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Ju Hee Yoo Ju Hee Yoo Fashion Institute of Technology

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Korean visual artist (built-in 1970

Nikki S. Lee
KoreAm March 2007 cover.jpg

On the March 2007 cover of KoreAm

Born 1970 (historic period 51–52)

Geochang, S Gyeongsang, Republic of korea
Known for Photography
Spouse(south)

Teo Yoo

​

(m. 2007)​
Awards The Louis Comfort Tiffany Foundation Award
Korean name
Hangul

이승희[one]

Revised Romanization Yi Seunghui
McCune–Reischauer Yi Sǔnghui

Nikki Seung-hee Lee (born 1970)[2] is a visual artist built-in in Geochang, Southward Korea. Currently[ when? ] working in New York Urban center, Lee works professionally in the field of photography and picture. Her work is informed as an 'Asian notions of identity, where identity is not a static fix of traits belonging to an private, but something constantly changing and defined through relationships with other people.' [3]

Early life and education [edit]

During her childhood, Lee was exposed to a variety of foreign cultures through the media. She developed an interest in learning well-nigh various cultures and its people; however, considering she believed it was incommunicable 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 almost her physical appearance.[four]

Lee earned a Bachelor of Fine Arts in photography at Chung-Ang Academy in South Korea in 1993. Later on a year, she moved to New York City to attend the Way Establish of Technology to study commercial photography. She subsequently earned her Chief of Arts in photography at New York University (NYU) in 1998.[five] [6] 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 leave to the streets and accept photographs; she disliked this aspect of documentary because she did not like "bothering people."[4]

Work [edit]

In Lee's early on career, she started equally a photo assistant for the LaChapelle Studio. She carried lighting, helped ready up the studio, and loaded film as an intern. Although she enjoyed working for commercial photography, she wanted to "make something on her own," which propelled her to enter a new career as a photographer.[4]

Projects, 1997–2001 [edit]

Lee's virtually noted 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 unproblematic indicate-and-shoot camera, she asked others to record her.[7] She immersed herself into each American subculture and created a new self-identity. Lee's piece of work was focused on investigating notions of identity and the uses of colloquial photography, rather than creating beautiful pictures.[8] Lee would select a subculture, research it, and adopt the vesture, community, and mannerisms of the group to fully integrate herself with the civilisation. She would attempt out many culturally diverse types of makeup, hairstyles, dyeing salon, multicolor contact lenses, and dance exercises. Later on 3 or more months of developing the identity, Lee would ask a person to take a picture of her with the group.[9] The utilise of the automatic camera provided Lee with a red timestamp, capturing that moment the person took a moving picture.[10]

While Lee's projects appear completely unique from one some other, there is a common thread amongst 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 every bit a connexion between the members of their community. Lee'south projects highlight her underlying concept of how other people make her a sure kind of person and the influence of inner relationships on the thought of identity.[11]

Lee continues to question the concepts of identity and social behavior; she believes that "essentially life itself is a performance. When we modify our clothes to alter our appearance, the real activity is the transformation of our way of expression- the outward expression of our psyche."[12] Lee claims that when she shows her work, she prefers presenting several photographs together since they are all connected. The projects support and ascertain one another. Lee'southward ultimate goal is for the audience to create their own story when they meet her work.

To many,[ who? ] The Yuppie Project (1998) is the most significant of Lee'due south series. Lee immerses herself in the globe of Wall Street professionals and whiteness equally a race. The Yuppie Project highlights how white people rarely acknowledge the intricate subcultures of their own race by focusing on documenting a small minority of influential men in business organization settings. Whiteness is represented in two ways; one being the affluence of these young business men and the other existence the exclusivity and alienation. In a couple of months of this project, Lee adopts the advent, trunk linguistic communication, and speech design of the subcultures to document them in her photographs. Different other projects of the serial in which Lee is almost duplicate from her new clique, Lee stands out in the photographs of The Yuppy Project.[xiii]

Lee's piece of work in Projects has received criticism of cultural cribbing and blackface.[14] [15]

2002–nowadays [edit]

Parts (2002–2005), uses images of Lee posing in different settings with a male partner, cropped to make it impossible to directly encounter who she is with,[7] [8] leaving only a trace of the homo, such as an arm or a pes. This picture sets the focus completely on Lee, which suggests that her identity also changes subsequently each emotional relationship. Lee states that later each photo, her companions country that she looks dissimilar than what they idea. 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 ain identity conforms effectually the identity of her partner.

