Selected Catalogues & Brochures
Nancy Rakoczy, Chapter, “Working with artists,” T&T Clark Handbook of Christian Theology and Climate Change, Bloomsbury Publishing.
“Imago Mundi: Contemporary Artists from South Korea,” (a Collateral Event of the 55th International Art Exhibition of the Venice Biennale), Luciano Benetton Collection. Exhibition catalogue.
Amanda Douberley, “Yoon Cho: Nothing Lasts Forever” (Austin, Texas: Women & Their Work). Solo exhibition brochure
Caitlin Haskell, chapter, “Yoon Cho,” 20 to watch, Austin Museum of Art. Exhibition catalog
Eva Buttacavoli, “Gallery Guide, 20 to Watch, New Art in Austin,” Austin Museum of Art. Exhibition brochure
Marilyn Waligore, “Legacy of Photomontage, engineering the photograph,” (Dallas, TX: University of Texas at Dallas). Exhibition brochure
Selected Reviews * & Articles
Brian Slattery, “Three Artists Push It At The Ely Center,” New Haven Independent, January 24, 2023.
Mina Lee, Nexus Media News, “The Power of The Artist’s Pen,” The Huffington Post, November 11, 2016
Karen Rubin, “‘Collective Consciousness’ at Gold Coast Arts Center focuses on responsibility for environment”, Discovery Magazine, March 16, 2018
Chiara Di Lello, “In the Place We Live,” M Magazine, December 2011
* Jorge Martin, “Art + Sparks at BETA,” Hyperallergic, November 17, 2010
“Artists like Yoon Cho … created elegant works that may have not been easy to read but they drew me in and encouraged me to decode them even in the midst of this laid back and casual festival.”
* Mark Drummond Davis, “SACRED=ART?,” Artscope Magazine, May/June, 2010
* Troy Schulze, “Clever, Funny and Disturbing,” Houston Press, May 19, 2009
“There’s more wonderful work here by Raymond Uhlir, Yoon Cho …”
* Judy Birke, “‘Family,’ in fine, revealing variations comes alive at Parachute Factory Gallery,” New Haven Register, February 8, 2009
“A wonderful series of photos by Yoon Cho, from her “Nuclear Family Project,” focuses on images of what an ideal family might look like. In each picture bright yellow silhouettes of an imaginary baby, its potential belongings and activities, are superimposed within color narratives of mom and dad working together within the artists’s “pre-baby” suburban life, the aim to build a new unified identity. Although the imagery reflects the external, well-grounded in formal elements of stability, it clearly invites one into the artist’s internal world, penetrating issues of a particular state of mind.”
*Allan Appel, “‘Family Business’ On Display,” New Haven Independent, January 6, 2008
“Yoon Cho was tired of her relatives asking when she and her husband were going to have a baby. So she started sending out letters with these yellow images – yellow because it’s gender neutral of a future baby, carriage, and suburban life. That became her series of photos in the exhibition called Nuclear Family Project.”
Jeanne Claire van Ryzin, “8 from ’08: great year in Austin arts,” XLENT, Austin American Statesman, December 25, 2008.
* “Exhibit portrays families,” Yale Daily News, December 2, 2008
“Similarly, Yoon Cho’s series “Nuclear Family Project” seeks to look at family life as a blissful and hopeful experience. Her works are large photographs of a couple in different rooms in a house that is being furbished. Yellow silhouettes of a child are pasted in to create both the idea of an absence and a future presence. Somehow Cho’s work is more haunting than Saccio’s and seems to question whether the nuclear family it is depicting will actually become a reality.”
* D. Dominick Lombardi, “Indianapolis FYI RADAR,” NY ARTS magazine, May, 2008
“In her nuclear family series, Yoon Cho projects the American dream of a backyard oasis surrounding it with kids and toys through yellow silhouettes over color photographs and videos. For Cho, you never get the idea that any of this will come to fruition, yet, by doing the silhouette overlays, viewers might get the feeling that all of it is merely a distraction, or an interruption, to a calm, peaceful, and fulfilling creative existence.”
* Angela Ahlgren, “Yoon Cho: Nothing Lasts Forever,” Might be good (Austin, TX), Issue #99. May 16, 2008
* Jeanne Claire van Ryzin, American-Statesman Arts Critic, “Cho Puts her life on display in her art,” XLENT, Austin-American Statesman, May 1, 2008
* Salvador Castillo, “That Was Then; This Is Now,” The Austin-American Statesman, April 11, 2008
BESTBETS: Art Takes Look at Changing Looks,” The Austin American Statesman, April 3, 2008
* Suzanne Hanshaw, “Artist Yoon Cho explores identities in solo show,” Daily Texan, April 3, 2008
* Emily Macrander, “’20 to Watch’ brings surprise to AMOA,” Daily Texan, April 3, 2008
“Several if the other pieces are lighter in thematic content but still very notable. … Yoon Cho’s use of digital imging in “Hair” in which she assimilates to her new husband by simply taking on his haircut.”
* Till Richter, “New Art in Austin 20 to Watch at AMOA,” Glasstire Texas Visual Art Online, March, 2008
* Shannon McGarvey, “Catch 20 rising stars in Austin arts,” The Austin American-Statesman, February 22, 2008
“Yoon Cho, another artist at the forefront of the exhibition, also delves into issues of identity but chooses instead to employ photography and videography techniques in her method of reflection.”
* Janet Kutner, “Gray and green,” The Dallas Morning News, July 3, 2006
* Phoebe Moore, “Austin City Hall opens People’s Gallery,” Daily Texan, March 23, 2006
“A particularly engaging series of digital C-prints, photographs that have been digitally altered, by Yoon Cho entitled “Nuclear Family,” captures the viewer’s eye…”