kyunghee lee – island

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Kyunghee Lee

Island

 

‘Island’ is not an real island. It’s just a metaphor.

I am an island. You are an island. We all are islands.

I would like to say “the relationship and communication” between you and I.

I have always thought about them…

‘Island’ is the reflection and introspection on relationship and communication.

-Kyunghee Lee

 

 

When art mirrors life, the reflection seen is both an inner vision of the artist and  taps into the psyche of the viewer as well. Humankind is made up of many “individuals”, but a true artist is able to trigger something inside of all of us who may view the work even though the work is coming from a unique “personal vision”…

Such an artist in Kyunghee Lee. With her eye and spirit, Kyunghee Lee uses the camera to tell us what she feels.  While we, the viewers, may not expect what she shows us and are enlightened by what she shows us, we surely understand the moment.  Viewers want surprises and to see something from everyday life seen in a new context.  Kyunghee gives us this special pleasure. The world never quite looks the same again after looking at her photographs.

When I see her photographs , I sense a romanticism and a lyricism coming from deep inside.  Her inner being and personality are put right it front of us, but not in an  overt way, but with grace and subtlety and style. When I see her work, I recognize the elements, the place, the mood, and yet her pictures  come at me in way that I know I have never seen before.  This is art at it’s best. Recognition with enlightenment. Familiarity with surprise. Distance with emotion.

Kyunghee Lee is free and freedom is hard to find.  She does it by dancing . By playing  with the ordinary she achieves the extraordinary.  Her unpretentious photographs hold us.  Keep us. Make us think for awhile, and yet let us travel as we may through her juxtapositions of  unselfconscious simplicity and raw curiousity.

Kyunghee Lee is flying with a warm wind. And the wind will carry her far and to places even she cannot imagine.  We will always be waiting to find out where she will take us.

David Alan Harvey

 

Related links

Book at photoeye.com

Kyunghee Lee

 

119 Responses to “kyunghee lee – island”


  • there ıs somethıng wrong wıth the computer im using…my posts still get screwed up…i didnt finish my thought…

    ok, HERE IS MY CRITICISM…This essay and the book exclued images that i thought were the heart of this story…images of children…as a photographer, i felt this was a ‘failure’ of the book…and i told kyung-hee about this…i still find the essay above empty without those children, because for me they were the center around which the piece revolved…without it, the essay MIGHT appear to many (as expressed above) as empty, solipstic, repetitive, without emotional or existential life…I AGREE…when i got the book and i’ve looked at the book many many times, i felt at a loss for this and didn’t understand why kyung-hee or the editor or the publisher removed the images of the children….

    it is the use of the word ‘gimmick’ that i objected to, not whether or not you find the essay interesting or substantial…gimmick is a pejorative world and implies that her use of out-of-focus or foreground obfuscation is just a stupid, trick, a cloying visual tick that doesnt have visual importance for her….that’s what annoys me about alot of the discussion that pops us here (and elsewhere)…it isnt discussion…asking the photographer:

    ‘why do you shoot like this?’…’why have you chosen to shoot truncated images’….’what is the reason for so much repetition’….’cause i dont get it, i dont feel it, i does nothing for me’ etc…those are legit…i mean, i have the book, and as a photographer, i felt MAJORLY dissapointed that Kyung-hee or the editor or the publisher decided NOT to include a significant photograph from this series in the book (of children)…and as a photographer, I asked her, privately, WHY?….i think the addition of a child in this barrent and death-filled landscape would have made a profound difference….and to this day i do not understand the exclusion of the children…and i dont actually understand why one of the children pics was excluded here…it may have offered an emotional connection for people who see it as purely abstract, or empty or kitschy or whatever….

    that’s what i think dialog is about…not calling something kitsch…or a gimmick….

    nothing wrong with sayin ‘i dont like this, i dont get it’…but i find here, and many places elsewhere, more often people dismiss rather than investigate….

    same shit is said to people at places like Eddie Adams workshop…it is much easier to dismiss than it is to investigate….

    that’s all im saying…people dont have to like it….i mean, i repeat, i feel really disappointed that photographs of the children have been removed and it changes for me alot of ‘my’ connection to the work…and i would like kyung-hee to talk about that, if she wants…

    but her work is not gimmicky…

  • Bob, it took me long to write here, to me there is too much “I like it, amazing again” around here…

    you know what I find increasingly depressing here? that people who do not agree with the masses here, get a lection in how they have to see or think….

    and I agree again with Ben here, we are speaking about the work of Kyunghee Lee, not Evgen Bavcar…

    by the way do you know the paintings Miquel Barceló made od Evgen Bavcar? great work, that how I meet Evgen Bavcar and his wonderful work.

