Acquisition
1994

Doris Salcedo
Colombian, born 1958
Untitled (Armoire), 1992
Wood furniture, steel, and cement
45 x 73 1/2 x 20 in. (114.3 x 186.7 x 50.8 cm)
The Artist
currently on display at the
Art Institute of Chicago
- Adolph Gottlieb
- Doug Aitken
- Josef Albers
- Alexander Calder
- Ghada Amer
- Carl Andre
- Richard Artschwager
- Bill Viola
- Lee Bontecou
- Paul Caponigro
- Paul Chan
- Francis Chapin
- Charles Sheeler
- Christo
- Larry Clark
- Dan Flavin
- Dan Graham
- David Aronson
- Jimmie Durham
- Edwin Dickinson
- Nicole Eisenman
- Ellsworth Kelly
- General Idea
- George Mueller
- Ger van Elk
- Leon Albert Golub
- Gregorio Prestopino
- Philip Guston
- Hans Hofmann
- Gary Hume
- Irene Rice Pereira
- James Lechay
- Jim Dine
- Jasper Johns
- Joseph Raffael
- Donald Judd
- Jules Olitski
- Julian E. Levi
- June Leaf
- Alex Katz
- Guillermo Kuitca
- Kurt Seligmann
- Lorna Simpson
- Roberto Matta
- Joan Mitchell
- Matthew Monahan
- Robert Morris
- Osvaldo Louis Guglielmi
- Nam June Paik
- Ed Paschke
- Jackson Pollock
- Raoul Hague
- Reinhard Mucha
- Bridget Riley
- Doris Salcedo
- Julian Schnabel
- Sean Sean Scully
- Ben Shahn
- Paul Sharits
- Siah Armajani
- David Smith
- Bob Snyder
- Yutaka Sone
- Nancy Spero
- Hedda Sterne
- Rudolph Stingel
- Jessica Stockholder
- Tacita Dean
- Wolfgang Tillmans
- Rosemarie Trockel
- James Turrell
- Danh Vo
- Wayne Thiebaud
- Martin Wong
- Christopher Wool
Doris Salcedo offers an elegiac meditation on the violence that is a daily reality in her native Colombia. Since 1988 the artist has interviewed people whose relatives have "disappeared" by order of the military or paramilitary squads associated with Colombia's civil war and illegal drug trade. Venturing into the countryside with representatives of human rights groups and churches, the artist regularly visits abandoned villages, murder sites, and mass graves. Salcedo's sculptures and installations, made with found items of domestic furniture and other personal objects, bear the memory of pain and suffering. Tattered and worn, they stand as humble monuments to their lost, silenced, or forgotten owners.
The Acquisition
Untitled (Armoire) is part of a series in which Salcedo buried domestic furniture and other personal objects in cement, stripping these utilitarian pieces of their functions and turning them into humble monuments to their lost, silenced, or forgotten owners. The artist explained, “There was one widow . . . who told me how difficult it was to continue living with objects that are reminders of her husband. . . . Every day you sit at the dining table and the empty chair is there, screaming the absence of that person. It can become a very difficult object to live with. So I tried to make those objects silent, encasing them in cement.”