Heun Jung Kim Art

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Port Life, St Tropez, 1977 Chromogenic Lambda print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. A man stops to watch a young wo...

Doron - "Female Model" Photography on canvas. Diptych, framed. An original piece. One of a kind. The painting comes with a certificate of authenticity and a letter of appraisal. R...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Patrick Chelli invents collections of photographs from different points of view, looking at the viewer at the back. In his new series, spectators are captured in galleries as they wa...

Camels in Dust Storm by Steve McCurry presents two figures leading their camels through the sandy terrain of the desert. They struggle further into the storm, consumed by the orange ...

The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...