In 2006, Lee released the film, A.K.A. Nikki South. Lee. The project, described as a "conceptual documentary", alternates segments presenting Lee every bit two singled-out personalities, one a reserved academic and another an outgoing socialite. Information technology had its premiere at the Museum of Modern Art in New York, October five–7, 2006.[9] The movie appears to be a truthful Nikki documentary, a young adult female who is serious about making a second documentary about herself. Nikki No. ii, an impulsive personality, flaunts in the photo. Lee explained in an interview, "Nikki number one should be Nikki, and Nikki number two should exist faux. Only both are Nikki imitation."[11] Through this work, she aims to bespeak out the interesting concept of showing reality and not-reality at the same time.

During her career, Lee's only work for a commercial magazine was with Black Volume. Lee collaborated with the magazine on the theme of conservative, creating photographs of herself and her companion as a bourgeois couple.[xvi]

Ane of her most recent works is Layers (2008), which is a series of photographs that testify layers of the portraits she collected from 14 different cities. Lee would requests street artists to draw her portrait in which she would layer them together underneath a lightbox and take a photo of the mix. The purpose of this projection was to find out how people from different cities and ethnicity would view her and depict her features. With this project, Lee asserts that anybody has circuitous, multilayered personalities, in which any small parts can be viewed by others of different ethnicities.[13]

Since the 1990s, Lee has spoken oftentimes virtually her motivations behind the work. She has emphasized the importance of grouping identity and social performance in Asia, every bit opposed to the more personal sense of identity in the US. In an interview with curator RoseLee Goldberg published in 2006, she stated: "Western culture is very much about the individual, while Eastern culture is more than about identity in the context of guild. You simply cannot retrieve of yourself out of context."[14]

Personal life [edit]

In 2007, Lee married actor Teo Yoo.[17] [eighteen]

Collections [edit]

Lee's work is held in the following permanent collections:[19] [xx]

  • Museum of Contemporary Art, Los Angeles[21]
  • Museum of Contemporary Photography, Chicago[22]
  • Hirshhorn Museum and Sculpture Garden, Washington, D.C.
  • International Centre of Photography, New York[23]
  • Solomon R. Guggenheim Museum, New York
  • Fukuoka Asian Art Museum, Japan[24]
  • National Museum of Women in the Arts, Washington, D.C.[25]
  • Indianapolis Museum of Fine art, Indianapolis[26]
  • Kemper Museum of Contemporary Art, Kansas Urban center[27]
  • University of Michigan Museum of Fine art, Ann Arbor[28]
  • Harvard Art Museums, Cambridge[29]
  • Museum of Fine Arts, Houston[30]
  • Metropolitan Museum of Art, New York City[31]
  • San Francisco Museum of Mod Art[32]
  • Princeton Academy Art Museum, Princeton[33]

References [edit]

