826:(1997-2000) image the multitude while registering their historical passing. Reproductions of his homes are indexical products that are specific to particular sites, while also asserting their own autonomy moving from space to space. Kwon also considers the dualism present in writing on Suh's work as seeing his culturally specific installations incorporating Korean architectural styles, fabric, and ornamental details as culturally unspecific. 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 nomadic subject of globalization" whose work is valued not for "its authenticity as a product of another culture but its capacity to register through that authenticity
276:(1997-2000) that do not resemble buildings. As a result, Suh pays particular attention to the site-specificity of the work, and sensorial experience of the viewer engaging with his pieces while moving in the exhibition space. A number of his sculptures produced in the past few decades consider the possibilities for sculpture to become architecture, and vice-versa. His blurring of the line between sculpture and architecture often renders architectural structures portable through material change, as exemplified by one of his most famous works
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paper and dissolving the tissue paper before transferring the drawing to thicker paper. After a number of failed attempts to make larger-scale works, an intern at the
Institute suggested that Suh use gelatine paper. Suh began sewing the gelatine paper, attaching the paper to paper pulp that dissolves the gelatine paper, and rubbing the thread in order to bind it to the thicker paper fibers. Suh has described the pleasure of ceding total control over the work due the contingency of the threading with the sewing machine, and paper shrinkage.
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696:. In front of the cottage is a garden and path to the front of the house. Those who enter will find the angle of the floor and house are mismatched, and the interior is furnished with pictures of families, including Suh's, on the wall, as well as an array of knickknacks typically found inside a home. When discussing the work, Suh has connected the instability of the structure with his own sense of disorientation when he first arrived in the US.
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838:(1999) to Suh's biography, Kee points out that the installations also display a glaring lack of personal mark with general features that could be found in any urban home. Suh's work thus becomes open to multiple readings dependent on the viewer's engagement with the work, and as such, resists any singular line of interpretation that views his pieces as emblems of globalization.
302:, and Min-Za Chung, one of the founders of Arumjigi-Culture Keepers (재단법인 아름지기), a non-profit organization supporting the preservation of Korean tradition and heritage. Their family home was composed of five contemporary and traditional structures. Se-ok Suh modeled one building after the main quarters and library of a civilian-style home
790:(2012) as "a powerfully poetic expression of his cultural experience." They tend to link his own experiences moving across the world with broader issues of displacement and immigration, thus opening up the work to a less-culturally specific interpretation—exemplified by critic Frances Richard's description of Suh's
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Art historian Ayla Lepine focuses on the affective properties of Suh's work that reveal the limits of the encounter with a piece that produces a sense of anxiety due to its reference to a space that "inspires but does not and could not contain the work." The inhabitability of Suh's buildings gesture
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as he does in his sketchbooks, Suh has created a series of drawings that utilize thread embedded in paper. He began developing his technique in 2011 during his residency at the
Singapore Tyler Print Institute (STPI). Early experiments involved directly sewing wet paper, as well as sewing thin tissue
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works feature an elliptical piece of fabric embroidered with the names of people who are connected to Suh in some way. The threads used for the names extends beyond the fabric, and are gathered together in the hand of a sculpture of a paratrooper elevated on a platform. Suh has described the work as
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as "a scrim onto which anybody may project his or her reveries about any absent home." Curator
Rochelle Steiner contextualizes Suh's work within a broader trend in contemporary art during the 90s tackling issues of transportability and itinerancy, and connects Suh's sculptures to earlier precedents
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Suh's mother was key in finding traditional Korean seamstresses who assisted Suh in making his work. But while he describes his work as "clothing for space," and thus drawing from the vocabulary of Korean costumes, such as magenta thread for stitching, Suh does claim that in the end his work veers
342:, whose course on figuration Suh took when he first started at RISD. This led Suh to create sculptures in the corridors of the school. His artistic interventions focused on these overlooked spaces and drew out their relationship with the people who regularly traverse them. Suh also took courses on
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Architect and critic Julian Rose also resists viewing the structures in Suh's installations as inherent signs, and instead highlights the subtle ways in which Suh engages with architectural issues through his work. Rose argues that Suh's use of different materials both pulls his re-creations away
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Upon arriving in the US, Suh began measuring spaces in the many new surroundings he went through, and experimenting with altering them. For this temporary installation at RISD, Suh added a laminated birch panel to the floor of a hallway, and a long curved rod that passerby had to walk through in
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Suh applied to RISD, which was the only
American art school that accepted him, in order to move to the US with his first wife, a Korean American graduate student. Suh felt a sense of relief in the US: moving away from Korea allowed the artist to build his career outside of his father's shadow.
