User:Af4718/Lee Bul/Poppyprint Peer Review

On January 25, 1964, Lee was born to  political dissident   parents, in a South Korean village (not sure if we can say Yeongju is a village..you could say she was born in Yeongju, Gyeongsangbuk-do (LINK), South Korea. (Yeongju, Gyeongsangbuk-do), under the rule military regime of President Park Chung-Hee (LINK). The '''sculptural (What do you mean "sculptural options"? This sentence does not make sense...and why was it limited to the children of dissidents? Are you talking about opportunities of education? Please clarify) options were limited to children of dissidents, as ("as" does not make sense here...Could you please clarify what are you trying to say in this sentence?) during her studies at Hongik University (LINK) in Seoul, she was exposed to solely stone and steel forms. As an independent artist, she worked with softer, more malleable materials, such as fabric, foam, rubber and sequins, then  experimenting experimented (match tense with "worked) with organic forms, (remove comma)''' originating from personal perceptions, memories and experiences. Furthermore, she played with themes of othering, directed from her experiences as a child of dissidents; outward appearances were deemed vital to survival, so Lee was curious about reactions to a grotesque outer shell.

Lee Bul was involved in the global arts scene and the "New Generation", or "3-8-6" generation, a group of young abstractionist artists experimenting with painting, sculpture, media art. The 3 digit marker refers to a generation, born in the 1960s, who went to university in the 1980s, while in their thirties. They had escaped from the Korean War and witnessed massive student engagement in minjung-led demonstrations when of age.   She and Choi Jeong Hwa (LINK) are among the group’s representatives. The group identified with anarchic, transgressive experimentalism, as a form of rebellion against Minjung art (LINK), traditional aesthetics and political messages. She and Choi Jeong-hwa founded the art group Museum (Myujiom) in 1987, in response to the politically charged minjung art groups. The Museum advocated “the meaning of being meaningless,” rather than possessing specific ideologies.(Horlyck, 169)  Lee Bul's participation in the Museum was a distrustful reaction to authoritarian ideas on aesthetics under years of military dictatorship. Like other 3-8-6 artists, her art focused on daily experiences and an interest in the body. Driven by the desire to shock the audience, her performances and sculptural installations of the 1980s were unconventional for their provocativeness and merging performance with unusual sculptural forms. Lee's Majestic Splendor (italicize) series (date? put date in the parentheses), which were installations of decomposing fish decorated with sequins, (remove comma) within clear Mylar bags,(remove comma) explored themes of beauty, vulnerability, decay and dread.The ornamental pattern, representing class, gender and power, would serve as remnants of beauty through past memory. (Horlyck, 171) For Lee, sequins have a sentimental association, as her mother crafted bags and other accessories, while sequins are a symbol of Korean female labour, female vanity and fantasy. Many women made sequined bags and purses (in the 1970s) in the textile industry, under unpleasant conditions. Furthermore, Lee was the first female artist to represent Korea at the Venice Biennale (LINK). The Korean Pavilion at Venice was guaranteed success with Lee Bul's award of Honourable Mention. (citation? Find a good news source: )

Lee currently lives and primarily works in Seoul, South Korea.

Cyborg Sculptures
Lee Bul's Cyborg (italicize) series (1997-2000) was first (? since the series has been shown elsewhere many times) exhibited at the Artsonje Center (link) in Seoul, Korea in 1998. The bodies did not have a distinct biological gender, but seemed to possess female, hourglass shapes. A monster (Monster: Black (1998) <-? what is this - citation? Work title? Italicize work title), a pile of excrement with multiple tentacles stands between them, a seven-foot tidal wave that towers over the sleek figures. Human and machine forms merge to give birth to a third. Female accentuated and idealized forms in ancient Greek culture, sexual charge of Japanese manga. Her cyborgs are simultaneously well-proportioned and sensuous and fragmented- a symbol of human imperfection, despite its biological and cyber nature to transcend physical and mental limitations. The sensual aspect alludes to the repressed life of ancient Greek women and women's objectified nature in manga. As a monster and cyborg, the body can explore the extremes beyond what is human. The cyborgs, W1-W4, for instance, are four white figures hang from the ceiling, casting ghostly shadows. The headless, one-armed and one-legged figures are abnormally pornographic, with waists, breasts and buttocks accentuated by the armour-like corsets that don them. Lee states, "There's a very strange, ambivalent mixture of nostalgia for an impossible purity (usually embodies in the form of virginal young girls” and a dread of uncontrollable and potentially destructive sexual energy and power sublimated into the forms of machines.” (Volkart, 1 <-you do not need this info if you have added in-line citations. Is the explanation about the Cyborg series all coming from Volkart?)   Cyborgs, monsters and hybrids transcends models of identity involving nation, gender, race or class. The cyborg merges human and machine boundaries, providing an inherent acceptance of possible aberrations to the body. Lee's work is associated with cybernated aesthetics, or the human experience induced by technological object and artist.

