Print

Bibliography

Monographs, solo exhibition catalogues and artist books

  • Doris Salcedo: Plegaria Muda (Fondazione MAXXI, Mondadori Electa 2012); texts by Pio Baldi, Anna Mattirolo, Monia Trombetta, Isabel Carlos, Mieke Bal and Moacir dos Anjos
  • Carlos, Isabel, Mieke Bal and Moacir Dos Anjos, Doris Salcedo: Plegaria Muda (Prestel, Munich 2011)
  • Bal, Mieke, Achim Borchardt-Hume, Paul Gilroy and Eyal Weizman, Doris Salcedo: Sibboleth (Tate Publishing, London 2007)
  • Mengham, Rod, Doris Salcedo (Jay Jopling/White Cube, London 2007)
  • Mengham, Rod and Carlos Basualdo, Doris Salcedo: Neither (Jay Jopling/White Cube, London 2004)
  • Basualdo, Carlos, Andreas Huyssen and Nancy Princenthal, Doris Salcedo (Phaidon, London 2000)
  • Cameron, Dan, and Charles Merewether, Doris Salcedo (The New Museum of Contemporary Art SITE Santa Fe, New Mexico 1998)


General publications and group exhibition catalogues

  • 30,000 Years of Art (Phaidon, London 2015)
  • Grovier, Kelly, Art Since 1989 (Thames & Hudson, London 2015)
  • Rosen, Aaron, Art + Religion in the 21st Century (Thames & Hudson, London 2015), p. 119
  • Lagnado, Lisette, Cultural Anthropophagy: 24th Bienal de Sao Paulo 1998 (Afterall Books, London/ Centre for Curatorial Studies, Bard College, New York), p. 101, 112 + 246
  • Beard, Lee and Rebecca Morrill (eds.), The Twenty-First Century Art Book (Phaidon, London 2014); texts by Jonathan Griffin, Paul Harper, David Trigg and Eliza Williams, p.229
  • Kalb, Peter R., Art Since 1980: Charting the Contemporary (Laurence King, London 2013)
  • Albano, Caterina, Fear and Art in the Contemporary World (Reaktion Books, London 2012)
  • Dario Yepes Munoz, Ruben, La politica del arte: cuatro casos de arte contemporaneo en Colombia (Editorial Pontificia Universidad Javeriana, Colombia 2012)
  • Ten Years and Beyond - The Collection of the Fondazione CRT (Archive Books, Berlin 2011), texts by Marcella Beccaria, Andrea Comba, Giovanni Ferrero, Fulvio Gianaria and Elena Volpato
  • Paneque, Guillermo (ed.), Entre chien et loup. Works from the Menea Larrucea Collection (Iberdrola, Madrid 2011); texts by Guillermo Paneque, Javier Montes, Gérard Wajcman and Xabier Sáenz de Gorbea
  • Adler, Phoebe, Tom Howells and Nikolaos Kotsopoulos (eds.), Contemporary Art in Latin America (Black Dog, London 2010); text by Gerardo Mosquera
  • Bonham-Carter, Charlotte and David Hodge, The Contemporary Art Book (Goodman, London 2009)
  • Klanten, Robert and Lukas Feireiss (eds.), Spacecraft 2 (Gestalten, Berlin 2009)
  • Sirmans, Franklin (ed.), NeoHooDoo: Art for a Forgotten Faith (Menhil Foundation, Inc., Houston 2008)
  • Graham-Dixon, Andrew (ed.), Art: The Definitive Visual Guide(Dorling Kindersley, London 2008)
