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Rachel Whiteread

Rachel Whiteread, Ghost, 1990 Plaster and steel frame, 269 × 355 ½ × 317 ½ inches (683.3 × 903 × 806.4 cm)© Rachel Whiteread

Rachel Whiteread, Ghost, 1990

Plaster and steel frame, 269 × 355 ½ × 317 ½ inches (683.3 × 903 × 806.4 cm)
© Rachel Whiteread

Rachel Whiteread, Untitled (Bath), 1990 Plaster and glass, 40 ⅝ × 82 ½ × 41 ½ inches (103 × 209.5 × 105.5 cm)© Rachel Whiteread

Rachel Whiteread, Untitled (Bath), 1990

Plaster and glass, 40 ⅝ × 82 ½ × 41 ½ inches (103 × 209.5 × 105.5 cm)
© Rachel Whiteread

Rachel Whiteread, Untitled (Torso), c. 1992 Wax, 4 × 9 × 6 ½ inches (10.2 × 22.9 × 16.5 cm)© Rachel Whiteread

Rachel Whiteread, Untitled (Torso), c. 1992

Wax, 4 × 9 × 6 ½ inches (10.2 × 22.9 × 16.5 cm)
© Rachel Whiteread

Rachel Whiteread, Untitled (Table), 1993 Resin, 27 ⅝ × 48 ¼ × 22 ¼ inches (70.2 × 122.3 × 56.5 cm)© Rachel Whiteread

Rachel Whiteread, Untitled (Table), 1993

Resin, 27 ⅝ × 48 ¼ × 22 ¼ inches (70.2 × 122.3 × 56.5 cm)
© Rachel Whiteread

Rachel Whiteread, Stairs, 1995 Correction fluid on paper, 11 ⅝ × 8 ⅜ inches (29.5 × 21 cm)© Rachel Whiteread

Rachel Whiteread, Stairs, 1995

Correction fluid on paper, 11 ⅝ × 8 ⅜ inches (29.5 × 21 cm)
© Rachel Whiteread

Rachel Whiteread, Trafalgar Square Project, 1998 Photographic collage and acrylic on museum board, 19 ¾ × 12 ⅜ inches (50 × 31.5 cm)© Rachel Whiteread

Rachel Whiteread, Trafalgar Square Project, 1998

Photographic collage and acrylic on museum board, 19 ¾ × 12 ⅜ inches (50 × 31.5 cm)
© Rachel Whiteread

Rachel Whiteread, Monument, 2001 Resin and granite, 354 ⅜ × 200 ⅞ × 94 ½ inches (900 × 510 × 240 cm), installed in Trafalgar Square, London© Rachel Whiteread

Rachel Whiteread, Monument, 2001

Resin and granite, 354 ⅜ × 200 ⅞ × 94 ½ inches (900 × 510 × 240 cm), installed in Trafalgar Square, London
© Rachel Whiteread

Rachel Whiteread, Untitled (White), 2000–01 Steel and enamel, 8 ¼ × 6 ¼ × 6 ¼ inches (21 × 15.9 × 15.9 cm)© Rachel Whiteread

Rachel Whiteread, Untitled (White), 2000–01

Steel and enamel, 8 ¼ × 6 ¼ × 6 ¼ inches (21 × 15.9 × 15.9 cm)
© Rachel Whiteread

Rachel Whiteread, Untitled (On/Off), 2001 Stainless steel, in 4 parts, each: 2 ⅝ × 2 ⅝× 1 1/16 inches (6.5 × 6.5 × 2.7 cm), edition of 6© Rachel Whiteread

Rachel Whiteread, Untitled (On/Off), 2001

Stainless steel, in 4 parts, each: 2 ⅝ × 2 ⅝× 1 1/16 inches (6.5 × 6.5 × 2.7 cm), edition of 6
© Rachel Whiteread

Rachel Whiteread, FOLDED, 2004 Plaster, 4 × 11 ½ × 15 ¼ inches (10.3 × 29 × 39 cm)© Rachel Whiteread

Rachel Whiteread, FOLDED, 2004

Plaster, 4 × 11 ½ × 15 ¼ inches (10.3 × 29 × 39 cm)
© Rachel Whiteread

Rachel Whiteread, Two Streets, 2007 Pencil and collage on paper, 22 ⅜ × 30 inches (56.7 × 76.3 cm)© Rachel Whiteread