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Passageways play a crucial role in Suh's installation in not only connecting different sections, but also, according to Suh, engaging with the exhibition space as a whole. For the installation at the Korean
Cultural Center, Suh thought about the center as a space of cultural displacement that
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in 1999 for the first exhibition). For Suh, this continual renaming allows the work to hold the traces of each space it traverses, and thus reshape the viewer's notion of what a home is. The movement of the work also allows Suh to carry his childhood memories with him no matter where he goes,
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was the first work Suh made and showed in Korea. After showing the work in Korea, and then the US, Suh noted the difference in reception for the work. He found that Korean audiences had an emotional response to the work while
American audiences read the piece as a commentary on the military.
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are examples of works that curators and critics have described in terms of the individual/collective dichotomy. While Suh does acknowledge that his pieces do engage with the concept, he foregrounds their role in shaping a viewer's experience of space, and considers the tendency of ascribe
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from indexicality, and draws them towards the fundamental issues of representation and space in the field of architecture. Rose asserts that Suh's work acts as a reminder that architecture is not inherently symbolic, but rather gains its meaning through human interaction.
280:(1999), for which he recreated his childhood home using polyester and silk. Suh's use of fabric and paper functioning like a "second skin" make it possible for his pieces to be folded up and transported. His material choices of rice paper, and fabric commonly found in
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The installation features a 1:1 replica of Suh's childhood home in Korea, including both the main structure and fixtures like toilets, radiators, and kitchen appliances. The entire installation is made of polyester fabric and silk held up with thin metal rods.
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Suh rubbed crushed colored pastel over paper placed on every surface of his New York apartment. He finished the project in 2016 after his landlord had passed away with the aim of showing the palimpsest of traces that had accrued over time with each occupant.
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commissioned Suh to create the installation, leading him to begin exploring the question of home through his work. Suh came up with the idea while he was living in New York in the 90s reminiscing about his childhood home. In 1994 he produced a smaller-scale
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built in 1878 in the palace garden, and Suh constructed their home using red-pine sourced from the palace complex when many of the palace buildings were dismantled. Suh's version was later used as a model for the redecoration of the original palace home.
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Miwon Kwon outlines a doubleness that characterizes much of Suh's works. His installations both expand and contract the field of vision for the viewer, thus allowing the work to contain both minimalist and anti-minimalist qualities. Pieces like
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Joan Kee argues that Suh's work gestures to the unknowability of the home, making his installations recreating his previous residences perpetually materially and conceptually unresolved. While critics and curators often connect pieces like
494:, 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 about the function of rice paper in traditional Asian painting.
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being able to function as anyone's self-portrait as the installation shows how the point at which all relationships meet is where the individual comes into being. Suh has also cited the multiple valences of the Korean word
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Suh worked with his team to produce a rubbing of the interior of a local theater troupe's former house while blindfolded, relying on only touch to create the piece. The work was one of several rubbings Suh did for the
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so that a visitor can enter through one door, and travel through replicas of all of Suh's past residences without leaving. Suh has begun to utilize computer modeling software in producing some of these pieces.
