Published by Cosgrove Editions, Johsel Namkung • A Retrospective is a collection of one hundred exquisite images selected from a remarkable career in photography spanning six decades.
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“I like to give my viewers questions, not answers. Let them find beauty in the most mundane things, like roadside wildflowers and tumbled weeds.”.
Johsel Namkung.
“When we can find the abstract in nature we find the deepest art.”
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Mark Tobey.
“Photographs give us information; it seems that they give us information that is very packaged and they give us the information that we are already prepared to recognize obviously. It’s as if the words don’t have the weight they should have, so that one of the statements being made by any photograph is: “This really exists.” The photograph is a kind of job for the imagination to do something that we should have been able to do if we were not so disturbed by so many different kinds of information that are not really absorbed. Photographs have this authority of being testimony, but almost as if you have some direct contact with the thing, or as if the photograph is a piece of the thing; even though it’s an image, it really is the thing.”
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Susan Sontag. Excerpt from a speech, Wellesley College photographic symposium, April 21, 1975
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This is a superlative book by Cosgrove Editions that celebrates the sixty-year life in photography of the now 94-year-old Johsel Namkung. Rather than a retrospective I see this book as testimony to Johsel Namkung’s vision as an artist and the photographs, as Susan Sontag observes above, as testaments that allow the viewer to have some direct contact with the things that Johsel photographed, to see and feel with him the places that he visited and the things that he saw.
Some of the photographs in this book take your breath away. Taken with a large format camera Johsel’s compositions are heavily influenced by music and are almost fugue-like in their structure. They vibrate and sing like few other landscape photographs that I have ever seen. There is the absence of a horizon, so that his photographs seem to agree with the picture-plane rather than with the world at large.1 Rather, Johsel lets his images flow and in that flow he creates patterning that distinctly creates layers of landscape. The juxtaposing of lines on the landscape is reinforced in the sequencing of the book, where binary opposites are paired on facing pages: feminine / masculine, yang / ying, macro / micro. For example Rainy Pass, Washington July, 1989 is printed opposite Picture Lake, Mount Baker, Washington July 1979 (feminine / masculine); Steptoe Butte, Washington January, 1989 is printed opposite Oak Creek, Washington March, 1991 (yang / ying); and the vast Denali National Park, Alaska September, 1987 is printed opposite the almost Japanese-like delicacy of Arrigetch, Alaska September, 1980 (macro / micro). Although there are links to Abstract Expressionist painters such as Jackson Pollock and Mark Toby and photographers Ansel Adams, Minor White and Eliot Porter this work is wholly Johsel’s in its compositional structure – the position that the photographer puts himself in, both physically and mentally, to obtain these most beautiful of images.
Johsel has a love of small triangular shapes within the pictorial frame. They act like small punctum or pizzicato in musical terms and these given details are intended as such by the photographer. The little punctum in Johsel’s individual works become an accumulation of small punctum that resonate throughout the whole testimony of his work – through the placement of rocks and twigs, the use of triangles and layers whose presence Johsel so loves within the photograph. In this sense (that the photograph is written by the photographer), these are photographs of the mind as much as they are of the landscape. Working in the manner of Minor White (photographing in meditation, creating a pathway from the self to the object, from the object through the camera and back to the self, forming a circle), harmonising all elements (visual, physical, elemental, spiritual), Johsel exposes himself as much as the landscape he is photographing. This is his spirit in relation to the land, to the cosmos, even. Like Monet’s paintings of water lilies these photographs are a “small dreaming” of his spirit with a section of the land not necessarily, as in Aboriginal art, a dreaming and connection to the whole land.
As Minor White observes of the “recognition” of such dreaming when working with the view camera,
“First, there is a store of images, experience, ego problems, ideals, fears, which the man brings to his seeing at the start. Second, during the activity of seeing they are matched against the images in the visual world, like matching colors. This is done with some conscious effort and a great deal of unconscious participation. At the moment of matching or “recognition” there is a feeling of important at least, and sometimes a merciless impact. This in turn is secured by exposure – like a sudden gust of wind drops a ripe apple. So we can say “recognition” is the trigger of exposure. In view camera work the lapse between recognition and exposure may be relatively long. There is time for analysis and criticism of image and idea, and exposure sums up the entire experience.”2
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Like the sudden gust of wind drops the ripe apple.