  • i dunno bob, “gimmick” to me is just a word used, perhaps carelessly. i think you are reading too much in between the lines of what i am writing, which was not intended to be disdainful or agressive. i was just writing, albeit quickly, my immediate reaction to a set of images.

    so what if i’m not familiar with the rest of the Kyunghee Lee of work? does that make my opinion on this body of work any less valid?

    so, if it’s going to satisfy you and quell your burning rage, then okay, the repetition of the blurred foreground objects isn’t a “gimmick”.

    but it still bothers me.

    i’ll ignore the ridiculous labelling of anyone who isn’t scared to be a dissenting voice as being a “traditionalist”…

  • stephan:

    i hope my last reply to ben addressed your concerns…i used Even’s work as an example, and I know you know as well as any, that there is a difference between criticism that says “i don’t get it” and “this is stupid”…maybe it’s the problem with the internet (yes) but i have a problem with Island (which i have just described) which i asked/wrote Kyung about…i love her book, alot, but i think the decision to remove the images with the children took away one of the most important visual and emotional strengths of the work and so i want to know and to understand why…if i appear lecturing, it is because i find it tedious that people dismiss quickly instead of question…by the way, there are alot of good and legitimate questions raised about the work already….

    you, as a instructor yourself, know that the heart of doing work begins with investigation, first and foremost with one’s own ideas about what constitutes a picture..

    hellos from marinka :))

    running
    bob

  • “you are not being overpaid for this”

    Thats OK David, in all my years as a photojournalist, I have NEVER been “overpaid”….dammit!

    Maybe one day.

    Looking forward to the challenge. Both yours and my internal one.

  • ben:

    “so what if i’m not familiar with the rest of the Kyunghee Lee of work? does that make my opinion on this body of work any less valid?”..yes…

    because you do not have the context or the familiarity of her work to get a sense of why she might shoot this way. but, i am really surprised at you because of all the people here who strive hard to talk about a large variety of photography and steep their discussion in the connection to other work, it is you. in fact, one of your very 1st post at RT included a discussion of 3 different photographers and asking the readership to consider your comments in light of you viewing habits. in other words, what appears to be a gimmick here might very well be a part of her entire body of work, how she sees…

    by the way, im not burning with rage ben…in fact, im done with commenting here, but i did because kyung-hee is a friend and i love the book, alot…

    incidentally, i see nothing wrong with being a traditionalist…by this i mean, one who views work in a traditional manner or shoots in a traditional manner…

    ok, broke my promise to myself last night…

    will just say this: i have offered Kyung-Hee and David CRITICISM…

    where are the pics of the children?…

    it’s a big big emotional and visual void for me and i do not understand not including them…

    just so you dont think im just a putz saying ‘i love everyone, i love everything”…

    the missing children was a strange and odd editorial decision…

    running
    b

    not being familiar with a photographers work

  • “that there is a difference between criticism that says “i don’t get it” and “this is stupid””

    oh yes Bob, I understand, but then I ask you: why nobody jumps on the people who write “fantastic again”?

    ;)

  • “do not think for one second that i disparage the Western world”

    There was no such second, David: I could not misunderstand your words in such a way (even taking into account my poor english ;)! I don’t disparage my culture too: would be foolish, since part of our identity come from our cultural background… then it’s up to any individual to move on from these roots (and even challenge them, when needed).

    Sicily is quite far (damn, it’s an island! and, cultural differences again, my European concept of far distance probably sounds ridicolous to an American ;) from where I live (Piedmont, northern Italy), but maybe our paths could cross in Tuscany or Rome… would be great!

  • Lovely set, particularly picture 15, reminded me of The Shipping News by Mark Power. Music felt slightly out of place though.

    Also did anyone else find their eyes fdoucing about six inches behind the screen when watching?

  • MARCIN…

    yes, of course….just in Magnum , for example , i see both Jonas Bendiksen and Mikael Subotsky working as very straightforward photojournalists….is that what you mean??

    cheers, david

  • Kyunghee,

    number 24 and 25 are gorgeous. I like how in many of the photographs the out of focus shape in the forground becomes something in the viewers imagination. A figure, an animal, someones flowing skirt………..

