PRESS & PUBLICATION
Esta Pais
February 13, 2025
”Goodbye Again: On Allen Frame, Goodbye Again and an Ornette Coleman album”
New York Times
December 10, 2024
“Hungry for the Best? Here Are Our Top new York Dishes of 2025”
By Priya Krishna, Melissa Clark and Pete Walls
Photo for Joo Ok
Suboart Magazine
July Issue, 2023
Interview, Physical Publication
Al-Tiba 9 Contemporary Art
June 26, 2023
Interview with SuJung Jo
Suboart Magazine
May 8, 2023
Rising Stars: SuJung Jo
Koreatimes
March 1, 2023
New York K-Art Festival
La Pera Project
October, 2022
Online Exhibition
Hyperallergic
April 27, 2022
”Art’s Conventional Signifiers Are No Longer Useful”
by Julia Curl
Hyperallergic
April 18, 2022
”Pratt’s 2022 Fine Arts and Photography MFA Exhibition is on View in Brooklyn”
by Julia Curl
REVIEW
‘SuJung Jo is an artist of the fold, which mean she is also inherently an artist of light and its mending. By way of the bridge that is metaphor, it also means that she is an artist of the body—with shadows, balance, and the dimming of corners, she curves her media into corporeality. Given her background in photography, this is of course all rather fitting. Such are the affordance of her manipulating layered organza, which she bends and crimps into careening, billowing bulbous clouds, hanging like the wings of a bat. Her works not only belies photography's historical pardox: the imprisonment to the depicted three-dimensional elements upon two-dimensional recesses, but prod photography into the heaving, breathing vantage of the living and gasping. These works not only become dimensional objects but dynamic and galvanized.’
‘ These pieces produce an illusory sense of movement in space, they threaten to shake away the manacles of solidity, deploying illusion like a liquid. SuJung’s organza are like gauze tapestries run through by light. They give us the playful force of encounter between the folds that she so poetically services into lapping waves that never quite break against a shore. These are still, frozen waves—a silk-spun series of riddles. Flaming crimsons become spectral lingering impressions as coral and pink equivocate. There is a pleasant melancholy that is omnipresent, like that of Rohmer and Hong Sang-soo’s cinema. Light is manipulated to simultaneously exist visibly and materially, it howls and vibrates. The folding and unfolding, the dragging and drifting, of SuJung’s pieces draws us into that minimalist genre of intimisme so cultivated by artists like Balthus, Vilhelm Hammershøi and Carl Holsøe. These are pieces that shimmer of memories, that feel like our own lost narratives. They are utterly familiar.’
THE FOLDS AND CLOAKS OF SUJUNG JO
by Ekin Erkan