Oh the joy Johsel must have found when he recognised such invocations, by being aware of his surroundings and his relationship to the earth. I know from my own experience that when you find such a place and recognise it for what it is, it is then an entirely different matter to capture it on film for the camera imparts its own perspective. It is almost as if Johsel and the camera are one, and that the camera itself has disappeared into the landscape (I like the way that you can nearly see his camera but it is actually hidden in the photograph at the bottom of the posting). I get the feeling that Johsel is quite consciously working within an adopted aesthetic – sort of like a tea ceremony – and just making things purposefully and having faith that it is some sort “of way” of doing things. At no point is there any sense of difficulty here - it has all been removed. Yet there was so much physical effort: climbing, walking, waiting, patience, no trace of it. What a heroic act this is!
Johsel approaches a metaphysics of the Real, creating authentic visualisations of the world – an idealised, abstracted Real tending towards a (mental) s(t)imulation. In other words, he photographs the world not to reveal a specific place but a particular state of mind. Is the link to indexicality broken? No, but there is no ultimate truth or origin here, for his is an art of transformation (theatricality) through structure (modernism) which is the essence of aesthetic arts.
“This strategy rejects the search for an origin or ultimate Truth and instead interprets reality as composed, contingent and intersubjective; reality is, therefore, theatrical… Theatricality is made of this endless play and of these continuous displacements of the position of desire, in other words, of the position of the subject in process with an imaginary constructive space.”3
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In Johsel’s photographs desire is displaced, ego is removed and his photographs become images of the mind as much as they are of the landscape. This is Johsel at play recognising, becoming these imaginary, constructive spaces. He is in the zone, he becomes the zone, even. Finally we can say: his photographs and his life are transformational; his imagination is the representation of possibility; his work is testimony to that representation.
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Dr Marcus Bunyan for the Art Blart blog
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Many thankx to Johsel Namkung, Dick Busher and Cosgrove Editions for allowing me to publish the text and photographs in the posting. Dick Busher allowed me to pick the photographs that I wanted to illustrate this posting and for that I am most grateful. Please click on the photographs for a larger version of the image.
The book has recently taken top honors in two different award competitions among independent publishers for photography books: The Independent Book Publishers Association’s Benny Awards, and the Independent Publishers IPPY Awards.
PS. I think that photographer is very aware of: “Let the subject generate its own composition” (MW) – coming from Weston’s “Composition is the strongest way of seeing.”
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Johsel Namkung
Big Meadow, Washington Pass, Washington September, 2000
2000
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Johsel Namkung
Cougar Lake, Oregon June 1991
1991
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Johsel Namkung
Rainy Pass, Washington July, 1989
1989
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Johsel Namkung
Picture Lake, Mount Baker, Washington July 1979
1979
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“In his photography Johsel brings attention and importance to elements of nature that most people pass by on their way to the grand vistas. One of my favorite locations in Washington is the Palouse as seen from Steptoe Butte; Johsel’s interpretations of the undulating wheat fields just greening with new growth are sensuous and impressionistic. One feels the slope of the earth, the texture of the tilled fields rather than seeing it. The sophisticated simplicity of his vision is highlighted in a simple composition of a dark pond surface, afloat with delicate grasses; the fine lines flowing this way and that give a sense of constant movement, yet it is a still photograph. In a twig reaching out of the snow, the subtle reflection on a pond in late afternoon light, delicate frozen ripples of ice clinging to river rock, the geometric chaos of tree branches covered in snow, the rich patina of weather-beaten stone, Johsel celebrates the minute in a grand way; it becomes the symbol for the greater whole. Textures, rhythm of line and movement become the foremost elements in his work. Some of Johsel’s images are quiet and abstract, singing a single note, while others are full-out symphonies in a celebration of the rhythms. In particular I find his Korean landscapes extraordinary. In winter the alpine hillsides bare their architecture; ridge after ridge, speckled with leafless birch and pyramidal conifers, they overlap in a crescendo of natural beauty.”