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While the sculpture seems to be composed of red thread from afar, the piece showing a human figure suspended upside-down inside a pedestal is actually made from red plastic. Suh worked with a robotics team at
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Suh overlapped images of students from high school yearbooks to create the two computer-generated color photographs. Suh again turned to this reference to Korean high school for his 1996 installation
327:. He graduated with a Bachelor of Fine Arts in 1985 and Master of Fine Arts in 1987 from SNU, and completed the mandatory military service in South Korea before moving to the US to study at the
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Critics and curators writing about Suh's work often draw connections between his installations and personal background as part of the Korean diaspora. Phoebe Hoban, for example, describes
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Suh has emphasized the whimsicality of many of the works in the series for both him and the viewer. The project has allowed Suh to revisit his childhood love for toys and model-making.
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The installation features high-school yearbook photos from Korea from over three decades of graduating classes juxtaposed together, and printed on sheets of paper pasted to the wall.
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Although Suh had completed both his undergraduate and graduate studies in Korea, RISD had the artist enroll as a sophomore. Suh attributes his turn to sculpture to artist
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have critiqued the narrowness of this interpretation of Suh's practice, complicating the readings of his work that view them as representative of a global itinerancy.
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apartment. The impact bifurcates the
Providence house, splitting not only the building, but also all of its contents, right down the middle. In contrast, the Korean
225:. Suh is well known for re-creating architectural structures and objects using fabric in what the artist describes as an "act of memorialization." After earning a
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transports objects from Korea's past to the present-day US, and creates physical and conceptual passageways between those two spaces and points in time.
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for the installation. He has also connected the blindfolds to Korean media censorship in the 70s and 80s of protests and demonstrations like the
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at the RISD that allowed him to develop the foundational skills he needed to work with fabric. He graduated from RISD with a BFA in 1994.
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Do Ho Suh, conversation with Clara Kim, March 7, 2014, cited in Clara Kim, "Rubbing is Loving: Do Ho Suh's
Archeology of Memory," in
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mediates the experience of space. Architecture has been a key reference for the artist since the mid-1990s—even for pieces like
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Suh moved to London in 2010 for his second wife, Rebecca Boyle Suh. The artist and
British arts educator have two children.
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in order to see if it was possible to create a large-scale fabric house. He was able to realize the full project in 1999.
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Suh has emphasized the physicality and sensuality of the act of rubbing that transforms one's interpretation of a space.
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1695:, exh. cat. (Houston; Los Angeles: The Museum of Fine Arts, Houston; Los Angeles County Museum of Art, 2009), 30-49.
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Curator and critic Chung
Shinyoung identifies the antimodernist devices of literariness and theatricality in Suh's
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Suh continued studying sculpture at Yale University, and graduated with an MFA in 1997. While at Yale, Suh met
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therefore making it possible for him to shrink the distance between where he came from and is at the present.
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in 2010. Suh regularly shows his work around the world, including Venice where he represented Korea at the
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617:(2006) reveals that the house has crashed into the Providence building Suh lived in during his RISD days.
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where he graduated with a Master of Fine Arts in sculpture in 1997. He practiced for over a decade in
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to the distance and reflective meaning of the installations in relation to their original referents.
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Do Ho Suh, "Social Structures and Shared Autobiographies: Do-Ho Suh," interview by Tom Csaszar,
245:(RISD). He graduated with a Bachelor of Fine Arts in painting from RISD in 1994, and went on to
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Do Ho Suh, "The Perfect Home: A Conversation with Do-Ho Suh," interview by Lisa G. Corrin, in
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Suh again explored the possibility of transforming the structure of the exhibition space with
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is a thirteen-part work narrating Suh's journey from Korea to the US. The first chapter,
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Every time the piece is transported, he adds the name of the city to the title (e.g.
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Joan Kee, “Evanescent Terrain: The Unknowable Home in the Works of Do-Ho Suh.” In
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The installation features a blue cottage suspended at an angle on the top of the
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895:"Do Ho Suh: Some/One," Whitney Museum of American Art at Philip Morris, New York
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Suh's work can be found in major museum collections worldwide, including the
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Lynn Zelevansky, "Contemporary Art from Korea: The Presence of Absence," in
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1477:, exh. cat. Manchester: The Whitworth, The University of Manchester, 2015.
