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Other titles in the Contemporary Artists series:
Doris Salcedoby Nancy Princenthal
Synopses & Reviews
A mountain of chairs piled between buildings. Shoes sewn behind animal membranes into a wall. A massive crack running through the floor of Tate Modern. Powerful works like these by sculptor Doris Salcedo evoke the significance of bearing witness and processes of collective healing. Salcedo, who lives and works in Bogotandaacute;, roots her art in Colombiaandrsquo;s social and political landscapeandmdash;including its long history of civil warsandmdash;with an elegance and poetic sensibility that balances the gravitas of her subjects. Her work is undergirded by intense fieldwork, including interviews with people who have suffered loss and endured trauma from political violence. In recent years, Salcedo has become increasingly interested in the universality of these experiences and has expanded her research to Turkey, Italy, Great Britain, and the United States.
Published to accompany Salcedoandrsquo;s first retrospective exhibition and the American debut of her major work Plegaria muda, Doris Salcedo is the most comprehensive survey of her sculptures and installations to date. In addition to featuring new contributions by respected scholars and curators, the book includes over one hundred color illustrations highlighting many pieces from Salcedoandrsquo;s thirty-year career. Offering fresh perspectives on a vital body of work, Doris Salcedo is a testament to the power of one of todayandrsquo;s most important international artists.
This is a comprehensive monograph on the work of Doris Salcedo, a sculptor of Bogota in Colombia. The humanitarian and political content of her work is revealed in her sculptures and installations which are made from found objects left in the abandoned homes of missing people in Colombia.
Colombian artist Doris Salcedo is one of today's most internationally respected South American sculptors, whose work is in the collections of the Museum of Modern Art, New York and the Tate Gallery, London. Inspired as much by poetry and philosophy as by the affecting material qualities of sculpture, Salcedo subtly and painstakingly transforms everyday household objects and garments — symbols of vanished existence and of the human tragedies that were its cause. In Atrabiliaros (1991-96) abandoned shoes of 'disappeared' Colombian people, half-concealed behind membranes of animal fibre, become ghost-like symbols of mourning. In Salcedo's ongoing untitled works, wooden furnishings, worn by long use and infilled with concrete, mutely evoke the lives they once served.<P>American art critic Nancy Princenthal surveys Salcedo's work in terms of universal themes it evokes. New York-based curator Carlos Basualdo discusses with the artist her formative influences. German literary critic Andreas Huyssen focuses on the sculpture Unland: the orphan's tunic (1997). The Artist's Choice includes an extract from Otherwise Than Being (1974) by philosopher Emmanuel Levinas, and poems by Paul Celan (1920 — 70). The artist's observations on the human condition are discussed in conversation with art historian Charles Merewether.
About the Author
Julie Rodrigues Widholm is curator at the Museum of Contemporary Art Chicago.
Madeleine Grynsztejn is the Pritzker Director of the Museum of Contemporary Art Chicago.
Table of Contents
Madeleine Grynsztejn and Julie Rodrigues Widholm
Presenting Absence: The Work of Doris Salcedo
Julie Rodrigues Widholm
Doris Salcedoand#8217;s Readymade Time
The Muted Drum: Doris Salcedoand#8217;s Material Elegies
A Work in Mourning
Compiled by Steven L. Bridges
Lenders to the Exhibition
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