Doris Salcedo

Colombian, born 1958

1,210 followers
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blue chip status
Blue Chip Representation

Doris Salcedo

Colombian, born 1958

1,210
Followers
blue chip status
Blue Chip Representation
Auction results
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Showing 51 results
Showing 51 results
Atrabiliarios, 1992
Sold on Nov 14, 2019
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Artwork Info
Sculpture
wall construction—wood, found shoes, animal fiber and surgical thread
41.3 x 72 x 9.5 cm
Auction Sale
Nov 14, 2019
Christie's
Description
Doris Salcedo (b. 1958) Atrabiliarios wall construction—wood, found shoes, animal fiber and surgical thread 16 ¼ x 28 3/8 x 3 ¾ in. (41.3 x 72 x 9.5 cm.) Executed in 1992.
Atrabiliarios, 1992
wall construction—wood, found shoes, animal fiber and surgical thread
Nov 14, 2019
Christie's
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Artwork Info
Sculpture
41.3 x 72 x 9.5 cm
Estimate
Auction Sale
Nov 14, 2019
Christie's
Realized Price
Description
Doris Salcedo (b. 1958) Atrabiliarios wall construction—wood, found shoes, animal fiber and surgical thread 16 ¼ x 28 3/8 x 3 ¾ in. (41.3 x 72 x 9.5 cm.) Executed in 1992.
Atrabiliarios (Desafiante), 1989
Sold on Feb 28, 2019
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Artwork Info
sculpture
76.5 x 45.1 x 8.9 cm
Auction Sale
Feb 28, 2019
Christie's
Description
Atrabiliarios (Desafiante), 1989
sculpture
Feb 28, 2019
Christie's
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Artwork Info
76.5 x 45.1 x 8.9 cm
Estimate
Auction Sale
Feb 28, 2019
Christie's
Realized Price
Description
Atrabiliarios (Desafiante), 1993
Sold on Feb 28, 2019
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Artwork Info
Sculpture
wall construction—wood, found shoes, animal fiber and surgical thread
45.1 x 76.5 x 8.9 cm
Auction Sale
Feb 28, 2019
Christie's
Description
Doris Salcedo (b. 1958) Atrabiliarios (Desafiante) wall construction—wood, found shoes, animal fiber and surgical thread 17 ¾ x 30 1/8 x 3 ½ in. (45.1 x 76.5 x 8.9 cm.) Executed in 1993.
Atrabiliarios (Desafiante), 1993
wall construction—wood, found shoes, animal fiber and surgical thread
Feb 28, 2019
Christie's
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Artwork Info
Sculpture
45.1 x 76.5 x 8.9 cm
Estimate
Auction Sale
Feb 28, 2019
Christie's
Realized Price
Description
Doris Salcedo (b. 1958) Atrabiliarios (Desafiante) wall construction—wood, found shoes, animal fiber and surgical thread 17 ¾ x 30 1/8 x 3 ½ in. (45.1 x 76.5 x 8.9 cm.) Executed in 1993.
Shibboleth I-IV, 2007
Sold on Jan 29, 2019
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Artwork Info
photographs
48.2 x 63.8 cm
Auction Sale
Jan 29, 2019
Christie's
Description
Shibboleth I-IV, 2007
photographs
Jan 29, 2019
Christie's
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Artwork Info
48.2 x 63.8 cm
Estimate
Auction Sale
Jan 29, 2019
Christie's
Realized Price
Description
Untitled, 1995
Sold on Nov 14, 2018
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Artwork Info
sculpture
119.7 x 97.2 x 41.3 cm
Auction Sale
Nov 14, 2018
Phillips
Description
Untitled, 1995
sculpture
Nov 14, 2018
Phillips
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Artwork Info
119.7 x 97.2 x 41.3 cm
Estimate
Auction Sale
Nov 14, 2018
Phillips
Realized Price
Description
UNTITLED, 1992
Sold on Nov 17, 2017
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Artwork Info
sculpture
40.6 x 95.2 x 44.4 cm
Auction Sale
Nov 17, 2017
Sotheby's
Description
UNTITLED, 1992
sculpture
Nov 17, 2017
Sotheby's
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Artwork Info
40.6 x 95.2 x 44.4 cm
Estimate
Auction Sale
Nov 17, 2017
Sotheby's
Realized Price
Description
UNTITLED
Sold on 11/17/2017
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Artwork Info
Sculpture
wood, concrete and steel
40.6 by 44.4 cm
Auction Sale
11/17/2017
Sotheby's
Description
wood, concrete and steel 37 1/2 by 16 by 17 1/2 in. 95.2 by 40.6 by 44.4 cm. Executed in 1992.
UNTITLED
wood, concrete and steel
11/17/2017
Sotheby's
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Artwork Info
Sculpture
40.6 by 44.4 cm
Estimate
Auction Sale
11/17/2017
Sotheby's
Realized Price
Description
wood, concrete and steel 37 1/2 by 16 by 17 1/2 in. 95.2 by 40.6 by 44.4 cm. Executed in 1992.
CAMISAS, 2012
Sold on Sep 27, 2017
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Artwork Info
sculpture
24.0 x 161.0 x 40.0 cm
