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Doris Salcedo's Melancholy Objects

Journal Article


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Abstract


  • Doris Salcedo’s work ‘Atrabiliarios’ (Defiant) (1992-2004) refers to the women who have

    been disappeared in her homeland of Colombia.1 Over forty boxes are recessed in the walls

    of the gallery. Each box contains one or two shoes, sometimes a single shoe, sometimes a

    pair, sometimes a mismatched pair. Each recessed box is covered with a membrane,

    described as a layer of cow bladder, bordered with black stitches of surgical thread. The

    backlit cow bladder evokes human skin. The black, white, brown and ivory shoes are

    visible through the skin-like surface. On the floor of the gallery are stacked a series of

    empty boxes, made of the same cow bladder which covers the gallery niches. A version of

    this work, which Salcedo has developed over several years, is now held in the San

    Francisco Museum of Modern Art (SFMOMA).2 This is where I encountered the work, and

    where I started to try to make sense of the power of these particular objects. After my visit

    to SFMOMA, shoes came to be a recurrent theme in my encounters in museums and art

    galleries, suggesting to me that there was an archetypal element to this display which was

    worthy of further exploration.

Publication Date


  • 2008

Citation


  • Mackie, V. C. 2008, 'Doris Salcedo's Melancholy Objects', Portal: Journal of Multidisciplinary International Studies, vol. 5, no. 1, January, pp. 1-14.

Ro Full-text Url


  • http://ro.uow.edu.au/cgi/viewcontent.cgi?article=2016&context=artspapers&unstamped=1

Ro Metadata Url


  • http://ro.uow.edu.au/artspapers/997

Number Of Pages


  • 13

Start Page


  • 1

End Page


  • 14

Volume


  • 5

Issue


  • 1, January

Place Of Publication


  • http://epress.lib.uts.edu.au/journals/index.php/portal/issue/view/34

Abstract


  • Doris Salcedo’s work ‘Atrabiliarios’ (Defiant) (1992-2004) refers to the women who have

    been disappeared in her homeland of Colombia.1 Over forty boxes are recessed in the walls

    of the gallery. Each box contains one or two shoes, sometimes a single shoe, sometimes a

    pair, sometimes a mismatched pair. Each recessed box is covered with a membrane,

    described as a layer of cow bladder, bordered with black stitches of surgical thread. The

    backlit cow bladder evokes human skin. The black, white, brown and ivory shoes are

    visible through the skin-like surface. On the floor of the gallery are stacked a series of

    empty boxes, made of the same cow bladder which covers the gallery niches. A version of

    this work, which Salcedo has developed over several years, is now held in the San

    Francisco Museum of Modern Art (SFMOMA).2 This is where I encountered the work, and

    where I started to try to make sense of the power of these particular objects. After my visit

    to SFMOMA, shoes came to be a recurrent theme in my encounters in museums and art

    galleries, suggesting to me that there was an archetypal element to this display which was

    worthy of further exploration.

Publication Date


  • 2008

Citation


  • Mackie, V. C. 2008, 'Doris Salcedo's Melancholy Objects', Portal: Journal of Multidisciplinary International Studies, vol. 5, no. 1, January, pp. 1-14.

Ro Full-text Url


  • http://ro.uow.edu.au/cgi/viewcontent.cgi?article=2016&context=artspapers&unstamped=1

Ro Metadata Url


  • http://ro.uow.edu.au/artspapers/997

Number Of Pages


  • 13

Start Page


  • 1

End Page


  • 14

Volume


  • 5

Issue


  • 1, January

Place Of Publication


  • http://epress.lib.uts.edu.au/journals/index.php/portal/issue/view/34