{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/86480"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/86480","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"Controlling the Global Turn in Art History: Doris Salcedo as Understood in the Global North","abstract":"Ph.D.","abstract_html":"Ph.D.","abstract_has_math":false,"creators":["DiSarno, Jamie; 0000-0003-0432-4793"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Katz, Jonathan","Visual Studies"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2025,"date_issued":"2025-02-21T17:22:51Z","date_published":"2025-02-21T17:22:51Z","updated_at":"2026-07-27T19:05:32Z","subjects":["art history"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/86480","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Katz, Jonathan","Visual Studies"]},{"key":"dc:creator","label":"Author","values":["DiSarno, Jamie; 0000-0003-0432-4793"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2025-02-21T17:22:51Z","2020"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Dissertation"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["art history"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/86480"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ph.D.","This dissertation investigates the oeuvre of contemporary sculptor Doris Salcedo, notable as one of the few Colombian artists with a broad international profile. The mechanics of translation as the work moves from a local to a global context is the primary concern. Salcedo's practice is highly responsive to political violence, especially in Colombia. She seeks to make survivors, most often underprivileged women, worthy of empathy by working to make them visible, lending them a specificity that is usually precluded by their status as marginal. Yet, a close analysis of the discourse surrounding her work demonstrates that once she garnered international prestige, her work was pervasively universalized and its historical specificity effaced. Art historians and critics from the US and Europe not only neglected to address the situated histories that inform her work but, in contradistinction to the perspective of Colombia's own art historians and critics, framed her according to their own socio-political agendas. The result is that the very raison d'être of the work, making visible the specificities of Colombian violence is itself disappeared in an account of the \"disappeared.\" In fact, no extant art-historical account offers a comprehensive and detailed explanation of Colombia's history nor the dramatic influence of US foreign policy on the violence there. And rarely is a Colombian art critic or historian cited in the wealth of material written on Salcedo. As a result, art history overlooks the intricate and multifaceted play between local and global registers found in Salcedo's work. I demonstrate the way in which Salcedo infuses \"universal\" forms with local signifiers, while equally insisting that the local, specifically the plight of victims of political violence, are worthy of \"universal\" attention. Her international prestige thus offers a critical case study in the politics of a global art market that promoted artists under the guise of multiculturalism, while neglecting to provide the necessary cultural background and analysis critical to the very definition of multiculturalism. In my investigation of Colombia's history as refracted through Salcedo's work, I show that despite her intent to make the survivors of violence visible to a global audience, US and European discourse doubly negates the already negated.","**To request an accessible version of the file(s) associated with this item, contact library@buffalo.edu. Please include the item's persistent URL [http://hdl.handle.net/. . .] in your request.**"]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Controlling the Global Turn in Art History: Doris Salcedo as Understood in the Global North"]}]}],"canonical_facts":{"dc:contributor":["Katz, Jonathan","Visual Studies"],"dc:creator":["DiSarno, Jamie; 0000-0003-0432-4793"],"dc:date":["2025-02-21T17:22:51Z","2020"],"dc:description":["Ph.D.","This dissertation investigates the oeuvre of contemporary sculptor Doris Salcedo, notable as one of the few Colombian artists with a broad international profile. The mechanics of translation as the work moves from a local to a global context is the primary concern. Salcedo's practice is highly responsive to political violence, especially in Colombia. She seeks to make survivors, most often underprivileged women, worthy of empathy by working to make them visible, lending them a specificity that is usually precluded by their status as marginal. Yet, a close analysis of the discourse surrounding her work demonstrates that once she garnered international prestige, her work was pervasively universalized and its historical specificity effaced. Art historians and critics from the US and Europe not only neglected to address the situated histories that inform her work but, in contradistinction to the perspective of Colombia's own art historians and critics, framed her according to their own socio-political agendas. The result is that the very raison d'être of the work, making visible the specificities of Colombian violence is itself disappeared in an account of the \"disappeared.\" In fact, no extant art-historical account offers a comprehensive and detailed explanation of Colombia's history nor the dramatic influence of US foreign policy on the violence there. And rarely is a Colombian art critic or historian cited in the wealth of material written on Salcedo. As a result, art history overlooks the intricate and multifaceted play between local and global registers found in Salcedo's work. I demonstrate the way in which Salcedo infuses \"universal\" forms with local signifiers, while equally insisting that the local, specifically the plight of victims of political violence, are worthy of \"universal\" attention. Her international prestige thus offers a critical case study in the politics of a global art market that promoted artists under the guise of multiculturalism, while neglecting to provide the necessary cultural background and analysis critical to the very definition of multiculturalism. In my investigation of Colombia's history as refracted through Salcedo's work, I show that despite her intent to make the survivors of violence visible to a global audience, US and European discourse doubly negates the already negated.","**To request an accessible version of the file(s) associated with this item, contact library@buffalo.edu. Please include the item's persistent URL [http://hdl.handle.net/. . .] in your request.**"],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/86480"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["art history"],"dc:title":["Controlling the Global Turn in Art History: Doris Salcedo as Understood in the Global North"],"dc:type":["Text","Dissertation"]},"updated_at":"2026-07-27T19:05:32Z"}