Auction Sale
Sep 27, 2017
Sotheby's
Description
CAMISAS, 2012
sculpture
Sep 27, 2017
Sotheby's
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Artwork Info
24.0 x 161.0 x 40.0 cm
Estimate
Auction Sale
Sep 27, 2017
Sotheby's
Realized Price
Description
Untitled, 1992
Sold on November 18, 2015
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Artwork Info
Auction Sale
November 18, 2015
Phillips
Description
Doris Salcedo’s sculptures and installations inform us about some of the most distressing aspects of human society. The pain, trauma, and loss associated with political violence, systemic inequality, and war consistently find their way into her work. Rather than an aesthetic exercise which seeks to provide answers, Salcedo’s works offer us a space for reflection and critical engagement. They constantly remind us of the paradoxes reflected by the scars of violent conflicts and how the unimaginable suffering becomes unexpectedly real. Her installations, for the most part, consist of every-day objects such as chairs, tables, beds, armoires, and clothing that relate in some way to victims’ stories. These objects are not only evidence of the plight of victims and of the brutality of violence, but of those who are left behind to endure the pain and suffering of loss. These pieces of furniture are thus contemplative objects that allow viewers to become conscious of the lives of victims, the displacement, and separation of families that become inherent parts of violent conflicts. Using a found cabinet, the present lot,Untitled, 1992, is a beautiful example of Salcedo’s ability to tell the story of the victims of Colombia’s history of political violence. Salcedo’s craft lies not in recreating the tragedy, but in assembling the pieces so that the loss and pain “remains forever a presence in the present moment” (N. Princenthal, C. Basualdo, A. Huyssen, Doris Salcedo, 2000, p.10). In this way, she is giving form to the “community” or “society” of victims of violence. The artist asserts that the reality of political violence in Colombia is intrusive as it disrupts the way you wish to live and thus imposes an awareness of the other’s suffering. According to the artist, she is able to articulate this awareness by feeling as an outsider in her own country. It is at this distance that she is able to maintain a critical position on the society she belongs to. Untitled, 1992, is an iconic example of the way in which Salcedo emulates an aesthetic of disappearance in other important sculptures. Salcedo accomplishes this by including first-hand evidence from real victims of war in Colombia. As in her other works, the bodies of victims are never revealed. Rather they are imagined through the traces of discarded clothing they have left on abandoned domestic furniture; much like this abandoned cabinet that once belonged to a victim. The clothing and the furniture have the effect of alerting us to how profoundly human these materials are. Salcedo explains that when a loved one disappears, everything is saturated with that person’s presence. Not only are the objects reminders of that absence but, in fact, they begin to overshadow the presence. The imperfections and wear—traces of their previous life as domestic objects—make the absence of the original owner obvious, causing the viewer to ponder this person’s fate. The chest’s cavities, as in all the other furniture in this series, have been filled with concrete, alluding to a form of preservation where even the weight of the concrete is commensurate to the emotional weight implied in these disappearances. Salcedo’s sculpture informs us of deathly forgetfulness specifically inflicted by large-scale violent conflicts, induced by politics, racism, and systemic inequalities. Through this present lot—in all its minimal, yet ostensibly complex ways—Salcedo illustrates not only horror, but the “sophistication in a complex reality” of violence (N. Princenthal, C. Basualdo, A. Huyssen, Doris Salcedo, 2000, p.10). Salcedo has contributed to shifting the ideals of political art by “embracing ideas, objecthood, and materiality simultaneously—[which is] a substantial and early break from the autobiographical approaches of artists associated with 1980s multiculturalism” (ibid). As a result, this contribution has undoubtedly placed her at the forefront of contemporary art.
Untitled, 1992
November 18, 2015
Phillips
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Artwork Info
Estimate
Auction Sale
November 18, 2015
