Doris Salcedo

Well I might be if I know more about her do you have a link or can you describe her work for us?

Doris Salcedo
Bénézit knows no biographical data, says only 20th century and from Columbia, installation artist, first personal exhibition 1994 in New York. Bibliography: Susan Harris: Doris Salcedo, Art Press, no. 193, Paris, July/August 1994. (E. Bénézit: Dictionnaire des pintres etc., vol. 12, 1999)
Mistral.

Well I was just curious to know if others here find her work of interest. Rather than print a bunch of URLs here l'll ask anyone who wants to know more to just type in her name on google. That will produce many results.

Pitter, you can transfer urls fairly easily by cutting and pasting. Doris Salcedo's work looks interesting. Here are a few links:

http://www.dareonline.org/themes/space/salcedo.html

http://www.alexanderandbonin.com/artists/salcedo.html

http://www.news.harvard.edu/gazette/2002/12.12/25-salcedo.html

Thank you Pitter for the research you have forced on me I thank you and I thank Osso for the links. As victim of violence I can completely relate to this woman's powerful work. And note that that this unusual subject matter for most women Salcedo is indeed brave to enter share this pain for all the world to see and express it so accurately.





The untitled installation (left) made in 1990, was in direct response to an incident in Colombia in 1988, where male banana plantation workers were dragged from their homes and murdered.

The shirts are bright white, carefully laundered and folded, piled up and waiting to be worn. Steel poles pierce each pile, pinning them to the floor. This piercing of the soft white cotton, with hard steel, implies a violent interruption. Behind them, (not visible in this image), leaning against the wall, are a series of iron bedframes, again giving a domestic context. Each frame is wrapped with pieces of animal skin, suggesting both a wounding and a healing process.

In one series she filed negative spaces in furniture pieces like chests of drawrs and chaiers with cement. I find these pieces fascinatining on a purely visual design level apart from their reference to "dissapeared" friends and family.

It may be my poor reference skills but I find relatively few illustrations of her work on the net. I think her more recent work is probobly locked up by her galleries. I would enjoy seeing some 2000 to present pieces.

Salcedo
Osso, I checked out the links to Doris Salcedo. Here is what I conclude--as one humble individual willing to put his ass on the block of avante garde criticism. I am able, at long last to appreciate the scribblings of the COBRA painters (art brut) and even those of Twombly (love his colors), but despite the touching life situations her sculptures "stand for" I feel she is (with the help of gallery promoters, of course) throwing dust in our eyes.

Well, the rods through the soft shirts do nudge me. I am personally a little more ...how to explain... I get to places often by reading. I read about atrocities in, say, Sierra Leone, and they live with me for weeks or years. I see the connection with the shirts, and see the vitality of expressing yourself about the situation this way.. and also that it is cooly sculptural, without the context...Hmmm stacked shirts and vertical rod.

I don't think it is vital work (well, hey, she would not like my landscape painting either) and I am not so sure it is dust thrown by the gallery and artist. This type of presentation, arrangement of things, is an ongoing type of art now and while it doesn't make me see the dying workers (white shirts?) it does make me blink once.

salcedo
OOPS! wrote up a carefully thought out (hope it shows) post on Doris Salcedo, but on the wrong thread. Anyone interested please look it up on the Guernica thread (today's date).

You can ask a moderator to transfer that if you want, JL. Or I can ask if you know the page number on the other thread..