Lee's fascination with early 20th century Modernism is reflected in her “Cyborg” series. Hans Bellmer, a male author writes about a man who identifies with his artificial female offspring with her position as a passive victim, while remaining on the outside, as a voyeur. Similarly, other avant e ( typo: avant-garde, and could be linked)-garde artists created not only puppeteered victims to bond with, but machine women who threatened to destroy or castrate men. Lee Bul incorporates these ideas of a frightening, castrating woman, a nice, innocent Asian woman, a puppet, flower, butterfly, insect, fish (symbols of beautiful fragility) and the woman as a damaged victim and growing, fertile, knotted techno monster. The intricate knots and tangles portray femininity as something that can not be identified easily, resulting in a paradoxical nature of being beautifully ornate, but disgusting and terrifying.(Citation..?)

Lee Bul's cyborgs represent tropes for fear and fascination with the uncategorizable, the uncanny,” in her words. Her body assumed monstrous appendages, in early performances, such as “Sorry for Suffering- You think I’m a puppy on a picnic? (1990),” where she attempted to wear a red body suit, while boarding a plane. Although her cyborgs stick to a coherent form in Amaryllis of 1999, Supernova and Crysallis of 2000 (italicize titles, put dates in parentheses), they have a disconnect from the viewer for their paradoxical characteristics: “male and female,” “glorious and sinister,” “familiar and alien,” “grotesque and strangely seductive.” As Lee presents her own body as monstrous and alien, her cybernated bodies assumes the same nature. As a result, there is no comfort zone between object and viewer, and an attained conflict between human and nature and quest to attain immortality through technology- as seen in Live Forever (2001). Furthermore, a limbo between time and location has been established. Yvonne Volkart states that Lee Bul causes the viewer to examine their doubts and the process of their journey, including the people that they may meet. Her Cyborg series has given her the label of “feminist artist” by critics, but she passionately criticizes any irrational societal tradition or practice. For her, the body exists as an object and the self. The cyborg, despite its defective state, looks enduring and something to not be replaced or to be ashamed of; it can remain valiant.

'''Aislinn, I think you are making a really important contribution to Lee Bul's Wikipedia page! What you have is an excellent ground work, but I think it needs to go through a couple more rounds of revisions to make sure that your research is presented clearly - especially in terms of organization. Please see my suggestions below.'''

'''I am also noticing a lot of issues in terms of writing and organization in the present version of Lee Bul's Wikipedia page. For one, the current article keeps referencing Lee Bul as "Bul," by the first name, when it is customary to address artists by their last name. This is actually a sensitive issue, especially for women artists (studies have found that more women artists are referred to by their first names compared to male artists) If this was you, please retract your contributions so that we can put the best version out there; if not, consider making edits in the existing article.'''

'''Here is how you can revert your online article draft. Please be cautious of making your draft public before it has been revised and vetted. I have asked you to do this earlier.'''

