![]() From this point on, the narrative sequence shines. From the end of the seventies, the art of photography gradually progresses to series photographs and theme photographs. The narrative sequence is further expanded. ![]() With the emergence of Cindy Sherman and the emergence of postmodernism, New Color Photography and New Topography are backing out. Until the late 70s, three images expanded in their respective areas. ![]() Sequence photography, on the other hand, came from conceptual art. New color photography and New Topography are the aesthetics of photography itself. The 70’s photographic arts are represented by ‘New Color Photography’, ‘New Topography’, and ‘Sequence Photography’. Duane Michael has expanded the expressiveness of his photographs through directing and sequence photography, and William Wegman has extended the expressiveness of photography through real objects. At this time, Duane Michael of ‘Sequence Photography’ and William Wegman of Art & Language are the leading leaders, who brought out the expression of innovative photographs. Since the 1970s, photographs have moved away from the small, narrow fences that have surrounded them to a wider visual world. The complicated situation of the 70s was pushed up to the photograph like a tsunami, and the photograph became difficult. Photography faces challenges in contemporary art, in political society, in broadcast culture, in new generations, and in photography itself. It is convincing that Keith Davis ‘s grasp why the 70’ s photography became difficult. William Wegman, Falling Glass, 1972, gelatin silver printĭuane Michals, Chance Meeting, 1970, gelatin silver print Korea.William Wegman, Folly, Soucy, Man Ray, 1973, gelatin silver print The first two parts of this sequential sculpture refer to the past and present of. visual essay, "Mother Load," features the bojagi wrapping cloth. Kim and Chungmoo Choi (eds.), Dangerous Women: Gender and Korean Nationalism, Routledge, 2012, p.
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