  • Debbaut, Jan, Monique Verhulst and Pieternel Vermoortel (eds.), Out of the Studio!: A Symposium on Art and Public Space (Z33, Belgium 2008); texts by Lara Almarcegui, Lewis Biggs, Alain Cueff, Ann Demeester, Claire Doherty, Tom Finkelpearl, Lance Fung, Carlos Garaicoa, Tom van Gestel, Maaretta Jaukkuri, Niek Kemps, Latitudes (Mariana Canepa Luna & Max Andrews), Clare Lilley, Frank Lubbers, Cuauhtemoc Medina, Menno Meewis, Gloria Moure, Johan Pas, Michelangelo Pistoletto, Virginie Pringuet, James Putnam, Andrea Schlieker, Phillip Van den Bossche, Pierternel Vermoortel Christel Vesters and
  • Sirmans, Franklin, (eds.) NeoHooDoo: Art For A Forgotten Faith (Menil Foundation, Houston)
  • Christov-Bakargiev, Carolyn, “Abyss: Notes on the Art of Doris Salcedo.” The Pantagruel Syndrome(T1 Torino Triennale Tremusei and Skira Editore S.p.A., Milan)
  • Birnbaum, Daniel, “Nachträglich – Like Kissing the Hand of History.” The Unthought Known(White Cube, London)
  • Imagine, You Are Standing Here In Front Of Me (Museum Boijmans Van Beuningen Birulés Rotterdam)
  • Cortés Fina, José Miguel G., Romà Gubern and Eduardo Haro Tecglen. Lugares de la Memoria (Espai d’Art Contemporani de Castelló)
  • Merewether, Charles, ARS 01-Unfolding Perspectives (Museum of Contemporary Art, Kiasma, Helsinki 2001)
  • Merewether, Charles, Eztetyka del Sueño, Versiones del Sur (Museo Nacional Centro de Arte Reina Sofia, Madrid)
  • Oguibe, Olu, Fresh Cream: Contemporary Art in Culture: 10 Curators, 10 Writers, 100 Artists (Phaidon Press, London 2000)
  • Morin, France, The Quiet in the Land: Everyday Life, Contemporary Art and Projeto Axé (Museu de Arte Moderna da Bahia, Brazil)
  • Beudert, Monique, Artnow 18: Doris Salcedo (Tate Gallery, London)
  • Bond, Anthony, Charles Merewether, et al., Trace: The Liverpool Biennial of Contemporary Art (Liverpool Biennial of Contemporary Art and Tate Gallery Liverpool)
  • Merewether, Charles and Doris Salcedo, Unland: Interview with Doris Salcedo: New Work (San Francisco Museum of Modern Art, 1999)
  • Displacements: Balka, Salcedo, Whiteread(The Art Gallery of Ontario, Toronto 1998); texts by Jessica Bradley and Andreas Huyssen
  • Bradley, Jessica and Andreas Huyssen, Displacements (Art Gallery of Ontario, 1998)
  • Elliott, David, Pier Luigi Tazzi, et al, Wounds: Between Democracy and Redemption in Contemporary Art (Moderna Museet, Stockholm)
  • Herkenhoff, Paulo, Rina Carvajal, et al. “Roteiros.” XXIV Bienal de Sao Paulo (Fundaçio Bienal de Sao Paulo)
  • Eickel, Nancy, The Hirshhorn Collects: Recent Acquisitions (Hirshhorn Museum and Sculpture Garden, Smithsonian Institution 1997)
