Atta Kim is a South Korean photographer who has been active since the mid-1980s. He has exhibited his work internationally and was the first photographer chosen to represent South Korea in the São Paulo Biennial.
Explore Atta Kim Wiki Age, Height, Biography as Wikipedia, Wife, Family relation. There is no question Atta Kim is the most famous & most loved celebrity of all the time. You can find out how much net worth Atta has this year and how he spent his expenses. Also find out how he got rich at the age of 65. He has a pure loving kind heart personality. Scroll Down and find everything about him.
|Date of Birth||1 January 1956|
|Birth Day||1 October|
|Age||65 years old|
|Birth Country||South Korea|
|Also Known for||Photographer|
Famously known by the Family name Atta Kim, is a great Photographer. He was born on 1 January 1956, in Geojedo. is a beautiful and populous city located in Geojedo South Korea.
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Atta Kim Net Worth
Atta Kim has a net worth of $5.00 million (Estimated) which he earned from his occupation as Photographer. Popularly known as the Photographer of South Korea. He is seen as one of the most successful Photographer of all times. Atta Kim Net Worth & Basic source of earning is being a successful South Korean Photographer.
Atta entered the career as Photographer In his early life after completing his formal education..
|Estimated Net Worth in 2022||$1 Million to $5 Million Approx|
|Previous Year’s Net Worth (2021)||Being Updated|
|Salary in 2021||Not Available|
|Annual Salary||Being Updated|
|Cars Info||Not Available|
Born on 1 January 1956, the Photographer Atta Kim is arguably the world’s most influential social media star. Atta is an ideal celebrity influencer. With his large number of social media fans, he often posts many personal photos and videos to interact with his huge fan base on social media platforms. Personal touch and engage with his followers. You can scroll down for information about his Social media profiles.
|Wikipedia||Atta Kim Wikipedia|
Life Story & Timeline
As of 2009, Kim lives and works in New York and Seoul.
ON-AIR, his first solo exhibition in the United States, was shown in 2006 at the International Center of Photography in New York City to positive critical reviews. In contrast to his attempt at capturing permanence in The Museum Project, Kim now focused on transience in ON-AIR, with large-scale images created through very long or multiple exposures.
His later participation in a group show gained him enough recognition that he was named Korea’s representative to the twenty-fifth São Paulo Biennial in 2002, becoming the first photographer to represent Korea in that venue. Kim entered The Museum Project, which became his first work to be widely exhibited outside of Korea.
Kim began ON-AIR Project (2002–present) when he pondered that the subjects in his “private museum” in The Museum Project would not exist forever. The central concept of ON-AIR Project is accordingly the impermanence of all beings in the universe. The “ON-AIR Project” consists of three different procedures: first, long exposure technique is procedure which can make an object disappear in proportion to the speed; second procedure is creating new images by superimpose several images. Lastly, a procedure can be executed with journey to find meaning of existence which can be represented by ice melting process. Using extended exposure time from 8 hours to 25 hours per cut, Kim makes moving people and objects disappear, which achieves both a visual effect as well as an expression of “the precious value of individuals and of history.” Another grouping was formed from combining images so that an accretion of individuals becomes a composite.
Kim continued his placement of nude figures in unusual contexts in The Museum Project (1995–2002), his first color series. Each subseries within The Museum Project depicted people, either singly or in groups, formally posed on display within clear Plexiglas cases as if they were museum artifacts. Kim’s “core concept” in The Museum Project “is that every single being in the universe has its own worth;” the series then functions as Kim’s “private museum” to preserve these people as “contemporary treasures.” The series also explores “basic functions of the museum such as preserving, collecting, and categorizing.” The New York Times described the series as transforming human bodies into “untouchably inorganic” objects like “antique sculptures in a gallery or expensive machines in a showroom;” its critic found the series “effective: quiet, minimalist, mildly surreal.”
Deconstruction (1991–95) consisted of black and white photographs of groups of nude men and women positioned lifelessly in desolate landscapes. These were described as “cinematic performance-based pictures.” The subjects’ faces are rarely visible, instead obscured by hair or by turning away from the camera so that they do not read as individuals. In a few images, however, the nudes are standing. Kim did not yet work with assistants, and so personally scouted the locations, recruited the models, and moved the equipment.
Kim’s In-der-Welt-sein (1990–91) consists of black and white images of natural objects near a Buddhist temple, which are revealed only by a dim light. Kim made the images with exposure times of one to two hours, taken between 3:00 am and 5:00 am, which are the hours known as the time of the Buddha’s enlightenment. The name of the series (German for “Being in the world”) is a concept of the German philosopher Martin Heidegger intended to eliminate the distinction between subject and object. Kim recounts that when his father would walk him home from school as a child, he would point out small details such as flowers, insects, or stones. These observances taught him that all things were of equal significance to his own existence.
Human Cultural Assets (1989–90) is a series of black and white portraits of people designated “national cultural assets” by the Korean government. He met 150 individuals that had been so designated, which included elderly dancers, musicians, and monks, and spent between one and seven days with each trying to learn their personal philosophies. The series was not exhibited until 2002.
Kim’s decision to become an artist caused conflict with his father, a schoolteacher who wanted Kim to become a college professor. Kim began experimenting with photography in junior high school, though he never studied it academically. His work during college was mostly abstract; dissatisfied with the results, he decided to explore the outside world and to photograph people from various backgrounds and stages of life. His first exhibited series was “Psychopath” in 1987, which were portraits of mentally ill patients.
Kim began his next series, Father (1986–90), after he reunited with his father following the success of Psychopaths. He didn’t consider the series, which depicted “the continuity of time” from generation to generation within his family, to be a significant artistic achievement, but thought it helped him “return…to [his] roots” and become “mentally independent.”
Kim’s Psychopath series (1985–86) consisted of black and white portraits taken of patients in a Korean psychiatric hospital, that were shot during long, interactive sessions. His interest in the patients was inspired by his reading of Sigmund Freud, and he intended to use his photography to reveal their consciousness; however, Kim ultimately concluded that the images “revealed nothing more…than the insanity of the patients.” Kim claims to have burned all 1,200 copies of the published collection, after the wife of a patron had to be hospitalized for a relapse of depression after seeing the book.
Atta Kim (born 1956) is a South Korean photographer who has been active since the mid-1980s. He has exhibited his work internationally and was the first photographer chosen to represent South Korea in the São Paulo Biennial.
Kim has described his photographs as merely “byproducts” of his attempt at a personal philosophy. He cites inspiration from the concept of interconnectedness in Zen Buddhism, the focus on temporal existence in the writings of German philosopher Martin Heidegger (1889–1976), and the teachings of the Russian-Armenian mystic G. I. Gurdjieff (1872–1949) on transcendence. Kim is careful to explain that he is not a practicing Buddhist, despite the prevalence of Buddhist iconography and concepts in his work.