined.
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