  1. ^ Yi Nam-hui (July 2011), "뉴욕이 주목한 아티스트 니키 리 [Noted New York artist Nikki Lee]", The Dong-A Ilbo, no. 622, pp. 310–315, retrieved 2011-09-29
  2. ^ Phaidon Editors (2019). Bang-up women artists. Phaidon Press. p. 237. ISBN978-0714878775.
  3. ^ "Museum of Gimmicky Photography". www.mocp.org . Retrieved 2019-04-26 .
  4. ^ a b c Lee, Nikki Due south., 1970- (2001). Projects. Ferguson, Russell,, Vicario, Gilbert,, Martin, Lesley A. Ostfildern-Ruit, Germany. ISBN978-3775710916. OCLC 48209778. {{cite volume}}: CS1 maint: multiple names: authors list (link)
  5. ^ Allison, Amanda (January 2009). "Identity in Flux: Exploring the Work of Nikki S. Lee". Fine art Teaching. 62 (1): 25–xxx. doi:10.1080/00043125.2009.11519001. ISSN 0004-3125. S2CID 194976015.
  6. ^ "Nikki South. Lee". International Center of Photography. 2 March 2016. Retrieved 28 Dec 2019.
  7. ^ a b Miller, J. Macneill (September 2007), "The Impersonal Album: Chronicling Life in the Digital Age.", Afterimage, 35 (2): 9–12
  8. ^ a b "Fluid Identities: The "Parts" and "Projects" of Nikki Lee". Broad Strokes: The National Museum of Women in the Arts' Blog. 1 Nov 2013. Retrieved 2018-05-xi.
  9. ^ a b Lee, Phil (January 2008), ""Indefinite "Nikkis" in a Globe of Hyperreality: An Interview with Nikki Due south. Lee."", Chicago Art Journal, 18: 76–93
  10. ^ Lee, Hyun Joo. "A Passage to the Undercommons: Virtual Formation of Identity in Nikki S. Lee'due south Self-Transformative Performance". Cultural Critique. 104: 72–100 – via Project MUSE.
  11. ^ a b University of Michigan (19 August 2009), Nikki Due south. Lee - Parts and Projects – via YouTube
  12. ^ "Museum of Contemporary Photography". world wide web.mocp.org. Retrieved 2019-04-26.
  13. ^ a b "Photographer Nikki Due south. Lee Tin can Turn Into Anyone". Architect Magazine. Retrieved 28 December 2019.
  14. ^ a b Vogel, Wendy (2020-03-26). "Twenty Years On, Nikki S. Lee'south Shapeshifting Art Provokes Debates Near Cultural Cribbing". ARTnews.com . Retrieved 2021-08-05 .
  15. ^ Kim, Eunsong (2016-05-thirty). "Nikki S. Lee'due south "Projects"—And the Ongoing Circulation of Blackface, Brownface in "Art"". contemptorary . Retrieved 2021-08-05 .
  16. ^ Waltener, Shane. "The Real Nikki." Modern Painters 17, no. 1 (2004): 67-69.
  17. ^ "Yoo Teo Says His Dream Is to Go a World-Famous Role player". ZAPZEE. 2021-02-04. Retrieved 2021-08-05 .
  18. ^ Lim, Ashley. "The Project Series: A Profile on Creative person Nikki Lee". The Science Survey . Retrieved 2021-08-05 .
  19. ^ "Nikki S. Lee". world wide web.sikkemajenkinsco.com . Retrieved 2020-06-04 .
  20. ^ "Nikki South. Lee | artnet". www.artnet.com . Retrieved 2020-06-04 .
  21. ^ "The Hispanic Project (#1)". world wide web.moca.org . Retrieved 2021-03-12 .
  22. ^ "Museum of Gimmicky Photography". world wide web.mocp.org . Retrieved 2020-06-04 .
  23. ^ "Nikki S. Lee". International Heart of Photography. 2 March 2016. Retrieved 2020-06-26 .
  24. ^ "Results - the query [Creative person:Nikki S. Lee] | COLLECTION SEARCH | FUKUOKA ASIAN ART MUSEUM". FUKUOKA ASIAN ART MUSEUM - COLLECTION SEARCH . Retrieved 2020-06-04 .
  25. ^ "Nikki S. Lee | Artist Profile". NMWA . Retrieved 2021-03-12 .
  26. ^ "The Hispanic Project (2)". Indianapolis Museum of Art Online Collection . Retrieved 2021-03-12 .
  27. ^ "The Hispanic Projection (20)". Kemper Museum of Contemporary Art. 2015-03-12. Retrieved 2021-03-12 .
  28. ^ "Exchange: Paris #206". substitution.umma.umich.edu . Retrieved 2021-03-12 .
  29. ^ Harvard. "From the Harvard Fine art Museums' collections The Hip Hop Project (32)". harvardartmuseums.org . Retrieved 2021-03-12 .
  30. ^ "The Yuppie Project". {{cite web}}: CS1 maint: url-status (link)
  31. ^ world wide web.metmuseum.org https://www.metmuseum.org/art/collection/search/284363?searchField=All&sortBy=Relevance&ft=Nikki+Due south.+Lee&beginning=0&rpp=20&pos=2. Retrieved 2021-03-12 .
  32. ^ "The Skateboarders Project (14)". SFMOMA . Retrieved 2021-03-12 .
  33. ^ "The Hispanic Project (i) (2010-207)". artmuseum.princeton.edu . Retrieved 2021-03-12 .

External links [edit]

  • Leslie Tonkonow Artworks + Projects, New York
  • Now in Moving Pictures: The Multitudes of Nikki S. Lee past Carol Kino in The New York Times
  • Cultural Karaoke by Ben Davis, Artnet Magazine

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