Michael Joo (b. 1966) studied at the Yale School of Art, Yale University, New Havenand Washington University, St Louis. He currently lives and works in New York, USA.
Solo exhibitions of his include: Drift (Bronx), The Bronx Museum of Arts, New York (2014);Transparency Engine, SCAD Moot Gallery, Sham Shui Po (2014); Solo presentation of Doppelganger, Cass Sculpture Foundation, Goodwood (2014); Michael Joo: Drift, The Aldrich Contemporary Art Museum, Connecticut (2014); Michael Joo, M Building, Art Basel Miami Beach 2013, Miami (2013); Exit from the House of Being, Blain|Southern, London (2012); Galerie Marabini, Bologna, (2010); Anton Kern Gallery, New York, NY (2009); Michael Joo, Palm Beach Institute for Contemporary Art, Florida (2004); the South Korean Pavilion at the 49th Venice Biennale together with Do-Ho-Suh (2001); White Cube, London (1998); and Crash, Anthony D'Offay Gallery, London, (1995). His work also features in public and private collections at the Guggenheim Museum, New York; the Museum of Modern Art, New York and the Samsung Centre for Art and Culture, Seoul. In 2006, he was awarded both the grand prize of the 6th Gwangju Biennale, Seoul, for Bohdi Obfuscatus (Space Baby) and also the United States Artists Fellowship.
The work of Michael Joo explores ideas concerning identity and knowledge in a contemporary hybrid world. He manifests narratives about people, objects and places which explore the ideas of constructed knowledge and interpreted perception. Joo's rhizomatic, non-linear approach to his work in conjunction with his use of scientific vocabulary and research, results in work that documents a process. Joo's work is a combination of a diverse range of disciplines which includes painting, sculpture, photography and print-making. His practice confuses the boundary between art and science by investigating ontology, epistemology and entropy, which as a result creates trans and multi-disciplinary work that provokes questions and dialogue about our rigidly categorised world. Through his combination of society's various knowledge resources and culture Joo questions and address the fluidity of identity. His materials are as diverse as his body of research ranging from human sweat, silver nitrate and bamboo. It could be argued that Joo's perogative is to achieve the impossible; to construct an object that is barely conceivable even in thought - much like the quest of speculative physics to think the unthinkable and articulate that which might possibly exist.