User:Seventeen10/gap analysis

Woman + Body, 2012 WCA International Exhibition

 * What is the title of the article in which you identified a gap. If no article exists at all, what should the title be?

Woman + Body, 2012 WCA International Exhibition

(Hye-Seong Tak Lee currently has no Wikipedia page. This article would only be a specific section in her future page, perhaps under a sub-section of her most significant works.) I have chosen to research and hopefully start to fill the gap that exists in documenting Hye-Seong Tak Lee’s work as a South Korean feminist artist, specifically as the director and curator of the Women’s Caucus for Art’s first international exhibition, Woman + Body. She currently does not have her own Wikipedia page and this paragraph would be a section on any future Wikipedia page made for her. I found her by searching for South Korean feminist artists and finding an independent review on the WCA’s first international exhibition, which talked about some of Lee’s methods of curation as the director. I then looked up the WCA Wikipedia page to see what I could find there. Lee was mentioned only once in the entire article, and it was only in the section that listed the exhibition dates and names. Seeing as the WCA was founded in 1972, is based in New York City, and has been operating predominantly within the United States for its entire existence, their first international exhibition taking place forty years later in 2012 should be given much more attention. In not providing more information on this event and not appropriately recognizing the artist who made it happen, the event and artist are almost written off as not being important or as important as other WCA exhibitions (set in the U.S., mainly directed by Western women). Similarly, the WCA Wikipedia article further contributes to the idea that white, Western feminists are the only important players in the feminist movement. The article talks about Judy Chicago’s, Miriam Schapiro’s, and other Western women artists’ contributions to the success of the WCA, but barely touch on the WCA’s “special interest caucuses,” such as the Women of Color caucus, or any other large “players” that are non-Western women. This issue encompasses artists like Hye-Seong Tak Lee, who has played a significant role in the WCA but goes largely unrecognized for her efforts, as shown by her exclusions in the WCA Wikipedia article and the lack of her own Wikipedia article. Additionally, Lee was a recipient of the 2014 WCA’s President’s Award for Art & Activism, but this is not mentioned on the WCA Wikipedia page either, only on the WCA website itself. Because Hye-Seong Tak Lee’s significant contribution to and the important role she plays in the WCA’s international development goes largely undocumented, I will attempt to bridge this particular gap in hopes that it will bring awareness to some of Lee’s life and work as a feminist artist, to be placed into a Wikipedia article dedicated to her.
 * Document the gap you found, describe how you identified it, and analyze its impact on knowledge.


 * Propose a paragraph of new or substantially edited content based on reliable sources. (If you are editing existing content, post the current version along with your edited version, and clearly mark which is which.)

In October of 2012, the Women’s Caucus for Art held their first international collaboration exhibition in Seoul and Gwangju, South Korea. Hye-Seong Tak Lee, an artist and curator herself, first proposed this idea to the WCA, thus becoming the exhibition director of Woman + Body and the curator of the South Korean artists’ works. Along side Lee worked Sherrie Cornett as the exhibition co-director and Tanya Augsburg as the WCA artist juror.

As a South Korean feminist artist, Lee works toward broadening the awareness and tolerance of the public to women artists in South Korean culture. Through this exhibition she was given the opportunity to do so, exploring and displaying feminist activism in South Korea by touching on controversial yet diverse issues of gender, stereotypes, and prejudice. The overall theme of Woman + Body specifically considered the sexual identification terms people use today, particularly male, female, and transgender, and questioned the ways in which bodies and genders perform together and in the public eye. Because these subjects are not widely discussed in the more conservative South Korean culture, this exhibition purposely opened that gateway, prompting its audience to think about and view these subjects differently.

A panel of thirty-six artists, of which seventeen were significant South Korean women artists and nineteen were from the WCA, contributed to this exhibition. The seventeen South Korean artists were also split into two groups, with one group being the veteran artists, such as Yun Suknam and Park Youngsook, and the other group being younger generation artists. Lee brought these younger artists together in hopes of fostering their growth as feminist artists, and to demonstrate the diverse range of women artists that exist in South Korea. For the participating artists, this collaborative exhibition fostered a strengthened network between Korean and American, old and young.

The Women + Body exhibition was reviewed and covered by numerous South Korean news outlets, such as Yahoo! Korea, the Economic Post, and News1 Korea.


 * List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)
 * Cornett, Sherri. "Woman + Body." Sherri Cornett. N.p., 2011. Web. 14 Feb. 2016.


 * Woman + Body Exhibition South Korea. Prod. Women's Caucus for Art. Vimeo. Women's Caucus for Arts, 2015. Web. 14 Feb. 2016.
 * "Woman + Body 2012 South Korea." WCA International Caucus. Weebly, n.d. Web. 14 Feb. 2016.
 * "WCA Lifetime Achievement Award." Women's Caucus for Art. Women's Caucus for Art, 2014. Web. 14 Feb. 2016.
 * Edison, Laurie Toby. "Woman + Body: Korean Feminist Artists." Body Impolitic. WordPress, 9 Nov. 2012. Web. 14 Feb. 2016.

References