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dc.contributor.advisorAlbu, Cristinaeng
dc.contributor.authorNelson, Ameliaeng
dc.contributor.sponsorArt and Art History
dc.date.issued2016eng
dc.date.submitted2016 Springeng
dc.descriptionTitle from PDF of title page, viewed on June 6, 2016
dc.descriptionThesis advisor: Cristina Albu
dc.descriptionVita
dc.descriptionIncludes bibliographical references (pages 55-57)
dc.descriptionThesis (M.A.)--Department of Art and Art History. University of Missouri--Kansas City, 2016
dc.descriptionTitle from PDF of title page, viewed on June 6, 2016eng
dc.descriptionThesis advisor: Cristina Albueng
dc.descriptionVitaeng
dc.descriptionIncludes bibliographical references (pages 55-57)eng
dc.descriptionThesis (M.A.)--Department of Art and Art History. University of Missouri--Kansas City, 2016eng
dc.description.abstractIn the Wind series (2004-2007), Korean photographer Jungjin Lee captures tumultuous views of the American desert. These photographs are printed on handmade mulberry paper, which Lee sensitizes by hand and heavily edits in the digital darkroom. Lee’s images are landscapes of a state of mind, evoking a fleeting psychic connection between nature and the photographer – a connection that Lee enhances even more in the darkroom. Each image is the result of a heavily mediated process that both accentuates and effaces the technical capabilities of photography to create a unique aesthetics with many similarities to traditional ink painting. While her process is reminiscent of the Pictorialist movement and traditional Asian landscape painting, it is ultimately firmly rooted in the context of contemporary photography and linked thematically through the need to overcome displacement in an increasingly global context through image construction. Lee’s landscapes are rich in metaphors, making the unseen perceptible. Buddhist and Shamanistic concepts like impermanence, the void and oneness permeate the images in the Wind series, where majestic mountains dissolve into sky, until the entire composition becomes abstracted from an actual location. In Wind, Lee not only questions the unseen energy that transforms the skies and vistas, but she is also drawn to the intersection between these vast majestic expanses of land and the individual. In this exploration, Lee photographs the ruins of houses, abandoned detritus and forlorn homesteads. Throughout the Wind series, Lee conveys the constant flow of experience, time and space through her experimentation with borders, framing devices and her printing process. To situate this body of work within a global framework of space, place and time, I rely on the theories of cultural geographers Yi-Fu Tuan and Doreen Massey that cast light on multiple modes of relating to our surroundings and the intricate histories embedded in them.eng
dc.description.sponsorshipCollege of Arts and Sciences
dc.description.tableofcontentsIntroduction -- Jungjin Lee's photographs at historical and cultural crossroads -- Spirituality and porous boundaries -- Simultaneity and spatio-temporal disjunctionseng
dc.description.versionmonographic
dc.format.extentviii, 58 pageseng
dc.format.mediumtext
dc.identifier.urihttps://hdl.handle.net/10355/49252eng
dc.languageEnglish
dc.relation.isversionofVersion of record
dc.rightsOpen Access (fully available)
dc.rights.holderCopyright retained by author
dc.subject.lcshLandscape photography -- West (U.S.)eng
dc.subject.lcshYi, Chŏng-jin, 1961-eng
dc.subject.lcshPhotography, Artisticeng
dc.subject.otherThesis -- University of Missouri--Kansas City -- Art and Art Historyeng
dc.titleContemporary Landscape Photography: Dissolving Boundaries in Jungjin Lee’s Wind Serieseng
dc.typeThesiseng
dc.type.genreGraduate
thesis.degree.disciplineArt and Art History (UMKC)eng
thesis.degree.grantorUniversity of Missouri--Kansas Cityeng
thesis.degree.levelMasterseng
thesis.degree.nameMA (Master of Arts)eng


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