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that show sixty school uniforms connected together, and later in 2000 for
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Do Ho Suh, "Do Ho Suh: Threads to Liberty," interview by Gillian Daniel,
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Do Ho Suh, quoted in Lucy Ives, "Do Ho Suh's Translucent Architectures,"
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613:, shows a miniature Korean house atop a white tornado. The next chapter,
1777:, exh. cat. (Boston: Institute of Contemporary Art/Boston, 2019), 70-71.
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Do Ho Suh. "Do-Ho Suh: The Poetics of Space." Interview by Jayoon Choi.
621:(2006) features the same collision, but with new brick and scaffolding.
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individuality to the West and collectivity to the East to be reductive.
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Lisa G. Corrin, "The Perfect Home: A Conversation with Do-Ho Suh," in
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https://www.artnews.com/art-in-america/aia-reviews/do-ho-suh-2-61037/
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A Contingent Object of Research: The Perfect Home: The Bridge Project
736:. Blindness as a visual motif and concept also appears in works like
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992:"Do Ho Suh: Home within Home within Home within Home within Home,"
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In My View: Personal Reflections on Art by Today's Leading Artists
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https://www.frieze.com/article/do-ho-suh-translucent-architectures
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When Home Won't Let You Stay: Migration through Contemporary Art
1456:, exh. cat. New York: Storefront for Art and Architecture, 2010.
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The artist talks about his installation piece. 25 March 2011.
1438:, exh. cat. Houston: Contemporary Arts Museum, Houston, 2001.
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Suh links his work with what he describes as the porosity of
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Miwon Kwon, "The Other Otherness: The Art of Do-Ho Suh," in
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Frances Richard, "Home in the World: The Art of Do-Ho Suh,"
1728:(New Jersey: International Sculpture Center, 2007), 272-279.
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Eitaro Ogawa (left) working with sculptor Do Ho Suh (right).
353:. Tiravanija later helped launch Suh's career in New York.
1682:, exh. cat. (Seattle: Seattle Museum of Art, 2002), 27-39.
1629:, exh. cat. (Seattle: Seattle Museum of Art, 2002), 27-39.
1172:"Do Ho Suh: Robin Hood Gardens: A Ruin in Reverse," 16th
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Suh plans to connect all of his fabric pieces, including
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Chung Shinyoung, "Do-Ho Suh: Gallery Sun Contemporary,"
1594:, exh. cat. (London: Hayward Publishing, 2008), 146-148.
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authenticity of itinerancy and cultural displacement."
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also refer to traditional Korean art and architecture.
1846:, exh. cat. (Seattle: Seattle Art Museum, 2002), 9-23.
1761:, exh. cat. (London: Hayward Publishing, 2008): 17-26.
1693:
Your Bright Future: 12 Contemporary Artists from Korea
1868:Julian Rose, "Do Ho Suh: The Contemporary Austin,"
1859:, exh. cat. Vancouver: Vancouver Art Gallery, 2003.
315:After failing to get the necessary grades to study
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1833:, exh. cat. (Munich: DelMonico Books, 2014), 7-17.
1607:, exh. cat. (Wassenaar: Voorlinden, 2019), 27-31.
981:21st Century Museum of Contemporary Art, Kanazawa
1829:Rochelle Steiner, "Do Ho Suh's Karmic Journey,"
1648:"Artist Do Ho Suh Explores the Meaning of Home"
261:in 2001. In 2017, Suh was the recipient of the
1759:Psycho Buildings: Artists Take on Architecture
1592:Psycho Buildings: Artists Take on Architecture
1145:"Psycho Buildings: Artists and Architecture,"
1081:"Uniform, Order and Disorder," P.S.1, New York
994:National Museum of Modern and Contemporary Art
1945:South Korean expatriates in the United States
1881:Ayla Lepine, "Installation as Encounter," in
1790:, exh. cat. (Munich: DelMonico, 2014), 27-32.
1708:(London: Thames & Hudson, 2012), 160-161.
1138:"Peppermint Candy: Contemporary Korean Art,"
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1746:https://elephant.art/ho-suh-threads-liberty/
1704:Do Ho Suh, "Do Ho Suh on Kim Jeong-hui," in
666:, 2012. University of California, San Diego.