  • Jonas and Michael are too modern for me. I mean on aestetics way. Larry Towell is very old fashion. But may be only for me.
    I remember one dissusion about James Nachtwey’s last project, and there was many many woices that this is too much old fashion way (aetetic) of shooting. So if Nachtwey have old fasioned style so “how old” is Towell’s style.
    I would like to ask what you thinking about this way of seeing frames is still need. Wery simple aestetic.
    You have to agree that this is quite different way of shoothing than “modern” photographers do like Marcus Bleasdale or Jacob Aue Sobol or Zizola.

  • I am asking because I am convinced that I need simplicity in my photography. But photography move fovard and I am not sure that I should be “old style” young photographer, just dilemma.
    This “young” is probably not right no more :)

  • Eastern versus Western ?

    Amongst other things this work reminded me of this photo essay:

    http://www.ludmillamorais.com/PacificBoredom/index.html

  • MARCIN…

    i want to answer this question…because it is a good one…but right now i am in Washington and must rush to a meeting…meetings are what happen in Washington….i will, however, come back to this, because for sure it is an interesting topic…

    cheers, david

  • i find the response much of this community is taking with the dishes being served a bit demoralising. And that includes the people that are polite, but still just paying polite lip service. Sorry, it’s nothing personal towards anyone; it’s just the way I feel when I read many of these responses.

    and every time the chef has to come out of the kitchen to tell you this isn’t a kitchen that serves meat and potatoes, well it is just another sign that people are not willing to take up the mission that is Burn.

    Do you honestly think David doesn’t have access to the images that you want to see?

    Do you honestly think that David doesn’t know what you ‘already know’ and like?

    Are there not already enough of those places to eat those main-stream images?

    Do you honestly think you are ‘supposed’ to just swallow these essays whole and say ‘yum’?

    Sure some people will say yum, and that’s good; it shows the diversity of the audience. But because it’s typically such an extreme dose of something that’s not main-stream it’s more likely to make you say ‘ewe’ And that’s a totally healthy and totally honest first response. What you do next decides what kind of person you are.

    I keep thinking of my sister that came over to visit me in the UK from upstate NY and the thing I most wanted to share with her was the ethnic food. Well we went from Thai to Indian and even to Chinese, she hated them all. I love her to death, but she only enjoyed ethnic foods that were served by the hard rock café, ruby tuesdays, or planet hollywood. That’s fine. She didn’t come to the UK to explore food, she came to ‘see’ British ‘stuff’ and of course I see all the time my sister’s attitude toward food in most people’s attitude towards photography, and that’s fine.

    But the members of Burn are supposed to be coming here to explore other ideas about photography. And although we typically reject what we don’t understand, here at Burn we’re supposed to resist that urge.

    I could be wrong, but you really need to trust the chef and ask yourself what it is that I’m supposed to like about this course of food. You need to look first for what’s redeemable verse what’s dismissible. If you just sit back in your armchair and dismiss the entire essay then you have really cheated yourself.

    Did I love this essay?; absolutely not, it’s far too abstract for me, I like a much more western implementation of these concepts which can be found here:

    http://www.ludmillamorais.com/PacificBoredom/index.html

    so again, it’s not categorical dislike.

    Are there things that are redeemable about this essay to ‘an’ audience?

    yep loads, depending on the audience. It’s clear this is of traditional eastern taste. I mean we’re talking about a culture that rakes a few lines in sandbox; chucks in a few pebbles for good luck and calls it ‘divine art’. How can we possible understand fully in the West what kind of appetite they have in the East?

    Are there aspects that are applicable to our traditional western tastes? yep loads:

    In almost every single image there is an overwhelming sense of tonal balance. Do all of your images consider this? In almost every single image there is an overwhelming sense of visual rhyme. Do all of your images accomplish this? In almost every single image there is cryptic sense vagueness, (sure when you do decrypt it, maybe it’s not something you prefer to discover), but do all of your images employ a certain cryptic sense of discovery? In almost every single image there a strong recognition of line geometry underpinning the organic shapes. Do all of your images consider the energy that diagonals and curves imbibe in an image, how they forge relationships? In almost all of the images there is a strong sense of spatial awareness with regards to the objects giving a sense of balance and harmony? Do all of your images have balance and harmony?

