Jeehey Kim

Jeehey Kim's research encompasses the history of photography, visual culture, and film studies in East Asia. Kim's first book, Photography and Korea, is the first book on the history of Korean photography in English. She is currently working on a book project: Photography and Death: Funerary Photo-Portraiture in East Asia. She also has been writing articles on vernacular photographic practices as well as on documentary films and visual culture in relation to the Cold War and gender politics in East Asia.

As a curator, Kim has organized exhibitions such as the recent “Pyongyang Bookstore” at Seoul Metropolitan Library, which presented North Korean artists of the 1950s and ’60s. Kim earned her doctorate at the Graduate Center, City University of New York, with a dissertation on funerary portrait photography in East Asia. She was a postdoctoral fellow at the University of Chicago.

Publications

Photography and Korea, London: Reaktion Books; Chicago: University of Chicago Press (2023)

“Photography, Love, and the Afterlife in East Asia,” Photography and East Asian Art, eds. Wu Hung and Chelsea Foxwell, Chicago: Art Media Resources and Center for the Art of East Asia, University of Chicago, 2021, 143-170; (translated in Chinese) “攝影、情愛與來世，在東亞” Voices of Photography, 33 (2022): 26-36.

“Contemporary Photography Magazines in Korea and Taiwan: Vostok & Voice of Photography,” Trans Asia Photography Review, Vol. 10, No. 2 (Spring, 2020): https://quod.lib.umich.edu/t/tap/7977573.0010.211?view=text;rgn=main.

“Pyongyang Bookstore: North Korean Artists through Their Books,” in Pyongyang Bookstore, exh. cat., Seoul: Han Sangeon Yeonghwa Yeon’guso, July 2018, unpaginated.

“Wandering Ghosts of the Cold War,” Journal of Korean Studies, Vol. 22, No. 2 (Fall, 2017): 413-431.

“The Development of Photo Studios in Korea by Lee Kyungmin,” Translation of the Korean text, Trans Asia Photography Review, Vol. 4, Issue 2 (Spring 2014), http://hdl.handle.net/2027/spo.7977573.0004.203.

“Death and Photography: Politics of Funerary Photo-Portraiture,” in The 2012 Seoul Photo Festival: Village Community and Photo Archives, exh. cat., Seoul: Seoul Museum of Art, Seoul City Hall, Seoul Museum of History, November-December 2012, 235 – 247.

“Memory of the Dead and Responsibility of the Living: Noh Suntag’s Forgetting Machines (2006-2007),” Trans Asia Photography Review, Vol. 2, Issue 1 (Fall 2011), http://hdl.handle.net/2027/spo.7977573.0002.110.

“Korean Funerary Photo-Portrait: Vernacular Photographic Practice as Parallax,” Photographies, Vol. 2, Issue 1 (2009): 7 – 20.

“Deadpan Rhetoric: We don’t have an alibi,” in Geoffrey Batchen, Jeehey Kim, and Jung Joon Lee, Deadpan: Photography, History, Politics, exh. cat., New York: The Graduate Center, City University of New York, May 2008, unpaginated.

 “Difference in Feminism: Theresa Hak Kyung Cha and Post-Colonialism,” The International Journal of the Arts in Society, Vol. 2, Issue 2 (2007): 81 – 92.

Courses

ARH 324 –Introduction to the History of Photography

ARH 324 — 20th-Century Photography

ARH 424A & 524A –History of Photography: 19th-Century Photography

ARH 596 –Vernacular Photographies

ARH 424A & 524A –History of Photography: Black Lives Matter

ARH 596 –Photography and Empire

ARH 424C & 524C –History of Asian Photography

ARH 596 — Global Indigenous Photography

ARH 480 & 580 –Postcolonialism and Contemporary Art in East Asia

Asian Photography Symposium Series

Home

Photography and Taiwan

https://asianphotography.art.arizona.edu/photography-and-korea-2021/