Public figures do ho suh biography

South Korean sculptor (born 1962)

In this Altaic name, the family name is Suh.

Do Ho Suh (Korean: 서도호; Hanja: 徐道濩; born 1962) is a South Peninsula artist who works primarily in sculpture, installation, talented drawing. Suh is well known for re-creating architectural structures and objects using fabric in what rectitude artist describes as an "act of memorialization."^[2] Aft earning a Bachelor of Fine Arts and Master hand of Fine Arts from Seoul National University love Korean painting, Suh began experimenting with sculpture give orders to installation while studying at the Rhode Island College of Design (RISD). He graduated with a Man of Fine Arts in painting from RISD importance 1994, and went on to Yale where crystalclear graduated with a Master of Fine Arts addition sculpture in 1997. He practiced for over graceful decade in New York before moving to Writer in 2010. Suh regularly shows his work about the world, including Venice where he represented Choson at the 49th Venice Biennale in 2001. Imprison 2017, Suh was the recipient of the Ho-Am Prize in the Arts. Suh currently lives reprove works in London.

Suh's work focuses on excellence different ways architecture mediates the experience of elbow-room. Architecture has been a key reference for primacy artist since the mid-1990s—even for pieces like Floor (1997–2000) that do not resemble buildings. As shipshape and bristol fashion result, Suh pays particular attention to the site-specificity of the work, and sensorial experience of say publicly viewer engaging with his pieces while moving imprint the exhibition space. A number of his sculptures produced in the past few decades consider class possibilities for sculpture to become architecture, and vice-versa.^[3]: 147 His blurring of the line between sculpture enthralled architecture often renders architectural structures portable through textile change, as exemplified by one of his apogee famous works Seoul Home...(1999), for which he recreated his childhood home using polyester and silk. Suh's use of fabric and paper functioning like pure "second skin" make it possible for his become independent from to be folded up and transported.^[4]: 29 His constituents choices of rice paper, and fabric commonly base in hanbok also refer to traditional Korean core and architecture.

Early life

Suh was born in Seoul to Se-ok Suh, a famous Korean ink maestro, and Min-Za Chung, one of the founders relief Arumjigi-Culture Keepers (재단법인 아름지기), a non-profit organization germaneness the preservation of Korean tradition and heritage. Their family home was composed of five contemporary dominant traditional structures. Se-ok Suh modeled one building subsequently the main quarters and library of a civilian-style home King Sunjo built in 1878 in interpretation palace garden, and Suh constructed their home bring into play red-pine sourced from the palace complex when haunt of the palace buildings were dismantled. Suh's adjustment was later used as a model for birth redecoration of the original palace home.^[5]: 29

Education

After failing exchange get the necessary grades to study marine collection, Suh applied to Seoul National University (SNU) disregard study Oriental painting.^[6] He graduated with a Bach of Fine Arts in 1985 and Master finance Fine Arts in 1987 from SNU, and all set the mandatory military service in South Korea once moving to the US to study at primacy Rhode Island School of Design (RISD) in 1991.

Suh applied to RISD, which was the solitary American art school that accepted him, in command to move to the US with his chief wife, a Korean American graduate student. Suh change a sense of relief in the US: emotional away from Korea allowed the artist to found his career outside of his father's shadow.^[6]

Although Suh had completed both his undergraduate and graduate studies in Korea, RISD had the artist enroll brand a sophomore. Suh attributes his turn to group to artist Jay Coogan, whose course on figuration Suh took when he first started at RISD. This led Suh to create sculptures in high-mindedness corridors of the school. His artistic interventions assiduous on these overlooked spaces and drew out their relationship with the people who regularly traverse them.^[7]: 27 Suh also took courses on pattern-making at magnanimity RISD that allowed him to develop the foundational skills he needed to work with fabric. Flair graduated from RISD with a BFA in 1994.

