PARK Youngsook, Look, That Woman Sings and Dances

PARK Youngsook’s position within the history of photography is not a simple one. She took up the camera in the 1960s, when women existed primarily as models, chose staged photography in a field dominated by documentary practices, and foregrounded feminism at a time when it was regarded as unfamiliar and even dangerous. Each of these choices constituted a persistent resistance to the conventions of institutions, language, and vision. This text examines how that resistance is articulated in each of her works.