Help:Reverting

Please note the following sources available from the CCS Library (I want to make sure that you are taking full advantage of this luxury - not many students have as much resources available to them!).

https://library.ccs.bard.edu/all?utf8=%E2%9C%93&omit_keys%5B%5D=q&omit_keys%5B%5D=search_field&omit_keys%5B%5D=qt&omit_keys%5B%5D=page&search_field=all&q=lee+bul

'''A Google Scholar search also shows a number of articles on Lee's Cyborg series. I am concerned that you seem to be basing most of your discussion on a four-page article (which does NOT seem to be peer-reviewed) when there are more detailed articles in peer-reviewed journals of a higher standing out there (unless you have not completed your citation and you are actually using more)'''

https://scholar.google.com/scholar?hl=en&as_sdt=0%2C33&q=lee+bul+cyborg&oq=lee

Make sure you are linking to existing Wikipedia pages (for example, Park Chung-hee)

Make sure you are providing proper citation for each information you provide.

Think how / where your additions fit into the current version online.

Article body
Biography

On January 25, 1964, Lee was born to political dissident parents, in a South Korean village (Yeongju, Gyeongsangbuk-do), under the rule of President Park Chung-Hee. (Huge jump here...maybe write a sentence about her experience as a child of political dissidents. The info should be available in Korean Art from 1953 - which I have repeatedly asked you to consult) The sculptural options were limited to children of dissidents, (I really am not sure what you mean here; please clarify. Do you mean that because of her parents, she could only study sculpture???) as during her studies at Hongik University in Seoul (first write a sentence saying that she received her undergraduate degree...or studied xx at Hongik University in Seoul), she was exposed to solely stone and steel forms. When Lee became an independent artist, she worked with softer, more malleable materials, such as fabric, foam, rubber and sequins. She then experimented with organic forms, originating from personal perceptions, memories and experiences. Furthermore, she played with themes of othering, directed from her experiences as a child of dissidents; outward appearances were deemed vital to survival, so Lee was curious about reactions to a grotesque outer shell.[5]

Lee Bul has become transfixed on the global arts scene and the New Generation (??? more info), a group of young abstractionist artists experimenting with painting, sculpture, media art (this sentence is also a bit confusing - please clarify what you mean. Is she still involved, as the phrase "has become" suggest? Or was this from the 1980s, in which case you should use a simple past tense? And is the "New Generation" something that she considers herself to be a part of or a moniker given by critics or art historians?). She and Choi Jeong Hwa (link: Choi Jeong Hwa) are among the group’s representatives. The group identified with anarchic, transgressive experimentalism, as a form of rebellion against Minjung art (link), traditional aesthetics and political messages. In addition, she and Choi Jeong-hwa founded the art group Museum (Myujiom) in 1987, in response to the politically charged Minjung art groups. The Museum advocated “the meaning of being meaningless,” rather than possessing specific ideologies.[6] Lee Bul's participation in the Museum was a distrustful reaction to authoritarian ideas on aesthetics under years of military dictatorship. Instead, her (use transition effectively)_ art focused on daily experiences and an interest in the body. Driven by the desire to shock the audience, her performances and sculptural installations of the 1980s were unconventional for their provocativeness and merging performance with unusual sculptural forms.

“In later work (when do you consider her "later work" dates from? And is a direct quote necessary?), Lee explored themes of beauty, vulnerability, decay and dread” (Horlyck, 171), such as her Majestic Splendor series, which were installations of decomposing fish decorated with sequins, within clear Mylar bags (isn't this later than the 1990s?? Put in chronological order). The ornamental pattern (pattern or decoration?), representing class, gender and power, would serve as remnants of beauty through past memory. By the late 1990s, Lee Bul was considered by many to be one of the most radical and original, (<-GET RID OF COMMA HERE) Korean artists. Furthermore, she was the first female artist to represent Korea at the Venice Biennale. The Korean Pavilion at Venice was guaranteed success with Lee Bul's award of Honourable Mention.

Lee currently lives and primarily works in Seoul, South Korea.

Cyborg Sculptures

'''*This section would benefit from actually telling the reader what the Cyborg series is before going into all these detailed information! It will help the reader understand the contents much better.'''

'''*You should think about reorganizing. Right now it seems like you brought together information from various sources, which is a great first step, but you need to properly and clearly organize these. You could first briefly explain what the series looks like / consists of, then go into the premise of the series, and explain how it originated in her earlier performance. Right now these three are jumbled and go back and forth, which can be confusing for the reader who is not as familiar with Lee's body of work.'''