    So you’ve got things like tonality, balance, harmony, all thing we should care about, but since they don’t reveal peace in Gaza we should dismiss them?

    Yes we in the West want a recognisable linear story, but I challenge you to go sit in a hotel room with a Japanese person and have them explain to you the story of the advertisements. Even with a perfect translation you will be amazed by how non-linear of a message they respond to. I have no idea how they even know what is being advertised it’s such a convoluted message for me as a westerner…. again ‘horses for courses’ and I’m not at all surprised this essay would do exceptionally well in the East or with open minded people and not do well with a meat and potatoes westerner.

    I’m not sorry to be a broken record here, but again, seek first to understand before condemning, or maybe seek out your meat and potatoes elsewhere; you will have no problem finding them, but you will struggle to find the variety of plates that’s coming out this single kitchen.

    And so I don’t sound like such a kiss-ass, David you need to learn to stay in the kitchen.

  • Soren, that’s a bit wierd with Lud, but i like it more, so you thinking of it first doesn’t count ;-)

  • CLIFF….

    your “grandmother could do this”?? isn’t that some kind of put down of your grandmother? as if she were some kind of lowest common denominator…i would love to see your hard drive full of pictures….no need to question yourself….hey, this is a personal set of photographs from Kyunghee , not a personal indictment for what you may do!!! ….i am not sure i get the wham bam boxing metaphor…anyway calm down and let’s look at your work…this is all pretty subjective going here….

    read Joe…he always has the best handle on things in general…

    cheers, david

  • Again, not dismissing Kyung-Hee’s essay, I will visit it again. But the work you linked to, Pacific Boredom… Now that speaks to me. Maybe I am just to literal in my photographic tastes.

    Thanks for the link Joe.

  • Cathy just put in words how I “feel” photography. Something I’ve already said many times in Spanish but that is difficult for me to express in English. “I’m interested in hard core images that knock my socks off! I want to see photos that make me jump out of my chair screaming YEAH”. That doesn’t mean that I only like hard, strong or “outsider” photos. What I mean is that I like visual power. And it can be in a smooth picture as well, in just a look, just an expression, just a pose… What moves me inside is an image that transmit feelings, something that hits you on your face and shocks you.

    But here with Kyunghee’s essay we are talking about something different. We are talking about poetry, yes, and we are talking about mood too. This is not the kind of photography I prefer, but definitely it transmits something that, like a melody, goes into the viewer. Maybe you like it or not, but it speaks in whispers that some people hear and some not. Like everything in this world.

    Ana

  • So music is OK if it is credited at the end? Was that the conclusion, I did not think it was that easy? If there is a soundtrack, I am more interested in hearing something that relates to the pictures more directly, sounds of the island, or music created for the particular pictures. In general, I think music detracts from the pictures.

  • Whew!! DAH….I don`t feel indicted…..I was questioning my own narrow way of seeing things…my island….my quest is to be open to the unfamilar…….I`m just stirring the pot….peace and love.
    BTW both of my grandmothers are dead and I loved them dearly.

    Joe….you`re very logical and grounded…”a few lines in the sandbox..a few peebles….divine art”???
    That`s close to Asian Slur Syndrome. BTW, my son is a Buddhist….peace and love.

    Gotta lay off that Irish coffee in the morning!!

  • A mother sitting on the wet sand at the beach holding her dead child. She caresses the cold, pale skin of the little one that lays there with his eyes closed. The wind blowing soflty in his hair. While the mother wraps him tighter in a warm cloth she sings a quiet good-night song. Some rays of light break through the clouds … the waves whisper …

    Cannot explain, but that is what I saw …

  • that is what I saw “through” the images of Kyunghee Lee – as if my mind had been kidnapped.

    Sorry, no time to read all the comments above.
    Coming back later for it. Most probably it is going to be quite controvers.

    Have fun at it!

  • “Beauty exists beyond the beautiful things”

    I would like to appreciate your all sincere responses first.
    I really enjoyed your comments about my ‘island’.

    My photos have already left me.
    They are alive and moving by themselves.
    They are going to communicate with you.
    I wish that you listen to what they say with open mind.