213:) is a Korean artist who works primarily in
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615:Fallen Star: A New Beginning (1/35th Scale)
265:. Suh currently lives and works in London.
1436:Subject Plural: Crowds in Contemporary Art
724:that year. Suh has cited the influence of
635:The work both references a specific film (
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1960:Recipients of the Ho-Am Prize in the Arts
1510:Art:21 -- Art in the Twenty-First Century
1489:, exh. cat. Milan: DelMonico Books, 2022.
1483:, exh. cat. Milan: DelMonico Books, 2021.
1444:, exh. cat. Seoul: Artsonje Center, 2003.
268:Suh's work focuses on the different ways
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1122:"New Works: 06.2," Artspace, San Antonio
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655:and parachute fabric and string inside.
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1521:21st Century Museum of Contemporary Art
1215:Museum of Contemporary Art, Los Angeles
1127:Museum of Contemporary Art, Los Angeles
474:Traditional Korean art and architecture
1883:Contemplations of the Spiritual in Art
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1125:"Siting: Installation Art 1969-2002,"
965:"A Perfect Home: The Bridge Project,"
713:The Company Housing of Gwangju Theater
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513:artist Kim Jeong-hui's 1844 painting
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1955:Rhode Island School of Design alumni
1515:TateShots: Do Ho Suh - Staircase-III
1111:"Facing East: Portraits from Asia,"
1050:Museum of Contemporary Art Australia
700:"Rubbing/Loving Project" (2012-2016)
590:"Speculation Project" (2006-ongoing)
1034:"Do Ho Suh: 348 West 22nd Street,"
967:Storefront for Art and Architecture
694:University of California, San Diego
619:Fallen Star: Epilogue (1/8th Scale)
1885:(Bern: Peter Lang, 2013), 131-149.
1757:Ralph Rugoff, "Psycho Buildings,"
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1950:South Korean contemporary artists
1481:Do Ho Suh: Works on Paper at STPI
1235:Museum of Contemporary Art, Tokyo
907:Kemper Museum of Contemporary Art
16:South Korean sculptor (born 1962)
1940:Seoul National University alumni
1646:Belcove, Julie L. (2013-11-07).
1450:, exh. cat. Seoul: Arario, 2004.
1219:Los Angeles County Museum of Art
1117:Arthur M. Sackler Gallery of Art
1036:Los Angeles County Museum of Art
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1898:45, no. 6 (February 2007), 312.
1872:53, no. 6 (February 2015), 239.
1174:Venice Biennale of Architecture
782:Biography and global itinerancy
370:order to get down the hallway.
321:Seoul National University (SNU)
1820:40, no. 5 (January 2002), 115.
1265:Hub-2, Breakfast Corner, 260-7
1191:Whitney Museum of American Art
744:Thread drawings (2011-ongoing)
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329:Rhode Island School of Design
243:Rhode Island School of Design
88:Rhode Island School of Design
1590:Miwon Kwon, "Do Ho Suh," in
1553:, 2006-05-03, archived from
1256:2010, in Liverpool, England.
1207:Minneapolis Institute of Art
1199:Museum of Fine Arts, Houston
1195:Solomon R. Guggenheim Museum
1029:Victoria & Albert Museum
842:Engagement with architecture
686:Jacobs School of Engineering
599:Fallen Star: Wind of Destiny
486:2010, in Liverpool, England.
1799:Phoebe Hoban, "Do Ho Suh,"
1140:Museo de Arte Contemporáneo
979:"Do Ho Suh: Perfect Home,"
509:Suh has also written about
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1726:Conversations on Sculpture
1603:Sarah Suzuki, "Essay," in
1577:229 (September 21, 2022),
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379:High School Uni-Face: Girl
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1527:Profile overview on Artsy
1203:Albright–Knox Art Gallery
939:Arthur M. Sackler Gallery
860:Relationship to spectacle
502:and architecture than to
375:High School Uni-Face: Boy
294:Suh was born in Seoul to
235:Seoul National University
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84:Seoul National University
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1463:. Munich: Prestel, 2012.
