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Museum Exhibition

Mori Art Museum
Do Ho Suh + Po Po

July 25 – October 12, 2015

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Artist Bio

Do Ho Suh

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Winter 2015

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January 28, 2017

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November 30, 2016

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March 12, 2015

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February 2015

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October 16, 2014

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October 5, 2014

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September 25, 2014

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September 14, 2014

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February 19, 2014

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December 2013

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November 6, 2013

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Nov/Dec 2013

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Modern Painters (Asia Edition)

November 2013

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Ocula

November 2013

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Artinfo

May 8, 2013

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Sculpture Magazine Personal Histories: Do Ho Suh

November 1, 2012

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November 2012

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The Los Angeles Times

June 16, 2012

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June 1, 2012

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May 31, 2012

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April 30, 2012

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April 24, 2012

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April 4, 2012

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March 31, 2012

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March 27, 2012

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January 27, 2012

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November 16, 2011

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October 31, 2011

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October 31, 2011

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October 31, 2011

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October 19, 2011

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October 13, 2011

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October 11, 2011

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October 9, 2011

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September 30, 2011

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September 30, 2011

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September 30, 2011

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September 30, 2011

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September 30, 2011

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September 30, 2011

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September 28, 2011

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September 26, 2011

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September 26, 2011

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September 20, 2011

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September 15, 2011

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September 8, 2011

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Tate Modern

August 31, 2011

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August 16, 2011

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May 25, 2011

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October 31, 2010

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Art + Auction

October 31, 2010

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May 13, 2010

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March 30, 2010

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November 19, 2009

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November 17, 2009

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June 28, 2009

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June 24, 2009

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June 21, 2009

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Artdaily.org

May 18, 2009

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Surface Design Journal Winter 2009, Volume 33, No. 2

December 31, 2008

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Icon Issue 065

October 31, 2008

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June 30, 2008

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June 30, 2008

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May 31, 2008

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May 28, 2008

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March 1, 2008

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November 29, 2007

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November 1, 2007

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November 1, 2007

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February 1, 2007

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January 18, 2007

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December 1, 2005

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September 1, 2004

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September 1, 2004

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April 25, 2004

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Galleria Soledad Lorenzo Catalog Text

January 27, 2004

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November 1, 2003

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October 1, 2003

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September 1, 2003

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September 1, 2003

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July 3, 2003

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July 2, 2003

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June 26, 2003

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June 23, 2003

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June 13, 2003

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March 1, 2003

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July 1, 2002

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January 1, 2002

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October 1, 2001

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Tema Celeste

January 1, 2001

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Art in America

November 1, 2000

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New York Times

September 29, 2000

New York Sun


GALLERY-GOING (excerpt)
By ALEX MAR

While Ms. Mori’s world is digital and virtual, Do-Ho Suh impresses with the tangible. His visual world is expansive, but it’s rooted in detail, in attention to how things are scaled and put together.

The artist’s work deals in part with how each individual defines his space, and how that space can be both flexible and transportable. In moving from his native Seoul to New York in his late 20s, he felt the nomad’s desire to carry his territory with him. Mr. Suh made his name in 2000’s "Greater New York" at P.S.1, with "Seoul Home / L.A. Home / New York Home / Baltimore Home / London Home / Seattle Home" (1999): a translucent, pale green silk sewn sculpture modeled on his childhood home in Seoul and suspended from the ceiling.

At Lehmann Maupin now is a new installment of this evolving project: "The Perfect Home II" (2003). With great care and craftsmanship, Mr. Suh has recreated, in translucent nylon of the lightest blue and purple, his New York apartment — and it’s tremendously beautiful.

With seams that are delicate and precise, the artist describes all the familiar details of his — and possibly any New Yorker’s — living space: the window frames, doorknobs, an intercom, light fixtures, built-in cabinets in the kitchen, a stove with all its dials, the sink faucet and the refrigerator’s handles, intricate plumbing in the bathroom, a length of pipe running along the ceiling in the hall, the stairs which lead to the next floor complete with handrail. All these details, although made only from fabric, retain their shape; and even the "bricks" in the "walls" are indicated by lean scribbles of thread.

You can walk around the construction, and the thin skin of the rooms — reminiscent of a gorgeous kite — allows you to see the ghost-like forms of the other visitors walking and pausing inside. Mr. Suh has created a personal space that’s at once recognizable and ethereal; the figures occupying it look at home from the outside, while really only passing through. To spend time in that space is to see the most obvious things that you have in common with so many others, rendered with incredible attention. This, I think, is as close as art gets to creating connections.