    I think photos are very special and another languages.
    If we can say all completely by language it is no need of photography.
    I can say with photographs what I can’t express by language.
    It is Very amazing for me!
    I think it is not important to say like this…. it’s my taste or it is not my taste…
    We are going to seek a wonder world and enjoy freedom of expression.

    Anyway, In my ‘island’ foreground blurriness is very important.
    When we recognize or feel someone or something, we do “through” their own mind.
    When we remind or imagine something …there is something “sparking-plug”…
    Foreground blurriness means right that…”through” and “sparking -plug”.
    It leads to imagination and reach what I want to say.

    Many viewers of my ‘islnd’ have confessed their own trauma that never said to others.
    My photos and viewer give and comfort each other.
    I would like the ‘island’ to stay around with you and communicate for a long time.

    Tahnk you :)))

  • I love Kyunghee’s Island. I miss the images of the children that were excluded and, that i thought , were the main focus of her previous version of the essay. but in the end she’s the artist and it’s her decision. I love the book very much nonetheless. I could see the progression in her style over time. It’s very poetic and i love poetry. I admire the simplicity of her images. I dont see her work as being somehow ‘classical” or ‘conceptual’. i see her work as coming from highly sensitive photographer, who percieves her life in details and sentiments more than in aswering questions of how to build the world. I love the fact that there are different sensitivities that challenge the way we see things. I dont see the need to be attached to the categories: journalism, concept, fine art, .. in order to simplify things that we just do not respond to. Thank God, we’re so different! Hopefully, there is a place to everyone. Im very happy David celebrates all types of photography to be exhibited here. cheers to all

  • You write like you photograph.

    Steve

  • My mistake, posted the comment not in the right place but any way, just to say that the emotion in your photographs ore touchable.

    Steve

  • david:

    “…always has the best handle on things in general.” ??

    we reading the same comments?….

    i think kyung-hee’s comment is the most important, just as ashe’s contribution…

    the best comments on all the images/essays have come from the photographers themselves…the rest, to me, including my own defenses of all the work so far, look like empty noise….

  • I am in cambodia at the moment (the moment?), slow internet connection, can’t see Kyunghee’s essay, but David, yet as you make good points about asian culture and where it might be coming from, in all due respect, i do not think ” not getting” her work may have to do with being occidental. This may have been so for some contemporary “asian art”, in part, many decades ago, but not anymore.

    IMHO, many asians might not get it as well, actually probably more than westerners even, I am thinking “educated” ones, if that matters. No, it’s a personal thing, and how we let Kyunghee the chance and her pictures the time to impress on us. If art was accessible from the word go, it would be merely top 40 artistry, too easily consumable. It is good that it is not always obvious to everyone. What we really should not do is reject it outright.

    I love photography and I love to look at pictures, this keeps me ever curious of what everyone here submits. If Kyunghee’s art was to not “get” me too fast, so to speak, that can only gives me me more time to spend around it, at a pace that might be different from anyone else.

    Kyunghee, I find it wonderful that you express yourself in such highly individualistic manner, unique as well, out of the beaten track. That is definitely a high achievement in itself from anyone asian, moreover, a woman. So many dab into porn/Erotism, or disguises-cum-performance Art, to get their voices heard, not you.

  • Can’t we all get along? :))

    I am concerned about our lack of ability to “play” here together. Perhaps some suggestions of comment guidelines would be helpful? Let’s discuss HOW to discuss…Those who are not loving the work are being forced away from the site because they don’t feel they can fully express themselves. Others feel compelled to defend the work and in the process risk discrediting those who don’t agree with them. It would be great if we could transform this into a lively discussion where ALL opinions are respected and welcomed.

    I know many here are TRYING. It seems like we could use a little help though.

  • Marcin, I think I feel the same if I am understanding..for me it is a matter of what resonates in my heart, and that means ‘old school’ aesthetics, and I don’t think I could shoot differently just to keep up..

  • Ana,

    I know you didn’t write this for my benefit but I really appreciate what you said. Glad to know I am not alone. I often feel like there is something wrong with me for not agreeing with the majority here.
    If nothing else, I am learning to trust my feelings.