Rachel Whiteread, Two Streets, 2007

Pencil and collage on paper, 22 ⅜ × 30 inches (56.7 × 76.3 cm)
© Rachel Whiteread

Rachel Whiteread, YELLOW EDGE, 2007–08 Plaster, pigment, and resin, in 4 parts, overall: 7 ¾ × 15 ¼ × 18 ½ inches (19.5 × 38.6 × 47 cm)© Rachel Whiteread

Rachel Whiteread, YELLOW EDGE, 2007–08

Plaster, pigment, and resin, in 4 parts, overall: 7 ¾ × 15 ¼ × 18 ½ inches (19.5 × 38.6 × 47 cm)
© Rachel Whiteread

Rachel Whiteread, RED, BLACK, WHITE, 2008 Gouache, pencil, and collage on paper, 22 ½ × 30 inches (57 × 76 cm)© Rachel Whiteread

Rachel Whiteread, RED, BLACK, WHITE, 2008

Gouache, pencil, and collage on paper, 22 ½ × 30 inches (57 × 76 cm)
© Rachel Whiteread

Rachel Whiteread, The Gran Boathouse, 2010 Concrete, installed in Røykenviken, Gran, Norway© Rachel Whiteread

Rachel Whiteread, The Gran Boathouse, 2010

Concrete, installed in Røykenviken, Gran, Norway
© Rachel Whiteread

Rachel Whiteread, 50 Spaces, 2010 Gouache and pencil on graph paper, 23 ¼ × 33 ⅛ inches (59 × 84 cm)© Rachel Whiteread

Rachel Whiteread, 50 Spaces, 2010

Gouache and pencil on graph paper, 23 ¼ × 33 ⅛ inches (59 × 84 cm)
© Rachel Whiteread

Rachel Whiteread, Detached 1, 2012 Concrete and steel, 78 ¾ × 67 ¾ × 43 inches (200 × 172 × 109 cm)© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Detached 1, 2012

Concrete and steel, 78 ¾ × 67 ¾ × 43 inches (200 × 172 × 109 cm)
© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Tree of Life, 2012 Bronze, permanent installation at Whitechapel Gallery, London© Rachel Whiteread. Photo: Michael Bowles/REX/Shutterstock

Rachel Whiteread, Tree of Life, 2012

Bronze, permanent installation at Whitechapel Gallery, London
© Rachel Whiteread. Photo: Michael Bowles/REX/Shutterstock

Rachel Whiteread, Untitled, 2013 Resin, in 2 parts, overall: 38 ⅝ × 18 ⅞ × 3 inches (98 × 48 × 7.5 cm)© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Untitled, 2013

Resin, in 2 parts, overall: 38 ⅝ × 18 ⅞ × 3 inches (98 × 48 × 7.5 cm)
© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, US Embassy (Flat pack house), 2013–15 Concrete, installed at the US Embassy, LondonArtwork © Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, US Embassy (Flat pack house), 2013–15

Concrete, installed at the US Embassy, London
Artwork © Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Untitled, 2017 Resin, 19 ¾ × 19 ⅜ × 2 inches (50 × 49 × 5 cm)© Rachel Whiteread

Rachel Whiteread, Untitled, 2017

Resin, 19 ¾ × 19 ⅜ × 2 inches (50 × 49 × 5 cm)
© Rachel Whiteread

About

Seeing a great piece of art can take you from one place to another—it can enhance daily life, reflect our times and, in that sense, change the way you think and are.
—Rachel Whiteread

In Rachel Whiteread’s sculptures and drawings, everyday settings, objects, and surfaces are transformed into ghostly replicas that are eerily familiar. Through casting, she frees her subject matter—from beds, tables, and boxes to water towers and entire houses—from practical use, suggesting a new permanence, imbued with memory.

During her childhood in London, Whiteread’s parents’ interests in art and architecture made an enormous impact on her understanding of form and material. Her father’s fascination with urban architecture “enabled [her] to look up,” and her mother’s artistic practice allowed her to see the intersection of home and studio, life and art. Whiteread fondly remembers helping her father lay a concrete floor in their basement to convert it into a studio. The processes of looking, emptying, and filling run throughout her work, revealing how the surfaces of daily life can disappear and reappear, bearing the traces of their previous lives.

