Do Ho Suh (hangul: 서도호, born 1962) is a Korean sculptor and installation artist. He also works across various media, including paintings and film which explore the concept of space and home.[2] His work is particularly well known in relation to anti-monumentalism.[3] His works convey his life experiences, including the homes he has lived in and the diversity of the people he has met.[4]

Do Ho Suh
Eitaro Ogawa (left) working with sculptor Do Ho Suh (right).
Born	1962 Seoul, South Korea
Nationality	South Korean
Education	Seoul National University Rhode Island School of Design Yale University
Known for	Sculpture, Installation artist
Korean name
Hangul	서도호
Hanja	徐道濩[1]
Revised Romanization	Seo Doho
McCune–Reischauer	Sŏ Toho

Suh was born in Seoul, South Korea in 1962. He earned a Bachelor of Fine Arts and Master of Fine Arts from Seoul National University in Oriental Painting. He also studied at Rhode Island School of Design, where he received a Bachelor of Fine Arts in painting in 1994. He began to establish himself into the art scene in New York in the late 1990s.[4] Then, in 1997, he received a Master of Fine Arts in sculpture from Yale University.[2] Suh currently has live-in studios located in London, New York City, and Seoul. Suh was named the Wall Street Journal's[5] Innovator of the Year in Art in 2013.[6] He represented Korea at the Venice Biennale in 2001.[7]

Early life

Do ho Suh's father, Suh Se-Ok, was a famous artist who led an artistic movement in the 1960s. It combined traditional ink paintings with new meanings and concepts from the abstract art movement that was happening in the West.[8] Suh grew up in Seoul, and after failing to get the grades needed to become a marine biologist, he applied for art school. After receiving a master's degree in traditional Korean painting and completing mandatory service in the South Korean military for approximately 2 years after graduating at Seoul National University,[9] he moved to the United States to continue his painting education in 1991.[5] Moving to the US removed the association Suh had to his father, "I felt relieved when I went to the States, I felt much more freedom".[5] This allowed him to make his own work and not be compared to his father.

Travel informs a large amount of his work, during which Suh always carries a sketchbook as a habit acquired during university. These travels and transits between locations, such as in airports and trains, provide inspiration for works as well as their conceptualization. Suh has turned his previous dislike of traveling to a source of inspiration and space for creativity.[10]

Influences

Suh's work has a central focus on architecture, space, and identity.[2] His early work blended into the gallery space and was barely discernible to the viewer as art. His most famous works are made of nylon or silk skillfully sewn into forms that represent spaces in Suh's life to scale. One of Suh's oldest works is entitled High School Uni-Form (1997). This piece also followed his theme of identity since, more recently, these uni-forms have changed over time. Although this is an outfit that many boys shared at the time, they all have different sentiments when looking back at these uniforms. Although it remains unclear on what this piece really means, identity plays a major role in this breathtaking piece.[11] Immigrating to the United States affected how Suh interpreted home and created an overarching theme in his works where he explores space and how we interact with it.[2] This can be seen in his piece, "Home Within Home Within Home Within Home Within Home"[12] which is a silk replica of his childhood home, as well as his piece "Fallen Star" that featured a traditional Korean home crashing into a Los Angeles building.[13] Suh also challenges the uses of varies materials, for instance, "Do Ho Suh: 348 West 22nd Street" is a work created with luminous swaths of translucent polyester, which features his own history of migration from Korea to New York, a replica of the ground-floor residence when he first arrived the United States. Moving to the US removed the association Suh had to his father, "I felt relieved when I went to the states, I felt much more freedom".[5]

Exhibitions

Suh has had solo exhibitions at Storefront for Art and Architecture (2010), the Serpentine Galleries, London (2002),[14] Seattle Art Museum,[15] the Whitney Museum of American Art at Philip Morris, the Artsonje Center in Korea, the 21st Century Museum of Contemporary Art, Kanazawa, Japan (2013),[16] Bildmuseet, Umeå University, Sweden (2017 - 2018),[17] the Smithsonian American Art Museum in Washington, D.C. (2018) [18] the Los Angeles County Museum of Art (2019 - 2020),[19] the ARoS Aarhus Kunstmuseum in Denmark (2018 - 2019),[20] the Victoria and Albert Museum in London, UK (2019),[21] and the Museum Voorlinden in Netherlands (2019).[22] He has also participated in group exhibitions at the Baltimore Museum of Art, Institute of Contemporary Art, Boston, Museum of Modern Art, New York, and at the Museum of Fine Arts, Houston,[23] among others. Suh has participated in numerous biennials, including the 49th Venice Biennale in 2001.[24] In 2010, he was shown in the Liverpool Biennial,[25] the Venice Biennale Architecture,[26] and Media City Seoul Biennial,[27] and the 9th Gwangju Biennale in 2012.

Public collections

Suh's work is found in major museum collections worldwide, including the Museum of Modern Art, New York;[28] Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Museum of Fine Arts, Houston; Albright–Knox Art Gallery, Buffalo, N.Y.; Minneapolis Institute of Art; Walker Art Center, Minneapolis; Museum of Contemporary Art, Los Angeles;[29] Los Angeles County Museum of Art; Seattle Asian Art Museum, Seattle, WA;[30] Art Gallery of Ontario, Toronto; Tate Modern, London; the Museum of Contemporary Art, Tokyo; the Towada Art Center and Gothenburg; Museum of World Culture.

Selected works include:

• Hub-2, Breakfast Corner, 260-7 (2018)
• Hub-1, Entrace, 260-7 (2018)
• New York City Apartment (2015)[31]
• Fallen Star (2012)[32]
• 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 Perfect Home (2002)
• Public Figures (1998)
• Who Am We? (2000)
• Floor (1997-2000)
• High School Uni-form (1997)

Public Figures (1998)

Do Ho Suh's Public Figures consists of an empty pedestal supported by a crowd of people, turning the traditional concept of a monument upside down: in fact, the heroic figure does not stand above the pedestal, but with the masses below. Critics have described this work as confronting questions of home, physical space, displacement, memory, individuality and collectivity. In an interview with Paul Laster for Artkrush, the artist said his work "is an organic way to explore the boundaries of this notion of individualism, in which each individual is the accumulation of so many different and discrete individuals creates a bigger group, a bigger country and a bigger world" [33]

Awards

• Ho-Am Prize in the Arts (2017)

References

External links

• Lehmann Maupin Gallery
• Victoria Miro Gallery
• Art:21 -- Art in the Twenty-First Century
• TateShots: Do Ho Suh - Staircase-III The artist talks about his installation piece. 25 March 2011.
• 21st Century Museum of Contemporary Art Kanazawa
• Profile overview on Artsy

На других языках

[fr] Do-ho Suh