  • Hi Bob, i feel really uncomfortable with your post above citing my words with sarcastic contention. it’s really not like you to be so snarky, so i’d like to clear the air if you don’t mind.

    of course you are correct; there are only two things that are important: the images the artist puts up and then the information they provide subsequent to that. i don’t think anyone would disagree with you Bob.

    i think David may only have been referencing my plea that people should explore the images with the most open of minds; nothing more, nothing less. It would seem to be the most reasonable way for all of us to take the sound-byte you’ve cited considering the post above it.

    i hope my clarification compels you to respond with something more kind and we can just drop this and never bring it up again, but right now it makes me feel kind of weird having that comment just hanging out there like this; left like this it seems much like some of the other unhealthy infighting that’s going on.

    Kind Regards,

    Joe

  • kyunghee lee..

    you are an incredibly beautiful person and it is a treat to see how you see, if only for a moment..

    for me, the most powerful image is 29..what appears to be a woman at the seaside with a point and shoot camera dangling from here arm..immediately I viewed that image as you, believing you had made a self portrait. now thinking on it, i am not sure that it is physically you, but symbolically, emotionally, it sums up the series for me..

    wishing you all the best and a very happy and peaceful year

  • Hi Folks,

    (I just spent a fair chunk of time write a post only to have it vanish when I stupidly closed my internet connection. Damn.)

    Anyway, I said something along the lines of:

    I’ve watch Kyunghee’s essay four times today. The images have lingered in my mind, which certain means that this work is gripping in its own way. I think, perhaps, that the non-western/western dichotomy has been a little over played. I see it as being a poetic piece of work; it is definitely non-literal, non-linear. I think these images evoke rather than explain, they hint rather than reveal. I think what they evoke and hint at is probably dependent on the viewer, as much as what is in each image, or what was intended by Kyunghee. They remind me of when a distant, fragmented memory pops into my mind. Sometimes its all about the feel of what happened so long ago rather than the exact facts. Well done Kyunglee!

    David, I sent you a private email the other day. Do you know if it arrived safe and sound?

    Cheers,

    Jason

  • THANK YOU JOE!!! thank you for explaining so well what DAH is trying to do here. I think that in general most of us ( artists/photographers) have knee jerk negative reactions when see “blurry” images, or over/under exposed/satured etc etc. because for the most part we have had inept “chefs” disguised as visionary curators in “galleries” directed more by “trends” than by true vision. So when we are presented by what seems like “more of the same” we can’t tell them apart when they are presented even in a different platform. But this is DAH, and I trust and respect what he is doing and creating.

    I often google words to see what comes up when I am curious about something or don’t know how to express an idea. so i just googled:
    “blurr + boundries + eastern culture” and this is one of the things that came up:

    Blurred Boundaries: An Analysis of the Close Relationship Between Popular Culture and the Practice of Law

    it talks about ” Courtroom Story telling” and “Visual Story telling” among other topics, but I will excerpt a few sentences that I found fitting:

    “First, powerful litigators are effective storytellers. Attorneys need to educate and entertain their audience from voir dire to closing argument using a variety of tools to portray their themes. Many rely on classic storytelling techniques as vehicles to convince the jury…The significance of storytelling in the courtroom is grounded in an important parallel between our system of jurisprudence and fables: both are driven by a personal and thematic “protagonist vs. antagonist” structure. The common law system is adversarial; parties square off against one another seeking victory, not compromise. However, the violence is removed from courtroom combat. The struggle takes place more abstractly as the courtroom becomes the “theater of battle.” If violence is the primitive ex-pression of the drives dealt with by mythology, the courtroom permits a more advanced and abstracted expression…
    The best courtroom stories, and therefore performances, are almost mythic in structure: good vs. evil, man vs. nature, big vs. small, innocence vs. deceit…Courtroom storytelling sounds simple, yet it is actually quite difficult. Not all cases are as inherently drama-laden as the O.J. Simpson or Rodney King affairs. Instead of bloody gloves or incriminating videotape, most litigators have to struggle with sixty-page lease agreements or complex insurance contracts….
    Second, visual communication has both a substantive and a stylistic component. Both “the message” and the way in which it is communicated matter. Every culture has certain boundaries or parameters that define the acceptable style or language of presentation within that group. For example, if you travel to a different country, you will notice that their billboards, newspaper and magazine ads, and television programs simply look different than they do in the United States. The message (e.g., “Buy Coca-Cola” or “Eat at McDonald’s”) might be the same; however, the method of delivery and the arrangement of the symbols are not. ”

    well, if anything, DAH’s “burn” has made me think. investigate. i don’t want to be part of a jaded or bitter group that likes or dislikes driven by a gut reaction or from rejection. i want explore beyond my perceived understanding.
    thank you DAH
    thank you JOE

  • oops, and i hit the send button before i said thanks to kyunghee lee and all the photographers here who put it out there for us to chew,digest, swallow, or spit out, feel full or still hungry… to continue Joe’s metaphor!

