한국사진의 리얼리즘과 모더니즘 - 작가의 등장과 사진 담론 -

Abstract

In modern era of Korea, photography was mainly a means of portrait production, while the photographer remained in the role of a 'functional person' who operated a photo studio. Art photography was nothing more than an affair of talented amateurs, and the aesthetic achievement of photography was insignificant in the competition of amateurs who wanted to be recognized as ‘artists’ through competition awards. With the establishment of the “Photographic Division in National Exhibition of Art” by Korean Government, the so-called ‘photographer’ is produced largely, but their ‘artist status’ has not changed. The situation begins to change in which the Museums of Visual Arts accepts photographic works. This is in line with the phenomenon that photography rapidly enters contemporary art. 'Photographers' are now given the status of 'author', which stands for 'artist'. And the main discourse of Korean photographers has shifted the agenda according to the times and contexts. From 'art photography' during the Japanese colonial period to 'realism photography' after liberation, and to ‘modern photography’ after the liberation, there are various issues including 'photography as an arts' after entering the field of modern art. These discourses have always been formed around authors and their works.