User:Broeygisvon1446/Nikki S. Lee/Poppyprint Peer Review

'''Would this source be useful? It should be available online through the Stevenson Library and not listed in the current article's bibliography.'''

https://www.tandfonline.com/doi/abs/10.1080/00043249.2001.10792095?journalCode=rcaj20

It would be great if you could more clearly indicate which parts are your own contribution and which aren from the existing article or minor edits to the existing article. '''I am a bit concerned after reading your draft, because I can only identify a few sentences as written by you and not in the current Wiki article. Please note that you will have to meet a certain word requirement, and find a section that would allow you to significantly expand? If you are struggling finding a good topic to expand on (with ample resources), I am happy to figure it out with you. I have really enjoyed having you in class and want you to do a good job with the final assignment!'''

Lead
Nikki Seung-hee Lee (I think it should be Nikki S. Lee since that's how the artist calls herself, and how she appears in official publications. You can provide her full Korean name in English in the parentheses next to 이승희 (Korean: 이승희: born 1970) is a visual artist with a focus in (grammar: the correct preposition for "focus" is "on") performance, photography, and film. Born in Geochang County (거창군), South Korea (대한민국) and moving to New York City '''in her mid-twenties, Lee often explores themes of identity through her art (not sure how these two are related and in the same sentence - perhaps you could emphasize that she explores of themes of identity in..xxx? Something that's more clearly related to her mobility or experience in different countries?). Her photography series Projects (1997-2001) is her first and most notable work, where she near-seamlessly camouflages herself as a member of the social and ethnic groups she poses with (I wonder if this could be cut from the lead since it's already a bit long...move elsewhere?).''' Lee now lives and works in Seoul (서을), South Korea.

(Summary of Article)

Early life and education
During her childhood, Lee was exposed to a variety of foreign cultures through the media. She developed an interest in learning about various cultures and its people; however, because she believed it was impossible for a female artist to gain recognition, she was hesitant to pursue a career in art. Lee pursued an acting career instead, but left due to insecurities about her physical appearance. She also wanted to be a filmmaker but her parents didn't want her to attend cinema school. However, they did accept Lee's interest in photography.

Lee earned a Bachelor of Fine Arts in photography at Chung-Ang University (중앙대학교) in South Korea in 1993. After a year, she moved to New York City to attend the Fashion Institute of Technology to study commercial photography. She subsequently earned her Master of Arts in photography at New York University (NYU) in 1998. At NYU, she became interested in the conceptual aspect of photography. Before her studies there, she mainly worked on documentary projects, which required her to go out to the streets and take photographs; she disliked this aspect of documentary because she did not like "bothering people."

Work
In Lee's early career, while she was still a student, she started as a photo assistant for the LaChapelle Studio. She carried lighting, helped set up the studio, and loaded film as an intern. Although she enjoyed working for commercial photography, she was drawn to being an artist, as she had once desired. She quit her job in the fashion world and focused on her own work.

=== Projects, 1997–2001 (Again, please make clear which parts are your contribution to avoid confusion and save time - I can see that you are adding more information about the process, which is great, but I had to compare the articles side by side) === *Think more carefully about where you insert your new additions in the existing article. For example, it seems to make more sense to discuss the types of makeup, clothing etc right after the sentence about how she adopts the clothing, customs, etc (like the existing article)

Lee's most noted series of work, Projects (1997–2001), began as a graduation requirement. Photographs were of herself with many groups of people such as drag queens, punks, swing dancers, senior citizens, Latinos, hip-hop musicians and fans, skateboarders, lesbians, young urban professionals, and schoolgirls. With a simple point-and-shoot camera, she asked others to record her. She immersed herself into each American subculture and created a new self-identity. Lee's work was focused on investigating notions of identity and the uses of vernacular photography, rather than creating beautiful pictures. Lee would select a subculture, research it, and adopt the clothing, customs, and mannerisms of the group to fully integrate herself with the culture. Everyone was aware of Lee being an artist as she went through this process, though not all of them believed her. Some of the seniors depicted in The Senior Project didn't did not believe that Nikki (refer to her by last name) was actually a young woman under her old lady disguise. She would try out many culturally diverse types of makeup, hairstyles, dyeing salon, multicolor contact lenses, and dance exercises. After three or more months of developing the identity, Lee would ask a person to take a picture of her with the group. The use of the automatic camera provided Lee with a red timestamp, capturing that moment the person took a picture. She has called herself lazy for not carrying around heavy, higher quality camera equipment but she also has said that it makes people around her more comfortable to use or see an automatic camera because they "are familiar with it. They don’t get nervous."

While Lee's projects appear completely unique from one another, there is a common thread among all of the subcultures she portrays. One such is that each of the groups she chose to create an identity has a distinctive look that functions as a connection between the members of their community. Lee's projects highlight her underlying concept of how other people make her a certain kind of person and the influence of inner relationships on the idea of identity.

Lee continues to question the concepts of identity and social behavior; she believes that "essentially life itself is a performance. When we change our clothes to alter our appearance, the real action is the transformation of our way of expression- the outward expression of our psyche." Lee claims that when she shows her work, she prefers presenting several photographs together since they are all connected. The projects support and define one another. Lee's ultimate goal is for the audience to create their own story when they see her work.

Parts, 2002-2005
Parts (2002–2005), (take out comma) uses images of Lee posing in different settings with a male partner, cropped to make it impossible to directly see who she is with, leaving only a trace of the man, such as an arm or a foot. This picture sets the focus completely on Lee, which suggests that her identity also changes after each emotional relationship. Lee states that after each photo, her companions state that she looks different than what they thought. With this project, Lee demonstrates the development of an identity that grows and mutates based on the unknown identity of the companion. Parts portray how one of Lee's persona diverges on where she is, how she acts, and how her own identity conforms around the identity of her partner.

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