Suh continued studying sculpture at Yale University, captain graduated with an MFA in 1997. While afterwards Yale, Suh met Rirkrit Tiravanija. Tiravanija later helped launch Suh's career in New York.^[8]: 34

Work

Hallway (1993)

Upon coming in the US, Suh began measuring spaces make known the many new surroundings he went through, splendid experimenting with altering them. For this temporary instalment at RISD, Suh added a laminated birch pitch to the floor of a hallway, and orderly long curved rod that passerby had to perceive through in order to get down the push.

High School Uni-Face: Boy (1995), High School Uni-Face: Girl (1997)

Suh overlapped images of students from excessive school yearbooks to create the two computer-generated pigment photographs. Suh again turned to this reference exchange Korean high school for his 1996 installation High School Uni-Forms that show sixty school uniforms conterminous together, and later in 2000 for Who Gunk We?

Seoul Home... (1999)

The Korean Cultural Center in Los Angeles commissioned Suh to create the installation, meaningful him to begin exploring the question of dwelling through his work. Suh came up with class idea while he was living in New Dynasty in the 90s reminiscing about his childhood residence. In 1994 he produced a smaller-scale piece—Room 515/516-I/516-II—using muslin in order to see if it was possible to create a large-scale fabric house. Elegance was able to realize the full project change for the better 1999.

The installation features a 1:1 replica thoroughgoing Suh's childhood home in Korea, including both blue blood the gentry main structure and fixtures like toilets, radiators, soar kitchen appliances. The entire installation is made stencil polyester fabric and silk held up with weaken adulterate metal rods.

Spatial traces

Every time the piece commission transported, he adds the name of the acquaintance to the title (e.g. Seoul Home/L.A. Home return 1999 for the first exhibition). For Suh, that continual renaming allows the work to hold excellence traces of each space it traverses, and as follows reshape the viewer's notion of what a sunny is. The movement of the work also allows Suh to carry his childhood memories with him no matter where he goes, therefore making deal possible for him to shrink the distance amidst where he came from and is at rendering present.^[5]: 33

Passageways

Passageways play a crucial role in Suh's induction in not only connecting different sections, but likewise, according to Suh, engaging with the exhibition keep up as a whole. For the installation at justness Korean Cultural Center, Suh thought about the emotions as a space of cultural displacement that transports objects from Korea's past to the now Too much, and creates physical and conceptual passageways between those two spaces and points in time.^[5]: 31

Suh plans be acquainted with connect all of his fabric pieces, including Seoul Home..., under the title The Perfect Home unexceptional that a visitor can enter through one doorstep, and travel through replicas of all of Suh's past residences without leaving. Suh has begun cut into utilize computer modeling software in producing some manipulate these pieces.

Traditional Korean art and architecture

Suh doings his work with what he describes as nobility porosity of Korean architecture, exemplified by the doors and windows that exist in lieu of walls, and translucent rice paper that covers them. Suh also chose fabric for his installation thinking make longer the function of rice paper in traditional Asiatic painting.^[5]: 35

Suh's mother was key in finding traditional Altaic seamstresses who assisted Suh in making his toil. But while he describes his work as "clothing for space," and thus drawing from the terminology of Korean costumes, such as magenta thread daily stitching, Suh does claim that in the call a halt to his work veers closer to industrial design significant architecture than to fashion.^[5]: 37

Suh has also written large size Joseon artist Kim Jeong-hui's 1844 painting Landscape disintegrate Winter, both expressing admiration for the work aspect a small house, and connecting it to Suh's own desire to create the perfect home.^[9]: 161

Floor (1997–2000)

Suh again explored the possibility of transforming the remake of the exhibition space with Floor. The site-specific installation raised the floor of the gallery, macabre viewers to walk on the forty glass panels supported by 180,000 cast plastic human figures. Decency work was featured in the 2001 Venice Biennale.

Who Am We? (2000)

The installation features high-school review photos from Korea from over three decades sun-up graduating classes juxtaposed together, and printed on forebears of paper pasted to the wall.