Art Wolfe, Introduction to Johsel Namkung • A Retrospective
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Johsel Namkung
Steptoe Butte, Washington January, 1989
1989
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Johsel Namkung
Oak Creek, Washington March, 1991
1991
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Johsel Namkung
Steptoe Butte, Washington October, 1977
1977
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Johsel Namkung
Steptoe Butte, Washington October, 1983
1983
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Johsel Namkung
Denali National Park, Alaska September, 1987
1987
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Johsel Namkung
Arrigetch, Alaska September, 1980
1980
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“Photography as a medium is still relatively young. Introduced publicly in 1839, its definition has remained complicated in discourse and practice, oscillating between practical application – whether scientific illustration, family record, or aid to commerce – and aesthetic or expressive concerns. Debates that arose shortly after its invention, contesting whether photography could be an artistic medium, remained heated a century later and beyond, resolving only after Photoshop and other types of photographic manipulation became commonplace. Questions about the role of the photographer, the relative merits of color versus black-and-white, truth to the original shot versus darkroom manipulation, investigations about canon, hierarchy, and genre have continued to multiply, as have the social organizations – art schools, technical assistance and supplies, professional and amateur societies, regular shows and publications – that foster photographic work. Becoming a photographer in the middle of the twentieth century, Johsel Namkung emerged at the intersection of all these social and conceptual shifts. Taking advantage of this opening, he made several unconventional choices: deciding to work in color although it was black and white that signified art photography until the 1970s or later; working abstractly, but hewing to the dictates of straight photography: available light, no darkroom manipulation, print the full negative.
From the acquisition of his first camera, Namkung developed high standards for his photographic practice, recalling to interviewer Alan Lau, “I always had a confidence in myself… I had a sort of a vision toward my photographic future. I knew I was going to be something.”1 Trained first as a musician, from the beginning Namkung defined photography in abstract terms, approaching his motifs in terms of rhythms, tonal relationships, pattern, and texture. Individual works reveal specific affinities. The calligraphic grasses in Lizzard Lake, Stampede Pass, WA, August 1976 suggests Harry Callahan’s images of reeds, which are associated with Abstract Expressionist photography. The lichen-covered stone in Blue Mountain, Olympic National Park, WA, September 1976 resembles Jackson Pollock or the famed White Paintings of Namkung’s friend Mark Tobey. The screen of regular tree trunks in Sherman Pass, WA, August 1993, recalls the hatched lines representing driving rain in modern Japanese printmaking. Like limpid watercolor strokes, the rolling hills of the Palouse – distinct in each version of Steptoe Butte, of 1976, 1977, and 1983 – allude to Morris Louis’s color field paintings.
Namkung’s preface here recounts how successive unusual jobs supplied him with professional training as a photographer. Seattle in the postwar boom years also provided a rich and supportive context for his art. Skilled artists from the ranks of first- and second-generation immigrants, from Japan, China, Korea, and the Philippines, gathered in the International District but worked and showed farther afield. Art photography had a popular following and many innovative practitioners; Pictorialism – promoted by annual exhibitions like those organized by the Seattle Camera Club – encouraged aesthetic and technical exploration with cameras. The so-called Northwest Mystics represented only one of several artistic communities exploring abstraction, some emphasizing its expressive potential, others seeking formal invention. Creativity was equally celebrated beyond fine art. Rarefied technical challenges were tackled and mastered at The Boeing Company as well as the scientific laboratories of the University of Washington. The richness of this cultural ecology fostered the unique development of Namkung’s career. In return, his thoughtful production has nourished local and international audiences for over four decades.”
Elizabeth Brown, Former Chief Curator, Henry Art Gallery, Introduction to Johsel Namkung • A Retrospective
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1 Alan Chong Lau interview of Johsel Namkung conducted in Seattle, Washington, on October 5, 1989, for the Archives of American Art Northwest Asian American Project.
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Johsel Namkung
Shi Shi Beach Buoy, Olympic National Park, Washington August, 1981
1981
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Johsel Namkung
Bissell, Washington December, 1981
1981
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Johsel Namkung
Alaska Lichens, Date Unknown
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Johsel Namkung
Blue Mountain, Olympic National Park, Washington September, 1976
1976
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Johsel Namkung
Weston Beach, Point Lobos, California May, 1988
1988
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Johsel Namkung
Frenchman Coulee, Washington May, 2002
2002
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Johsel Namkung
Kalaloch Beach, Olympic National Park, Washington October, 1984
1984
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Joshel Namkung on Hurricane Ridge, photographed by his friend Ken Levine
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1. Adapted from Robert Nelson commenting on the painting of Monet. “Impressionist’s ode to beauty trips into light fantastic,” The Age newspaper, Wednesday May 22nd 2013, p.42.
2. White, Minor. “Exploratory Camera,” 1949 in Bunnell, Peter C. (ed.,). Aperture Magazine Anthology – The Minor White Years 1952-1976. Aperture, 2013, p.64.
3. Féral, Josette. “Performance and Theatricality: The Subject Demystified,” in Modern Drama 25 (March) 1982, p.177.
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Johsel Namkung • A Retrospective website
Cosgrove Editions is an independent publisher of books on photography. We also provide production and printing assistance for artists who self publish their work. Many of our projects have won some of the highest international awards for printing quality.