  • these photos make me want to go out and make photos…can’t say much more than that.

    ~ chris h

  • Joe:

    i cant seem to find the comment on this machine (running home to work), so forgive me for writing here instead of as a reply to your last comment (to my reply to David). First, let me just say simply that part of my comment was a ‘joke’ to David…i know david personally and have been with his Road Trips from the virtual beginning and so part of my comment was to tease him…if i wrote to you, i would have written about to you ;))…hopefully you understand that by now. so you do not feel weirded out let me clarify simply: i have been a cheerleader for other photographers here and believe, as a working photographer myself, that what matters is not intellectual dissection, but simply open-mindedness…i was a bit, honestly, bewildered by the difference between your initial reaction to kyung-hee’s work and you later long comment about what the audience should see as David’s orientation…it just seemed odd, anyway. it is increasingly clear to me that my contributions do not help. i didnt’ like all the ‘cheap’ talk about Burn at HCSP (i still read it), so elitist and pompous (not everyone, but much of the snarky comments there) and i find it annoying (as a photographer) that disagreement leads to a logical analysis. anyway, either way, my comment was a tease to David, and that the idea of Burn was the hope for a conversation between artist and audience, about Questions and discussion…not critique…i did not help that by offering my own positive critique for all the discussions that have come up….but, it’s clear that my own participation does not rememedy this. so, my comment was meant to tease david about contributions….nothing more…delete everything that i have written here over the last 2 weeks (for anton, panos, patricia, angelo, katrina, tom, bryan, chris, tom, mustafah, ashe, martin and know kyung-hee), my participation has not been (as a photographer, a friend and someone whose live is governed by photography) to be a critique or a guardian but a supporter of Burn, period. That i attempted to give others, those who agreed or dissented, ideas to thing about, and those ideas turned into long didactic off-putting screeds bothers me. I find them still happening. but, this was my fault and i shall not do that again. i commented here (about kyung-hee’s essay being about mortality, memory, death, sight) was in support for a photographer whose work i know well and love. as usual, it turned into more of an intellectual argument. again, my fault. so, i iterate the promise i made: no more words from me, period. I will contribute work to Burn (which i have already done) but i feel my words have not accomplished what they had intended to do. this note as an example. i am sorry if you felt i was attacking you, but i was teasing david. he knows me and he also knows what i can and cannot abide, for good or ill.

    for me, burn is about the work, not personalities or commentators. so, now, absolutely, silence from me. Burn will be a great magazine, will contain interesting challening work (i hope my bones will incite similar reflection), will contain literary contributions, will contain ‘behind the scenes’ interview/ideas/expressions, interviews, multimedia pieces, etc etc etc. burn is so so young, but burn is not a blog…it is in it’s infancy stage and developing and david and anton are busting their humps to keep it going…i worked my butt off to do what i do best: to make photographs and to write essays, all of which burn has, but my place is not here to be a critique or to snark off people or to make issues…my role, as i promised david, is to celebrate and support the artists and their work…

    hope that makes sense….

    i could not be happier for Kyung-hee (as i told her privately many times) and I am happy that so many know are seeing her work and i hope she sells a shit load of books….it is a magnificent book…

    all the best
    bye
    bob

  • I am up in the air about this, too, Tom — I can find no simple explanation of what is fair use for using music — this is a non-profit site but still it is being “broadcast” and nothing is given other than attribution — if I start a website to talk about photography and have a worldwide audience and possibly sponsored photographers, could i just pluck any photog’s images from his/her website and use them with a credit? fuzzy logic? or perfectly legit? could be ok, but feels wrong.

    anyone?