'''*Please use uppercase for titles. cyborg -> Cyborg'''

Lee Bul's cyborg series was (first? since it has been shown many more times!) exhibited at the Artsonje Center in Seoul, Korea in 1998. The bodies did not have a distinct biological gender, but seemed to possess female, hourglass shapes. A monster (Monster: Black (1998)), a pile of excrement with multiple tentacles stands between them, a seven-foot tidal wave that towers over the sleek figures. Cyborgs, monsters and hybrids transcends models of identity involving nation, gender, race or class. The cyborg merges human and machine boundaries, providing an inherent acceptance of possible aberrations to the body. Lee's work is associated with cybernated aesthetics, or the human experience induced by technological object and artist. Lee Bul's cyborgs represent tropes for fear and fascination with the uncategorizable, the uncanny,” in her words.[16] Her body assumed monstrous appendages, in early performances, such as “Sorry for Suffering- You think I’m a puppy on a picnic? (1990),” where she attempted to wear a red body suit, while boarding a plane. Although her cyborgs stick to a coherent form in Amaryllis of 1999, Supernova and Crysallis of 2000, they have a disconnect from the viewer for their paradoxical characteristics: “male and female,” “glorious and sinister,” “familiar and alien,” “grotesque and strangely seductive.” [16] As Lee presents her own body as monstrous and alien, her cybernated bodies assumes the same nature. As a result, there is no comfort zone between object and viewer, and an attained conflict between human and nature and quest to attain immortality through technology- Live Forever (2001). Furthermore, a limbo between time and location has been established.

Yvonne Volkart, author of “This Monstrosity, This Proliferation {Sic}, Once Upon a Time Called Woman, Butterfly, Asian Girl” (This is not necessary since you are providing a full title in the citation. Simply say Yvonne Volkart. Is she an art critic? I also think there have been more meaningful / detailed analysis of the Cyborg series than this particular source) states that Lee Bul causes the viewer to examine their doubts and the process of their journey, including the people that they may meet. Her cyborg series has given her the label of “feminist artist” by critics, but she passionately criticizes any irrational societal tradition or practice. For her, the body exists as an object and the self. The cyborg, despite its defective state, looks enduring and something to not be replaced or to be ashamed of; it can remain valiant. Therefore, it can successfully symbolize maturity and resonate with the viewer; they may see themselves in the cyborgs.[17]

Lee's fascination with early 20th century Modernism is reflected in her “Cyborg” series (1997-2000). (<-this is what I mean about better organization - it sounds like a sentence for an introduction to the series, rather than something that suddenly appears in the middle of the discussion) Human and machine forms merge to give birth to a third. Female accentuated and idealized forms in ancient Greek culture, sexual charge of Japanese manga. Her cyborgs are simultaneously well-proportioned and sensuous and fragmented- a symbol of human imperfection, despite its biological and cyber nature to transcend physical and mental limitations. The sensual aspect alludes to the repressed life of ancient Greek women and women's objectified nature in manga. As a monster and cyborg, the body can explore the extremes beyond what is human.[5] The cyborgs, W1-W4, for instance, are four white figures hang from the ceiling, casting ghostly shadows. The headless, one-armed and one-legged figures are abnormally pornographic, with waists, breasts and buttocks accentuated by the armour-like corsets that don them. Lee states,”There's a very strange, ambivalent mixture of nostalgia for an impossible purity (usually embodies in the form of virginal young girls” and a dread of uncontrollable and potentially destructive sexual energy and power sublimated into the forms of machines.” (Volkart, 1) [18] Hans Bellmer, a male author writes about a man who identifies with his artificial female offspring with her position as a passive victim, while remaining on the outside, as a voyeur. Similarly, other avante-garde artists created not only puppeteered victims to bond with, but machine women who threatened to destroy or castrate men. Lee Bul incorporates these ideas of a frightening, castrating woman, a nice, innocent Asian woman, a puppet, flower, butterfly, insect, fish (symbols of beautiful fragility) and the woman as a damaged victim and growing, fertile, knotted techno monster. The intricate knots and tangles portray femininity as something that can not be identified easily, resulting in a paradoxical nature of being beautifully ornate, but disgusting and terrifying.

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