  • Bond, Anthony, ‘Embodying the Real’ and Charles Merewether, ‘The Unspeakable Condition of Figuration’ in Body (Bookman Press, Sydney and The Art Gallery of New South Wales)
  • Merewether, Charles, ‘Doris Salcedo, The anonymity of violence: re-elaborating the non-site’ in Propositions pp.102-106, (pp.56-57 French translation),(Le Musée Departemental d'Art Contemporain de Rochechouart, Limoges 1996) . Revised and reprinted as ‘Anonymity of Violence’ in Doris Salcedo Atrabiliarios (The Edwin A. Ulrich Museum of Art, Wichita State University)
  • Salcedo, Doris, Santiago Villaveces-Izquierdo, “Art and Media-tion.” Cultural Producers in Perilous States: Editing Events, Documenting Change. ed. George E. Marcus, University of Chicago Press 1996
  • Benezra, Neal, and Olga M. Viso. Distemper: Dissonant Themes in the Art of the 1990's. ex. cat. Washington D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, in association with D.A.P./Distributed Art Publishers, New York
  • Merewether, Charles, ‘Zones of Marked Instability: Displacement, Women and the Public Sphere’ Rethinking Borders, Welchman, John (ed.)(University of Minnesota Press and MacMillan, London)
  • Vicario-Heras, Gilbert, Dissonant Wounds: Zones of Display/Metaphors of Atrophy (Annandale-on-Hudson, New York and Center for Curatorial Studies, Bard College)
  • Armstrong, Richard and Charles Merewether, Carnegie International 1995 (Pittsburgh: Carnegie Museum of Modern Art, Pittsburgh 1995)
  • Grachos, Louis and Kathryn Kanjo, Sleeper: Katerina Fritsch, Robert Gober, Guillermo Kuitca, Doris Salcedo (Museum of Contemporary Art, San Diego 1995)
  • Grynsztejn, Madeleine, About Place: Recent Art of the Americas (Art Institute of Chicago, 1995); text includes essay by Dave Hickey
  • Cocido y Crudo (Museo Nacional Centro de Arte Reina Sofia, Madrid 1995); texts by Jerry Saltz, Mar Villaespesa, Gerardo Mosquera, Jean Fisher and Dan Cameron
  • Van Duyn, Edna, and Bos, Saskia. The Spine (Stichting De Appel, Amsterdam)
  • Aperto 93 Emergenza/Emergency (Flash Art, Venice 1993)
  • International, XLV Biennale di Venezia (Giancarlo Politi Editore, Milan 1993)
  • Merewether, Charles, Doris Salcedo,(Galería Garcés-Velasquez, ARCO, Madrid)
  • Bond, Anthony, Charles Merewether, et al. The Boundary Rider 9th Biennale of Sydney(The Biennale of Sydney, 1993)
  • Currents 92: The Absent Body(Institute of Contemporary Art, Boston 1992); text by Matthew Teitelbaum
  • Krebs, Edith, "The Power of the Norm: Children, Artists, and Other Delinquents." Ulf Rollof, Doris Salcedo, Cecile Huber, Liliana Moro, Marianna Uutinen. (Shedhalle, Zürich)
  • Ponce de Leon, Carolina, Imagenes de Duelo (Galería Garcés-Velásquez, Bogotá 1990)