Whiteread studied painting at Brighton Polytechnic and sculpture at the Slade School of Fine Art in the 1980s. In 1988 she had her first solo exhibition, at the Carlisle Gallery in London, which included the sculptures Shallow Breath (1988), cast from the underside of a divan, and Torso (1988), the first in a series of cast hot water bottles. The Torso sculptures (1988–) are notably the only works in her oeuvre that make direct anthropomorphic reference. This exhibition marked the beginning of Whiteread’s use of domestic items; in these early pieces, she often left remnants of the original objects—such as scraps of wood—embedded into the cast forms.

Ghost (1990) was Whiteread’s first large-scale sculpture and set in motion the ambitious, architecturally scaled works for which she is widely recognized today. Made by filling a room of a Victorian house in North London with concrete to create a solid cast that picks up the details of the walls, mantle, and windows, Ghost is a positive room-sized object that reveals itself gradually, as one encircles the huge form. Whiteread expanded on this working method in House (1993; destroyed 1994), cast from an entire Victorian terrace house. Whiteread created this work after all the other terraces in the row had been demolished, and it stood alone as a reminder of the working-class homes that once spanned the street. The sculpture sparked heated debates around issues of real estate, class divisions, and urban sprawl.

Whiteread’s first public commission in New York, Water Tower (1998), was cast from one of the city’s distinctive rooftop water towers in clear resin. “On a cloudy, gray day,” Whiteread explained, “it might just completely disappear. And on a really bright blue-sky day, it will ignite.” This ethereal presence contrasts with the weight of her Holocaust Memorial (2000), permanently installed in Vienna. Dedicated to the 65,000 Austrian Jews murdered during the Holocaust, the sculpture resembles, in the words of James Lawrence, “a private library turned inside out,” each wall lined with rows of nameless books, with two permanently closed doors on the front. In 2018 Whiteread’s US Embassy (Flat pack house) (2013–15) was unveiled at the United States Embassy in London, where the cast sections of an average 1950s suburban American house, arranged as separate geometric planes on a wall, greet visitors as they enter through the consular court.

Rachel Whiteread

Photo: Dan Kitwood/Getty Images

Rachel Whiteread, Nissen Hut, 2018.

Shy Sculpture: Nissen Hut

Rachel Whiteread’s public sculpture Nissen Hut was unveiled in October 2018 in Yorkshire’s Dalby Forest. Curator Tamsin Dillon explores the dynamic history of these structures and provides a firsthand account of the steps leading up to the work’s premiere.

Rachel Whiteread, Untitled (Notre-Dame), 2019.

For Notre-Dame

An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.

Gagosian Quarterly Summer 2019

Now available
Gagosian Quarterly Summer 2019

The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.

Gagosian Quarterly Spring 2019

Now available
Gagosian Quarterly Spring 2019

The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.

Becoming Home

Becoming Home

Rachel Whiteread’s US Embassy (Flat pack house) was unveiled in its permanent home at the new American embassy in Nine Elms, London, earlier this year. Virginia Shore, the curator for the London embassy project who worked with Whiteread to realize this site-specific commission, reflects on the history of prefabricated housing, the power of “home,” and the connecting force of art.

Solid Recollections: Rachel Whiteread

Solid Recollections: Rachel Whiteread

James Lawrence explores the quiet power and critical role of memory in Rachel Whiteread’s public works.

Fairs, Events & Announcements

Rachel Whiteread with her sculpture Detached I (2012) at Gagosian, Britannia Street, London, 2013. Photo: Dan Kitwood/Getty Images

Honor

Rachel Whiteread

Rachel Whiteread has been awarded a damehood in Queen Elizabeth II’s 2019 birthday honors list. The annual honors mark the reigning monarch’s official birthday by recognizing individuals whose outstanding and longterm achievements have contributed to the United Kingdom.