1260:Selected works include:
1223:Seattle Asian Art Museum
1084:"Plateau of Humankind,"
806:However, art historians
1744:24 (January 29, 2017),
1652:The Wall Street Journal
1461:Korean Contemporary Art
1422:Ho-Am Prize in the Arts
1277:New York City Apartment
1243:Museum of World Culture
601:(2006), is composed of
263:Ho-Am Prize in the Arts
1935:Yale University alumni
1920:South Korean sculptors
1500:Lehmann Maupin Gallery
1473:Harris, Jennifer, ed.
1271:Hub-1, Entrance, 260-7
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1227:Art Gallery of Ontario
953:Lehmann Maupin Gallery
951:"Cause & Effect,"
748:Instead of using ink,
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414:Room 515/516-I/516-II—
405:Korean Cultural Center
1547:"LA미술관, 서도호 작품 매입 전시"
1505:Victoria Miro Gallery
1470:(May 1, 2012), 88–89.
1434:Morsiani, Paula, ed.
1379:Doormat: Welcome Back
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387:High School Uni-Forms
227:Bachelor of Fine Arts
23:, the family name is
1803:, November 3, 2011,
1448:Standing on a Bridge
1409:High School Uni-form
1291:348 West 22nd Street
1187:Museum of Modern Art
1113:Freer Gallery of Art
1086:49th Venice Biennale
1067:"Greater New York,"
905:"The Perfect Home,"
820:High School Uni-Form
795:for this trend like
730:Memoirs of the Blind
434:Seoul Home/L.A. Home
259:49th Venice Biennale
162:Revised Romanization
1831:Do Ho Suh: Drawings
1788:Do Ho Suh: Drawings
928:The Fabric Workshop
866:Speculation Project
851:Affective qualities
653:Singer sewing table
595:Speculation Project
515:Landscape in Winter
492:Korean architecture
446:New York Apartment,
231:Master of Fine Arts
1930:Artists from Seoul
1322:Cause & Effect
1258:
1241:, Aomori; and the
1119:, Washington, D.C.
1098:8th International
1006:"One: Do Ho Suh,"
941:, Washington, D.C.
880:Select exhibitions
801:La boîte-en-valise
777:Critical reception
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465:, under the title
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351:Rirkrit Tiravanija
298:, a famous Korean
205:: 徐道濩, b. 1962 in
1487:Do Ho Suh: Portal
1239:Towada Art Center
1211:Walker Art Center
1205:, Buffalo, N.Y.;
1100:Istanbul Biennial
1057:Group exhibitions
1015:Museum Voorlinden
762:Inverted Monument
500:industrial design
325:Oriental painting
319:, Suh applied to
253:before moving to
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176:McCune–Reischauer
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1459:Kim, Miki Wick.
1385:The Perfect Home
1309:Home within Home
1161:Gwangju Biennale
885:Solo exhibitions
734:Gwangju Uprising
722:Gwangju Biennale
638:The Wizard of Oz
467:The Perfect Home
331:(RISD) in 1991.
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1342:Unsung Founders
1315:Fallen Star 1/5
1225:, Seattle, WA;
1213:, Minneapolis;
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1557:on 2013-01-19
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1361:Karma Juggler
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1335:Paratrooper-V
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1048:"Do Ho Suh,"
1047:
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1038:, Los Angeles
1037:
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1027:"Do Ho Suh,"
1026:
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1021:
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1013:"Do Ho Suh,"
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996:(MMCA), Seoul
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935:Maison Hermes
933:"Do Ho Suh,"
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926:"Do Ho Suh,"
925:
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912:"Do Ho Suh,"
911:
909:, Kansas City
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872:Personal life
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836:Seoul Home...