Newspaper and magazine articles

  • Jones, Jonathan, ‘ Art on a giant scale – but which of these Turbine Hall works was the best ?’, The Guardian, 17 October 2015, pp.12 - 13
  • Hudson, Mark, ‘Turbine Hall Installations: the best of the rest’, The Daily Telegraph, 13 October 2015, p. 27
  • Cristello, Stephanie, ‘Doris Salcedo, Museum of Contemporary Art, Chicago 21 February – 24 May’, Art Review, Summer 2015, p. 144
  • Princenthal, Nancy, ‘The Language of Silence’, Art in America, May 2015, pp.136-144
  • Pamuk, Orhan, ‘When Orhan met Anselm’, The Guardian, 25 April 2015
  • Hegert, Natalie, ‘Doris Salcedo’s Powerful Retrospective at the MCA Chicago’, Huffingtonpost.com, 17 March 2015
  • Micchelli, Thomas, ‘Clearing the Slate: MoMA’s Contemporary Reboot’, Hyperallergic.com, 4 April 2015
  • Un-authored, ‘In memoriam’ Vanity Fair, No.79, March 2015, pp.108-109
  • Johnson, Steve, ‘Politics, poetry’ Chicago Tribune (Arts and Entertainment) February 19 2015 pp.1-3
  • Downey, Anthony, Art and Politics Now (Thames & Hudson, London 2014)
  • ArtAnd, Australia, Issue N. 51.3, pp. 398-403
  • Martinez, Sandra, ‘De ofrendas y plegarias’, Elespectador.com, 22 June 2012
  • McNay, Anna, ‘Doris Salcedo, White Cube, Mason’s Yard, 25 May-30 June 2012’, Diary.darlingcollective.com, 22 June 2012
  • Shephard, Jessica, ‘Beyond the political- Doris Salcedo’s relational pathos’, Onestoparts.com, 25 May 2012
  • Un-authored, ‘Colombian artist Doris Salcedo at White Cube London’, Artlyst.com, 23 May 2012
  • Un-authored, ‘New collection spotlight Doris Salcedo’, New: The Magazine of the Institute of Contemporary Art/Boston, Fall 2011, p.19
  • Dorment, Richard, ‘A cracking time for galleries,’ The Daily Telegraph, 22 December 2010, p.23
  • Un-authored, Untitled, Blacksquare, March – April 2008, p.128
  • Bluemier, Detlef, “Doris Salcedo.” Kunstler: Kritisches Lexikon der Gegenwartskunst (Ausgabe 74, no. 13, 2006)
  • Pini, Ivonne, “Doris Salcedo.” ArtNexus No. 56, 2005, pp.44-45
  • Cork, Richard, “Down to the wire.” The Times, September 11, 2004, p.18-19
  • Marx, Gary, “Sculptor molds Colombia’s pain into art.” Chicago Tribune, June 27, 2004, p.3
  • Searle, Adrian, “Doris Salcedo.” The Guardian, September 15, 2004, p.28
  • Doherty, Claire, “The Unthought Known.” Art Monthly, No. 255, April 2002, pp. 25-27
  • Wright, Jonathan, “Doris Salcedo.” Contemporary Magazine, January 2002, p.85
  • Germano, Celant, “Doris Salcedo.” Interni, October 2001, pp.188-193
  • Jiménez, Carlos, “Los duelos ocultos del silencio.” Lapiz, No.174, 2001, pp.18-25
  • Smith, Dan, “Doris Salcedo/Sophie Ristelhueber/Jose Dávila.” Art Monthly, No. 251, November 2001, pp.33-35
  • Walen, Audrey, “New York: Doris Salcedo.” Sculpture, No.4, May 2001, p.69-70
  • Un-authored, ‘Memoirs from beyond the grave’, Tate Modern, 2000, p.84
  • Cotter, Holland, “Art in Review: Doris Salcedo.” The New York Times, 17 November 2000, p.E41
  • Schmerler, Sarah, “Doris Salcedo, Tenebrae Noviembre 7, 1985.” Time Out (New York), November 16-23, 2000, p.81
  • Kent, Sarah, “Doris Salcedo.” Time Out, 2-9 June 1999, p.42
  • Anastas, Rhea, “Doris Salcedo: A Tour of the Borderland of Unland.” Art Nexus, No.29, August – October 1998, pp.104-105
  • Arratia, Euridice, “Spotlight: Doris Salcedo.” Flash Art XXXI, No.202, October 1998, p.122
  • Camhi, Leslie, “Last Supper.” The Village Voice XLIII, No. 15, April 14, 1998, p.125
  • Smith, Roberta, “The ‘New’ New Museum, With a Tableau of Wrenching Reality.” The New York Times, 20 March 1998, p.E35
  • Amor, Monica, "Doris Salcedo." Art Nexus, No.13, July-September 1994, pp.166-67
  • Cameron, Dan, "Absence Makes the Art." Artforum, No. 33, October 1994, pp.88-91
  • Bernadelli, Francesco, Arte Contemporanea, Volume Cinque. Anni Novanta (La Biblioteca di Repubblica-l’Espresso / Electa, Milan 2008)
  • Bonami, Francesco, Arte Contemporanea, Volume Sei. Duemila (La Biblioteca di Repubblica-l’Espresso / Electa, Milan 2008)