Phillips
Realized Price
Description
Doris Salcedo’s sculptures and installations inform us about some of the most distressing aspects of human society. The pain, trauma, and loss associated with political violence, systemic inequality, and war consistently find their way into her work. Rather than an aesthetic exercise which seeks to provide answers, Salcedo’s works offer us a space for reflection and critical engagement. They constantly remind us of the paradoxes reflected by the scars of violent conflicts and how the unimaginable suffering becomes unexpectedly real. Her installations, for the most part, consist of every-day objects such as chairs, tables, beds, armoires, and clothing that relate in some way to victims’ stories. These objects are not only evidence of the plight of victims and of the brutality of violence, but of those who are left behind to endure the pain and suffering of loss. These pieces of furniture are thus contemplative objects that allow viewers to become conscious of the lives of victims, the displacement, and separation of families that become inherent parts of violent conflicts. Using a found cabinet, the present lot,Untitled, 1992, is a beautiful example of Salcedo’s ability to tell the story of the victims of Colombia’s history of political violence. Salcedo’s craft lies not in recreating the tragedy, but in assembling the pieces so that the loss and pain “remains forever a presence in the present moment” (N. Princenthal, C. Basualdo, A. Huyssen, Doris Salcedo, 2000, p.10). In this way, she is giving form to the “community” or “society” of victims of violence. The artist asserts that the reality of political violence in Colombia is intrusive as it disrupts the way you wish to live and thus imposes an awareness of the other’s suffering. According to the artist, she is able to articulate this awareness by feeling as an outsider in her own country. It is at this distance that she is able to maintain a critical position on the society she belongs to. Untitled, 1992, is an iconic example of the way in which Salcedo emulates an aesthetic of disappearance in other important sculptures. Salcedo accomplishes this by including first-hand evidence from real victims of war in Colombia. As in her other works, the bodies of victims are never revealed. Rather they are imagined through the traces of discarded clothing they have left on abandoned domestic furniture; much like this abandoned cabinet that once belonged to a victim. The clothing and the furniture have the effect of alerting us to how profoundly human these materials are. Salcedo explains that when a loved one disappears, everything is saturated with that person’s presence. Not only are the objects reminders of that absence but, in fact, they begin to overshadow the presence. The imperfections and wear—traces of their previous life as domestic objects—make the absence of the original owner obvious, causing the viewer to ponder this person’s fate. The chest’s cavities, as in all the other furniture in this series, have been filled with concrete, alluding to a form of preservation where even the weight of the concrete is commensurate to the emotional weight implied in these disappearances. Salcedo’s sculpture informs us of deathly forgetfulness specifically inflicted by large-scale violent conflicts, induced by politics, racism, and systemic inequalities. Through this present lot—in all its minimal, yet ostensibly complex ways—Salcedo illustrates not only horror, but the “sophistication in a complex reality” of violence (N. Princenthal, C. Basualdo, A. Huyssen, Doris Salcedo, 2000, p.10). Salcedo has contributed to shifting the ideals of political art by “embracing ideas, objecthood, and materiality simultaneously—[which is] a substantial and early break from the autobiographical approaches of artists associated with 1980s multiculturalism” (ibid). As a result, this contribution has undoubtedly placed her at the forefront of contemporary art.
Untitled
Sold on 2015-11-18 18:00:00
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Artwork Info
Sculpture
wood, cement, wire mesh and steel
153 x 92.7 x 40.6 cm
Auction Sale
2015-11-18 18:00:00
Phillips
Description
Untitled
wood, cement, wire mesh and steel
2015-11-18 18:00:00
Phillips
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Artwork Info
Sculpture
153 x 92.7 x 40.6 cm
Estimate
Auction Sale
2015-11-18 18:00:00
Phillips
Realized Price
Description
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