The Hip Hop Project (2) 2001

Editor: Here we have Nikki S. Lee's photograph "The Hip Hop Project (2)" from 2001, a C-print that immediately strikes me as a snapshot of urban cool. What do you see in this piece from a formalist perspective? Curator: What immediately captures my attention is the composition. Observe how Lee has structured the photograph. The three figures are arranged asymmetrically, yet balanced by the visual weight of the surrounding architecture and vehicles. The chromatic range, particularly the muted greens and grays, lends the work a distinct tonality. Editor: So, you are drawn to the arrangement and color scheme primarily? Curator: Precisely. Note how the artist manages the surface texture. The cool detachment is further emphasized by the impersonal gaze of the subjects. Do you notice how the orthogonality and parallax contribute to the spatial relationships within the frame? Editor: I see what you mean. The lines of the building and cars create depth, and the figures almost seem detached from their surroundings. Curator: Exactly. Lee is playing with our perception of space and form. Also consider the interplay between the sharpness of the foreground and the slight blurring of the background. It creates a layered effect. What significance might we find in this? Editor: Perhaps it directs our focus onto the individuals, while hinting at the bustling environment they inhabit. I had not considered the sharpness before. It’s interesting how focusing on form enhances the way you look at the entire work. Curator: Precisely! Through such an examination of intrinsic qualities of the artwork, we come to recognize not only the choices of the artist but also begin a discourse to contemplate upon their greater intention.