  • Hi Folks,

    Wondered if anyone has seen this……

    http://inmotion.magnumphotos.com/essay/new-york

    Cheers,

    Jason

  • kyunghee lee

    i received your book today and it’s so beautiful. it’s like blood in the veins. it’s contained into one feeling of contentment. you don’t go away. you stay. congratulations.

    anne

  • Congratulations Kyunghee; very thought provoking. Thank you David for reminding me of the East / West difference in interpreting images. I reached photograph 21 and then I saw something that was not, literally, there: the tree looked, to me, like a dragon, or another-world creature, perhaps a soul, perhaps MY soul – certainly not an out-of-focus tree. I looked again at the photographs, no music, and saw so much more than at first view. These are photographs for the wall: each day you will see something new. For those that don’t “get it” I was reminded of the first time I looked at a Medium Format ground glass screen – and saw nothing – I was looking THROUGH the screen instead of looking AT the screen. Just “stare” at the photographs, try not to focus on the reality too much.

    Can East meet West? See the work of Pep Bonet on the Contact Press website. The discussion as to whether photojournalism can use techniques such as personal vision, metaphor, colour-to-provoke-a-particular-emotional-response etc. can wait for another day. Today is Kyunghee’s day! I honestly saw something new today.

    Thank you.

    Mike R.

  • Thanks David !!!

    You are always welcomed in my home.

    I am starting to feel at home here on BURN as well. It’s a wonderful place to be. I have never taken participation on _any_ site and have been always skeptical in revealing my true name to the unknown of internets. I am sure many here will share the feeling with me – JOE “hellofa” SOMEGUY is a great example for me and I can credit the warmth of this site created by you that allows people to reveal their true selves. Thanks David …
    …………………

    The meeting of Kyunghee and Panos? That is monumental. And if that ever happens and I am sure it will at some point, relish would not describe the full extent of feelings one would take home from it …

    cheers,
    Haik

  • Hey Bob,

    You shouldn’t be so hard on yourself. Your posts are endlessly thought provoking and always seem positive, to me anyway. Don’t stop them….

    Thanks David for having such an eclectic mix on Burn. Even though I might not like some of the stuff on here I always look with an open heart and mind. How else am I able to progress with my work and evolve as a human being if I can’t learn from other people’s view of the world ?

    Kyunghee Lee’s work was very personal and although I didn’t particularly like it, after several viewings I felt I had gained something from the experience. Maybe when I next hold a camera my work will be nourished and better for having viewed her images.

    Cheers,

    Barrie

  • Right after pressing the play button I was – speechless. Wondering in quiet awe. Then I thought: okay blurred foreground. A little later: Aha, again blurred foreground. Am I too much of a phototechnic freak and only see blurred foreground? Confusion. Then I asked myself why I was listening to some kind of Spanish music? At that time I was in Iceland because „Island“ in German means Iceland. Sorry, I didn’t read the introduction first. Looked „Island“ up in the dictionary much later.
    Half way through I switched off the music. No need for music.
    At the end: I am very thankful for this visual journey. I had to learn more about Kyunghee Lee. I only knew that Kyunghee Lee lives in Korea. No more. So language and lack of knowledge can create some irritation.

    Kyunghee Lee, you explained a bit about the blurred foreground, but honestly I felt that it was used a little too much for my taste.
    There are sometimes repetitions like in image 6 and 7. Both had roughly the same kind of composition and idea. Is this on purpose? I might have left one of them out. Image 14 and 15 look quite similar as well. To me it seemed a bit like you couldn’t decide. If I am wrong here please tell me. If this is your full intention: agreed!

    Kyunghee Lee, I feel your images work best in a book or in an exhibition. Just had a quick look at some of the pages of your book and I think it is good to see some images side by side and others as single. Perhaps a slideshow is not ideal for your work. Island will be in my book shelf soon.

    Yes, these images give the viewer the chance to go on his or her own magic journey. Mine was to Iceland and yes, I have seen the Korean (?) signs on the wood. But I was ignorant enough to stay in Iceland. And I longed for the sound of waves splashing or wind blowing softly.
    Image 25 is my favourite. Oh, how I love this image!
    Thank you very much for sharing your visual world. It is a great big pleasure!
    In Germany it is awfully cold and perhaps this is what made me think of Iceland in the first place.

    Peace
    Reimar

  • Haik,

    I always welcome to your e-mail.
    My address is mizise@naver.com
    Thank you very much. :)))

  • Bob,

    “but i feel my words have not accomplished what they had intended to do” – that is the worst thing you have said since i ve been reading you. ne pizdi, eh. there, i said it in canadian russian.

    You are a crucial part of BURN and I am gonna play your comment above down.
    Please, don’t make us feel the void you may cause by being silent. I bet I speak for many.
    Haik

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