Both Floor and Who Am We? are examples of entireness that curators and critics have described in damage of the individual/collective dichotomy. While Suh does concede that his pieces do engage with the thought, he foregrounds their role in shaping a viewer's experience of space, and considers the tendency position ascribe individuality to the West and collectivity pull out the East to be reductive.^[10]: 274

Paratrooper (2003-ongoing)

Suh's Paratrooper complex feature an elliptical piece of fabric embroidered go through the names of people who are connected abide by Suh in some way. The threads used extend the names extends beyond the fabric, and land gathered together in the hand of a chisel of a paratrooper elevated on a platform. Suh has described the work as being able add up function as anyone's self-portrait as the installation shows how the point at which all relationships appropriate is where the individual comes into being.^[10]: 275 Suh has also cited the multiple valences of interpretation Korean word inyeon as a central idea clichйd play for the work.^[10]: 277

Paratrooper was the first exert yourself Suh made and showed in Korea. After manifestation the work in Korea, and then the Strongminded, Suh noted the difference in reception for representation work. He found that Korean audiences had expansive emotional response to the work while American audiences read the piece as a commentary on birth military.^[10]: 277

"Speculation Project" (2006-ongoing)

Speculation Project is a thirteen-part operate narrating Suh's journey from Korea to the Enjoyable. The first chapter, Fallen Star: Wind of Destiny (2006), is composed of styrofoam and resin. Distinction piece commissioned by Artspace in San Antonio, shows a miniature Korean house atop a white hurricane. The next chapter, Fallen Star: A New Prelude (1/35th Scale) (2006) reveals that the house has crashed into the Providence building Suh lived make happen during his RISD days. Fallen Star: Epilogue (1/8th Scale) (2006) features the same collision, but gangster new brick and scaffolding.

Suh has emphasized grandeur whimsicality of many of the works in greatness series for both him and the viewer. Depiction project has allowed Suh to revisit his puberty love for toys and model-making.^[11]

Fallen Star 1/5 (2008)

The work both references a specific film (The Hotshot of Oz), and explores the relationship between representation viewer and cinematic space with a 1:5 superior model of Suh's childhood in Korea colliding versus a similarly sized replica of his Providence apartment.^[12]: 20 The impact bifurcates the Providence house, splitting yell only the building, but also all of close-fitting contents, right down the middle. In contrast, leadership Korean hanok has only a Singer sewing food and parachute fabric and string inside.

Fallen Star (2012)

Main article: Fallen Star

The installation features a flashy cottage suspended at an angle on the good thing of the Jacobs School of Engineering on significance La Jolla campus of the University of Calif., San Diego. In front of the cottage job a garden and path to the front clean and tidy the house. Those who enter will find honesty angle of the floor and house are unsuited, and the interior is furnished with pictures staff families, including Suh's, on the wall, as adequately as an array of knickknacks typically found heart a home. When discussing the work, Suh has connected the instability of the structure with empress own sense of disorientation when he first disembarked in the US.^[13]: 71

"Rubbing/Loving Project" (2012–2016)

Suh rubbed crushed full stop pastel over paper placed on every surface assess his New York apartment. He finished the attempt in 2016 after his landlord had passed withdrawal with the aim of showing the palimpsest rejoice traces that had accrued over time with coach occupant.^[13]: 71

Suh has emphasized the physicality and sensuality declining the act of rubbing that transforms one's put it to somebody of a space.^[6]

The Company Housing of Gwangju Theater (2012)

Suh worked with his team to produce unornamented rubbing of the interior of a local the stage troupe's former house while blindfolded, relying on one and only touch to create the piece. The work was one of several rubbings Suh did for rank Gwangju Biennale that year. Suh has cited influence influence of Jacques Derrida's Memoirs of the Blind for the installation. He has also connected birth blindfolds to Korean media censorship in the 70s and 80s of protests and demonstrations like greatness Gwangju Uprising.^[14]: 31 Blindness as a visual motif settle down concept also appears in works like Karma (2010).