Rachel Whiteread with her sculpture Detached I (2012) at Gagosian, Britannia Street, London, 2013. Photo: Dan Kitwood/Getty Images

Zeng Fanzhi, Rooster, 2019 © 2019 Zeng Fanzhi

Art Fair

Art Basel Hong Kong 2019

March 29–31, 2019, booth 1C18
Hong Kong Convention and Exhibition Centre
www.artbasel.com

Gagosian is pleased to participate in Art Basel Hong Kong 2019, with works by Georg Baselitz, Edmund de Waal, Urs Fischer, Katharina Grosse, Andreas Gursky, Duane Hanson, Damien Hirst, Thomas Houseago, Yayoi Kusama, René Magritte, Giorgio Morandi, Takashi Murakami, Albert Oehlen, Nam June Paik, Richard Prince, Ed Ruscha, Richard Serra, Andy Warhol, Tom Wesselmann, Rachel Whiteread, Jonas Wood, Christopher Wool, Zao Wou-Ki, Zeng Fanzhi, and others. 

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at artbasel.com.

Download the full press release in English (PDF), Simplified Chinese (PDF), or Traditional Chinese (PDF)

Zeng Fanzhi, Rooster, 2019 © 2019 Zeng Fanzhi

Rachel Whiteread, Shack I, 2014, permanent installation near Joshua Tree National Park, California © Rachel Whiteread

In Conversation

Rachel Whiteread
Iwona Blazwick

Thursday, January 24, 2019, 7pm
Whitechapel Gallery, London
www.whitechapelgallery.org

Rachel Whiteread will be in conversation with Whitechapel Gallery director Iwona Blazwick on the occasion of receiving the gallery’s annual Art Icon award for 2019. The pair will discuss the artist’s career and work, in which everyday settings, objects, and surfaces are transformed into ghostly replicas. To attend the event, purchase tickets at www.whitechapelgallery.org.

Rachel Whiteread, Shack I, 2014, permanent installation near Joshua Tree National Park, California © Rachel Whiteread

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Museum Exhibitions

Rachel Whiteread, Pink, 1993 © Rachel Whiteread

On View

Pushing Paper
Contemporary Drawing from 1970 to Now

Through January 12, 2020
British Museum, London
britishmuseum.org

Celebrating drawing in its own right, rather than its historic role as preparatory to painting, this exhibition explores how contemporary artists have used drawing to examine themes including identity, place, and memory. Work by Glenn Brown, Ellen Gallagher, Anselm Kiefer, and Rachel Whiteread is included.

Rachel Whiteread, Pink, 1993 © Rachel Whiteread

Installation view, Resonating Spaces, Fondation Beyeler, Riehen/Basel, October 6, 2019–January 26, 2020. Artwork © Rachel Whiteread

On View

Rachel Whiteread in
Resonating Spaces

Through January 26, 2020
Fondation Beyeler, Riehen/Basel
www.fondationbeyeler.ch

Resonating Spaces aims to create a specific quality of spatiality in very varied forms—acoustic, sculpted, and drawn. Although different from one another, the works in the show create spaces rather than being perceived as single objects only. They induce sites and respites in which the capacity of remembering is elicited and images and memories come to life. Work by Rachel Whiteread is included.

Installation view, Resonating Spaces, Fondation Beyeler, Riehen/Basel, October 6, 2019–January 26, 2020. Artwork © Rachel Whiteread

Rachel Whiteread, Untitled, 2010 © Rachel Whiteread

On View

Rachel Whiteread

Through March 8, 2020
Georgia Museum of Art, University of Georgia, Athens
georgiamuseum.org

Using various materials to articulate the negative space surrounding or contained by objects, Rachel Whiteread has elaborated various approaches to casting and impression as subject, process, and vehicle for content. In this solo exhibition, Whiteread is exhibiting a 2010 series of five outdoor stone sculptures, cast from the voids under different chairs.

Rachel Whiteread, Untitled, 2010 © Rachel Whiteread

Jeff Koons, New Shop-Vac Wet/Dry, 1980 © Jeff Koons

Closed

Elephant in the Room
Sculptures of the Marx Collection and the Collection of the Nationalgalerie

November 1, 2018–September 29, 2019
Hamburger Bahnhof–Museum für Gegenwart, Berlin
www.smb.museum

Elephant in the Room—Sculptures of the Marx Collection and the Collection of the Nationalgalerie explores the relationship between artwork and spatiality. The titular “elephant in the room” is those forces and sizes that, although not part of the sculptures, have a decisive influence on their presence in space and are thus an integral part of the expanded concept of art of the 1960s. Work by Jeff Koons and Rachel Whiteread is included.

Jeff Koons, New Shop-Vac Wet/Dry, 1980 © Jeff Koons

See all Museum Exhibitions for Rachel Whiteread

Press

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