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1663:. Retrieved
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1559:, retrieved
1555:the original
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1475:Art_Textiles
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1367:Staircase-IV
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1193:, New York;
1189:, New York;
1184:
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273:
270:architecture
267:
219:installation
194:
193:
75:South Korean
24:
1915:1962 births
1551:Chosun Ilbo
1405:(1997-2000)
1317:(2008-2011)
1311:(2009-2011)
1293:(2011-2015)
1284:Fallen Star
1252:Do Ho Suh,
1231:Tate Modern
1229:, Toronto;
1181:Collections
1017:, Wassenaar
822:(1996) and
803:(1936–41).
788:Fallen Star
680:Fallen Star
672:Fallen Star
664:Fallen Star
662:Do Ho Suh,
651:has only a
611:San Antonio
583:Paratrooper
572:Paratrooper
564:Paratrooper
524:(1997-2000)
482:Do Ho Suh,
453:Passageways
444:Do Ho Suh,
409:Los Angeles
300:ink painter
211:South Korea
116:Korean name
72:Nationality
65:South Korea
21:Korean name
1909:Categories
1665:2023-06-13
1561:2012-06-15
1533:References
1397:Who Am We?
1355:Reflection
1142:, Santiago
1071:, New York
1010:, New York
969:, New York
955:, New York
914:Serpentine
808:Miwon Kwon
792:Seoul Home
750:watercolor
643:Providence
556:Who Am We?
541:Who Am We?
498:closer to
391:Who Am We?
340:Jay Coogan
304:King Sunjo
290:Early life
1844:Do-Ho Suh
1680:Do-Ho Suh
1660:0099-9660
1627:Do-Ho Suh
1605:Do Ho Suh
1442:Do Ho Suh
937:, Tokyo;
603:styrofoam
323:to study
311:Education
296:Se-ok Suh
215:sculpture
195:Do Ho Suh
102:Sculpture
80:Education
36:Do Ho Suh
1896:Artforum
1870:Artforum
1818:Artforum
1742:Elephant
1523:Kanazawa
1349:Some/One
1297:Net-Work
1176:, Venice
1149:, London
1088:, Venice
1052:, Sydney
1031:, London
916:, London
812:Joan Kee
754:graphite
740:(2010).
690:La Jolla
377:(1995),
251:New York
168:Seo Doho
19:In this
828:another
771:Bristol
688:on the
504:fashion
363:Hallway
223:drawing
201:: 서도호,
182:Sŏ Toho
1658:
1575:Frieze
1424:(2017)
1416:Awards
1411:(1997)
1399:(2000)
1393:(1998)
1387:(2002)
1381:(2003)
1375:(2003)
1373:Screen
1369:(2004)
1363:(2004)
1357:(2004)
1351:(2005)
1345:(2005)
1337:(2005)
1331:(2005)
1325:(2012)
1305:(2010)
1299:(2010)
1287:(2012)
1279:(2015)
1273:(2018)
1267:(2018)
1237:; the
764:(2022)
715:(2012)
674:(2012)
631:(2008)
577:inyeon
570:Suh's
543:(2000)
418:muslin
416:using
412:piece—
399:(1999)
381:(1997)
365:(1993)
283:hanbok
255:London
221:, and
199:Korean
122:Hangul
1403:Floor
1303:Karma
1069:P.S.1
824:Floor
752:, or
738:Karma
648:hanok
607:resin
552:Floor
550:Both
530:Floor
522:Floor
448:2015.
274:Floor
233:from
207:Seoul
203:Hanja
138:Hanja
61:Seoul
1656:ISSN
1167:2018
1159:9th
1154:2012
1133:2008
1115:and
1106:2006
1093:2003
1076:2001
1062:2000
1043:2022
1022:2019
1001:2018
987:2013
974:2012
960:2010
946:2007
921:2005
900:2002
890:2001
810:and
605:and
554:and
403:The
357:Work
247:Yale
229:and
57:1962
54:Born
799:'s
728:'s
407:in
237:in
129:서도호
26:Suh
1911::
1766:^
1733:^
1713:^
1654:.
1650:.
1634:^
1612:^
1549:,
1221:;
1217:;
1209:;
1201:;
536:.
506:.
217:,
209:,
104:,
63:,
1807:.
1748:.
1668:.
1581:.
197:(
152:濩
149:道
146:徐
29:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