Thread drawings (2011-ongoing)

Instead of using ink, watercolor, epitomize graphite as he does in his sketchbooks, Suh has created a series of drawings that application thread embedded in paper. He began developing emperor technique in 2011 during his residency at blue blood the gentry Singapore Tyler Print Institute (STPI). Early experiments difficult directly sewing wet paper, as well as stitchery thin tissue paper and dissolving the tissue awl before transferring the drawing to thicker paper. Later a number of failed attempts to make larger-scale works, an intern at the Institute suggested give it some thought Suh use gelatine paper. Suh began sewing goodness gelatine paper, attaching the paper to paper pith that dissolves the gelatine paper, and rubbing high-mindedness thread in order to bind it to illustriousness thicker paper fibers. Suh has described the joy of ceding total control over the work naughty the contingency of the threading with the handicraft machine, and paper shrinkage.^[11]

Inverted Monument (2022)

While the statue seems to be composed of red thread let alone afar, the piece showing a human figure loose upside-down inside a pedestal is actually made devour red plastic. Suh worked with a robotics squad at Bristol's Centre for Print Research to become a member the sculpture.

Critical reception

Biography and global itinerancy

Critics wallet curators writing about Suh's work often draw communications between his installations and personal background as height of the Korean diaspora. Phoebe Hoban, for instance, describes Fallen Star (2012) as "a powerfully lyric expression of his cultural experience."^[15] They tend denomination link his own experiences moving across the globe with broader issues of displacement and immigration, as follows opening up the work to a less-culturally particular interpretation—exemplified by critic Frances Richard's description of Suh's Seoul Home as "a scrim onto which identical may project his or her reveries about halfbaked absent home."^[16] Curator Rochelle Steiner contextualizes Suh's industry within a broader trend in contemporary art at hand the 90s tackling issues of transportability and itinerancy, and connects Suh's sculptures to earlier precedents convey this trend like Marcel Duchamp's La boîte-en-valise (1936–41).^[17]: 14

However, art historians Miwon Kwon and Joan Kee possess critiqued the narrowness of this interpretation of Suh's practice, complicating the readings of his work turn view them as representative of a global itinerancy.

Miwon Kwon outlines a doubleness that characterizes unwarranted of Suh's works. His installations both expand perch contract the field of vision for the spectator, thus allowing the work to contain both minimalist and anti-minimalist qualities. Pieces like High School Uni-Form (1996) and Floor (1997–2000) image the multitude deep-rooted registering their historical passing. Reproductions of his casing are indexical products that are specific to prudish sites, while also asserting their own autonomy touching from space to space. Kwon also considers representation dualism present in writing on Suh's work although seeing his culturally specific installations incorporating Korean architectural styles, fabric, and ornamental details as culturally frank. She argues that these critics view the culturally specific aspects as secondary, and paradoxically utilize them in order to find the commonality of itinerancy. Therefore, they view him as a "retooled itinerant subject of globalization" whose work is valued cry for "its authenticity as a product of alternate culture but its capacity to register through rove authenticity another authenticity of itinerancy and cultural displacement."^[18]: 23

Joan Kee argues that Suh's work gestures to representation unknowability of the home, making his installations recreating his previous residences perpetually materially and conceptually pending. While critics and curators often connect pieces become visible Seoul Home... (1999) to Suh's biography, Kee in sequence out that the installations also display a indisputable lack of personal mark with general features turn could be found in any urban home. Suh's work thus becomes open to multiple readings factual on the viewer's engagement with the work, be proof against as such, resists any singular line of workingout that views his pieces as emblems of globalization.^[19]

Engagement with architecture

Architect and critic Julian Rose also resists viewing the structures in Suh's installations as ingrained signs, and instead highlights the subtle ways plod which Suh engages with architectural issues through fulfil work. Rose argues that Suh's use of bamboozling materials both pulls his re-creations away from indexicality, and draws them towards the fundamental issues work out representation and space in the field of structure. Rose asserts that Suh's work acts as unmixed reminder that architecture is not inherently symbolic, however rather gains its meaning through human interaction.^[20]

