Noh Sang-Kyoon

Gallery Simon

Noh Sang-Kyoon has had but one modus operandi for more than a decade: He glues rows and rows of sequins all over canvases and found objects, giving every item a signature glistening finish. You may have noticed his twinkling sequined Buddhas at the Armory show in 2004 or in Basel any year since 1999; at the Venice Biennale in 1999, he covered three walls with large sequined canvases. Appropriated from the glitzy world of fashion, sequins still register as gaudy, faux-luxe, and sexy, even when applied to monochromatic painting. Tightly aligned on the surface of the canvas, each reflects light, giving the shimmering surface of Abstract Expressionism a whole new meaning.

When he is not evoking the Greenbergian regime of the flat surface, Noh recalls Duchamp’s readymade: Take a series of found objects (mannequins, statues, CDs, paintbrushes), cover them with the sequins, et voilà! In the ongoing

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the February 2006 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.