The Perfect Home II
Do Ho Suh
A trailblazing feminist artist, Miriam Schapiro established the Feminist Art Program at the California Institute of the Arts in 1971 with Judy Chicago; founded the Pattern and Decoration movement in 1976; and wrote, with Melissa Meyer, the influential text “Waste Not, Want Not: An Inquiry into What Women Saved and Assembled— Femmage,” published in Heresies in 1977. Setting out to remedy the lack of visibility for women artists, Schapiro posited that femmage—decorative and domestic elements traditionally considered “women’s work,” most often excluded from museums and found in vernacular, everyday environments—had great potential for subversion and aesthetic influence. Schapiro’s visually dense and diverse Tapestry of Paradise shows the application of femmage as artistic expression: accumulative and writ large against art history’s diminished view of women artists’ achievements.
110 × 240 × 516 in. (279.4 × 609.6 × 1310.6 cm) (show scale)
This item is not on view
Gift of Lawrence B. Benenson
© Do Ho Suh
Copyright for this work may be controlled by the artist, the artist's estate, or other rights holders. A more detailed analysis of its rights history may, however, place it in the public domain.
The Museum does not warrant that the use of this work will not infringe on the rights of third parties. It is your responsibility to determine and satisfy copyright or other use restrictions before copying, transmitting, or making other use of protected items beyond that allowed by "fair use," as such term is understood under the United States Copyright Act.
For further information about copyright, we recommend resources at the United States Library of Congress
, Cornell University
, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums
, and Copyright Watch
For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright
If you have any information regarding this work and rights to it, please contact email@example.com
Do Ho Suh (Korean, born 1962). The Perfect Home II, 2003. Translucent nylon, 110 × 240 × 516 in. (279.4 × 609.6 × 1310.6 cm). Brooklyn Museum, Gift of Lawrence B. Benenson, 2017.46. © artist or artist's estate (Photo: Brooklyn Museum (Photo: Jonathan Dorado), 2017.46_DIG_E_2018_One_Do_Ho_Suh_01_PS11.jpg)
2017.46_DIG_E_2018_One_Do_Ho_Suh_01_PS11.jpg. Brooklyn Museum (Photo: Jonathan Dorado), 2018
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome
any additional information you might have.