Dayea Kim is a fourth-year International student coming from South Korea, pursuing a Bachelor of Arts (2016) in the Art Department and a double major in Art History. She works mainly in painting and photography.
While the idea of Museology and Photography are both recently introduced in terms of history, it is her current ambition to make a collection of Fine Art Photography in and around Art Museums in Los Angeles. The audience will be visually invited to see the corners of art-exhibiting space, often the most unnoticed and hidden spots, such as storage room and conservation lab. Throughout her photographs, the viewer is to witness art and artifacts de-romanticized, constructed narratives deconstructed, the reality confronted, and the new “museology” made.
There have been a few photographers that worked on this theme of museum photography. Thomas Struth’s “Museum Photographs” captures individuals and crowds looking at famous works of Western art in the world’s most popular museums. Similarly yet differently, Louise Lawler’s “Cool Objectivity” focused on the presentation and marketing of artworks. To address prevailing systems of establishing art, taste, and style, her works were taken in and around museums heavily dealing with the notion of viewership in a museological space.
Meanwhile, oddly, none of her photographs tries to identify art within an image. Audiences are not necessarily led into artist of an artwork, but drawn to a new construction of space and meaning within each frame. While the Museum presents narratives that are somewhat well-directed and resolved, her aim is to invite the viewer to navigate and to find something new—the goal of what it means. As the viewer searches for the relationship between art and everything else within the space, what to be unveiled are the multiple truths.