A provocative question by South Korean artist Suh Do-ho has sparked considerable discussion in Washington, DC. His installation ‘Public Figures,’ displayed in the front courtyard of the Smithsonian’s National Museum of Asian Art (NMAA) since Apr. 27, coincides with the museum’s centennial celebration. Unlike traditional statues that commemorate notable individuals, this piece represents the collective support of 400 ordinary people. In less than a month since its unveiling, it has become a significant installation at the Smithsonian.
According to Monument Lab, a nonprofit organization, there are about 48,000 monuments across the United States. These range from the 170-meter-tall Washington Monument, visible throughout the city, to memorials dedicated to Lincoln, Jefferson, and Martin Luther King. Known as the ‘City of Monuments,’ Washington DC has statues that predominantly celebrate towering, white, and male figures. In contrast, Suh’s ‘Public Figures’ challenges traditional representations by depicting “counter-monuments that question the power structures we are accustomed to.”
The sculpture, standing just over three meters tall and constructed from jesmonite, aluminum, and polyester resin, represents a ‘statue without a statue.’ The upper portion of the work is intentionally left empty, symbolizing the absence of a traditional figure, while the base portrays 400 ordinary people upholding the structure.
Carol Huh, a curator at the NMAA, said, “The top of the statue is empty, emphasizing the detailed depiction of the nameless individuals at its base. It prompts us to consider who holds significance in history: the traditional authorities, heroes, or the common people.”
Suh elaborated on the underlying theme of this work during an interview with Smithsonian Magazine, saying, “In Korea, there is a concept of ‘grassroots’ that never dies, is always renewed, and is more powerful when we join forces.”
The Washington Post praised the installation, stating, “Suh’s work turns public art on its head.” The artwork is set to remain in the NMAA’s front yard for the next five years, supported by the Korea Foundation (KF).