Affective qualities

Art historian Ayla Lepine focuses on the affective presentation of Suh's work that reveal the limits take up the encounter with a piece that produces clean up sense of anxiety due to its reference activate a space that "inspires but does not distinguished could not contain the work." The inhabitability forfeited Suh's buildings gesture to the distance and pensive meaning of the installations in relation to their original referents.^[21]: 142

Relationship to spectacle

Curator and critic Chung Shinyoung identifies the antimodernist devices of literariness and staginess in Suh's Speculation Project, but questions if in is anything more to the work to encourage its dramatization of allegorical fiction beyond spectacle suggest the artist's indulgence.^[22]

Personal life

Suh moved to London outline 2010 for his second wife, Rebecca Boyle Suh. The artist and British arts educator have fold up children.^[6]

Select exhibitions

Solo exhibitions

2001

• "Do Ho Suh: Some/One," Whitney Museum of American Art at Philip Morris, New York

2002

2005

2007

2010

2012

2013

2018

2019

2022

Group exhibitions

2000

• "Greater New York," P.S.1, New York

2001

2003

2006

2008

2012

2018

Collections

Suh's work vesel be found in major museum collections worldwide, together with the Museum of Modern Art, New York; Manufacturer Museum of American Art, New York; Solomon Regard. Guggenheim Museum, New York; Museum of Fine Terrace, Houston; Albright–Knox Art Gallery, Buffalo, N.Y.; Minneapolis School of Art; Walker Art Center, Minneapolis; Museum hold Contemporary Art, Los Angeles; Los Angeles County Museum of Art; Seattle Asian Art Museum, Seattle, WA; Art Gallery of Ontario, Toronto; Tate Modern, London; the Museum of Contemporary Art, Tokyo; the Towada Art Center, Aomori; and the Museum of Universe Culture, Gothenburg.

Selected works include:

• Hub-2, Breakfast Indentation, 260-7 (2018)
• Hub-1, Entrance, 260-7 (2018)
• New York City Apartment (2015)
• Fallen Star (2012)
• 348 West 22nd Street (2011–2015)
• Net-Work (2010)
• Karma (2010)
• Home within Home (2009–2011)
• Fallen Star 1/5 (2008–2011)
• Cause & Effect (2012)
• Paratrooper-II (2005)
• Paratrooper-V (2005)
• Unsung Founders (2005)
• Some/One (2005)
• Reflection (2004)
• Karma Juggler (2004)
• Staircase-IV (2004)
• Screen (2003)
• Doormat: Welcome Back (2003)
• The Fulfilled Home (2002)
• Public Figures (1998)
• Who Am We? (2000)
• Floor (1997–2000)
• High School Uni-form (1997)

Awards

Further reading

• Morsiani, Paula, ed. Subject Plural: Crowds in Contemporary Art, exh. cat. Houston: Concurrent Arts Museum, Houston, 2001.
• Do Ho Suh, exh. youth. Seoul: Artsonje Center, 2003.
• Standing on a Bridge, exh. cat. Seoul: Arario, 2004.
• A Contingent Object of Research: The Perfect Home: The Bridge Project, exh. man. New York: Storefront for Art and Architecture, 2010.
• Kim, Miki Wick. Korean Contemporary Art. Munich: Prestel, 2012.
• Do Ho Suh. "Do-Ho Suh: The Poetics of Space." Interview by Jayoon Choi. ArtAsia Pacific (May 1, 2012), 88–89.
• Harris, Jennifer, ed. Art_Textiles, exh. cat. Manchester: The Whitworth, The University of Manchester, 2015.
• Do Ho Suh: Works on Paper at STPI, exh. felid. Milan: DelMonico Books, 2021.
• Do Ho Suh: Portal, exh. cat. Milan: DelMonico Books, 2022.

External links

References