Currently on view through February 4, 2020.
Suh’s work is depicting scenes from everyday life in New York City and his work suggests human presence, aiming to derive a forgotten sensation from the viewer.
He was born in Seoul in 1951. He studied painting at Seoul National University and started his career as an artist in 1979.
Suh was a professor at Seoul National University for 20 years and in 2001 was an invited professor at the Hamburg International Academy of Fine Arts (Pentiment). He was selected as Artist of the year by the National Museum of Modern and Contemporary Art, Korea in 2009, Honored by Arko Art Center in 2016, and received the Lee Jung-seob Award in 2014.
Since then he has focused on his work while traveling domestically and internationally including to the United States, Germany, Japan, and China. He has held numerous solo and group exhibitions, including at the National Museum of Modern and Contemporary Art, Korea, Arko Art Center, and New York KIPS Gallery. (Suh Yonsun)
Kathleen J Graves:
Kathleen Graves work features environmental issues and cultural historical objects. She is a photographer whose work is based on her love of nature and technology. She taught the large format digital print at New York University and was Director of the Advanced Digital Print Studio at NYU. Graves is a practicing artist at Gravus Print Studios in the greater New York area and has shown work in New York, Miami, the Czech Republic, Italy and Korea.
Nature and Culture:
Graves photographs present work placing early 20th Century American household objects outside, in nature.
Graves says, “It interests me to look at these things outdoors as if to mesh their refinement with the land and ponds.” Transfixing the moment with surprise, these objects from home are not where they belong. They belong indoors, decorative and practical, yet there is a kinship growing in the composition. The items selected draw from nature’s forms, patterns and colors and sit well, enveloped in plants or water.
These things are from a historical period when most people were closer to the environment. This is a still life quality and homage to our memories. The photographs are evocative of our appreciation for useful porcelain, engravings, toys and equally aware of living close to nature and its lush grace. In our time, the issues of the environment are overwhelming and urgent. Graves makes these images to remind us of a past time that is still alive and present in mind.
Graves integrates photographs of landscape with abstract and imaginary Nano(Ro)Bots. The Bots reference new technological AI innovations that work constructively in the environment. Graves works to bridge the divide between our alienation from technology and our ability to humanize and like these innovations. Warnings, survival mechanisms and the tranquility of nature are bonded in Graves constructions of images with Bots.
Graves has said, “I try to make the invisible visible – in nature, in landscape. I look at the issues of the damaged environment and make invisible technology visible.” The Bots are abstract imaginary observers in the landscape. AI Bots see the hierarchies of power and how all of the changes in nature impact each other. The Bots represent a visual poetry of hopeful repair. (Kathleen Graves)