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Museum Exhibition

Mori Art Museum
Do Ho Suh + Po Po

July 25 – October 12, 2015

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Do Ho Suh

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Whitewall

Winter 2015

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Artforum

January 28, 2017

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November 30, 2016

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March 12, 2015

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Artforum

February 2015

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Time Out New York

October 16, 2014

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October 5, 2014

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October 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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Art in America

November 17, 2009

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Los Angeles Times Culture Monster Blog

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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ArtAsiaPacific

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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Tema Celeste

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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Tema Celeste

July 1, 2002

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Artforum

January 1, 2002

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Sculpture

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

Artforum


Do Ho Suh
LEHMANN MAUPIN 540 West 26th Street November 3–December 22
In an age of purposefully ugly “bad art,” Do Ho Suh’s current exhibition may
appear so elegant as to be considered reactionary. It is a testament to Suh’s
talent, then, that he accomplishes not only beauty but also allegory—arguably
one of the most morally entangled expressive modes—with such élan. Karma
Juggler (all works 2007), a large colored-pencil drawing of a spread-eagled
figure whose head, shoulders, and arms are subsumed by an enormous pastel
cloud, greets visitors with a warm pink ebullience. The cloud, which on closer
inspection reveals itself to be innumerable small concentric circles, is either the
source of the figure’s power or a colossal weight bearing down on the Atlas-like
being. Much like karma, which is neither concerned with punishment nor reward
but is rather the irremediable sum total of an individual’s deeds, the mutual
operations of cloud and figure are nonhierarchical. Up is down, power is burden,
and vice versa for both. In the second room’s site-specific installation, Cause &
Effect—a veritable tornado of tiny sunset-colored acrylic figures hanging by or
sitting on one another’s shoulders—this notion of vertical ambiguity is reified and
writ large. One can read the sole central figure, whose feet rest on the floor, as
the individual on whom the entire piece rests or, conversely (and in this case,
given the artwork’s construction, literally), as the creature who gets to touch the
ground, aided by all those hanging on to him from above. Elsewhere, a white
resin sculpture of figures similar to those in Cause & Effect—but covering one
another’s eyes—suggests that the forces mobilizing the individual and the
collective are both indistinguishable and blind, an idea whose potential
didacticism is cleverly allayed by the grace and levity of the sculpture’s off-kilter
precariousness.
—Debora Kuan