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Rachel Whiteread

Sculpture

October 19–December 3, 2005
Britannia Street, London

Rachel Whiteread, Keep, 2004 Plaster, 4 ¾ × 10 × 13 ½ inches (12.2 × 25.5 × 34.5 cm)

Rachel Whiteread, Keep, 2004

Plaster, 4 ¾ × 10 × 13 ½ inches (12.2 × 25.5 × 34.5 cm)

Rachel Whiteread, Train Set, 2004 Plaster, 17 1/3 × 52 5/12 × 10 7/12 inches (44 × 133 × 27 cm)

Rachel Whiteread, Train Set, 2004

Plaster, 17 1/3 × 52 5/12 × 10 7/12 inches (44 × 133 × 27 cm)

Rachel Whiteread, Tare II, 2005 Plaster and plastic, 27 ¾ × 43 ¼ × 47 ¼ inches (70.5 × 109.9 × 120 cm)

Rachel Whiteread, Tare II, 2005

Plaster and plastic, 27 ¾ × 43 ¼ × 47 ¼ inches (70.5 × 109.9 × 120 cm)

Rachel Whiteread, Garage, 2005 Plaster, painted steel and laminated wood, 44 ½ × 49 × 27 ¼ inches (113 × 126 × 69 cm)

Rachel Whiteread, Garage, 2005

Plaster, painted steel and laminated wood, 44 ½ × 49 × 27 ¼ inches (113 × 126 × 69 cm)

Rachel Whiteread, Untitled, 2004 Pencil and collage on paper, 22 ¼ × 30 inches (56.5 × 76 cm)

Rachel Whiteread, Untitled, 2004

Pencil and collage on paper, 22 ¼ × 30 inches (56.5 × 76 cm)

Rachel Whiteread, Untitled, 2004 Collage on paper, 6 × 4 inches (15.3 × 10.4 cm)

Rachel Whiteread, Untitled, 2004

Collage on paper, 6 × 4 inches (15.3 × 10.4 cm)

Rachel Whiteread, Untitled, 2004 Gouache and collage on paper, 6 × 4 inches (15.3 × 10.4 cm)

Rachel Whiteread, Untitled, 2004

Gouache and collage on paper, 6 × 4 inches (15.3 × 10.4 cm)

Rachel Whiteread, Untitled, 2004 Gouache and collage on paper, 6 × 4 inches (15.3 × 10.4 cm)

Rachel Whiteread, Untitled, 2004

Gouache and collage on paper, 6 × 4 inches (15.3 × 10.4 cm)

About

A major exhibition of important new works by Rachel Whiteread will open at Gagosian, London. This exhibition includes over twenty sculptures and drawings completed over the last two years and is scheduled to coincide with Embankment, her much anticipated Unilever Series commission for the Turbine Hall at Tate Modern, on view from October 11, 2005, through April 2, 2006.

Whiteread is one of Britain’s leading contemporary sculptors. Born in London in 1963, she studied painting at Brighton Polytechnic and sculpture at the Slade School of Fine Art. She shot to public attention in 1993 with her sculpture, House, a life-size replica of the interior of a condemned terraced house in London’s East End which provoked intense public debate until it was eventually demolished in 1994.

Over the last decade she has developed a significant international reputation, creating major public works in both Europe and the United States. Her winning proposal for the Holocaust memorial at the Judenplatz in Vienna was one of the most prestigious sculptural commissions in Europe in the 1990s. This piece involved placing the cast interior of a library, including imprints from the books on their shelves, into the center of the square. It was unveiled in October 2000. She represented the UK at the 1997 Venice Biennale and created Monument for the empty plinth in Trafalgar Square in 2001. Her Water Tower (1998) was reinstalled on the roof of the Museum of Modern Art, New York, this autumn. She lives and works in London and her work is represented in many private and public collections worldwide.

A fully illustrated catalogue will accompany this exhibition, which will include an essay by Alex Potts, professor of art history at the University of Michigan.

Augurs of Spring

Augurs of Spring

As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.

Rachel Whiteread

In Conversation
Tom Eccles and Kiki Smith on Rachel Whiteread

On the occasion of Artist Spotlight: Rachel Whiteread, curator Tom Eccles and artist Kiki Smith speak about the work of Rachel Whiteread through the lens of their personal friendships with her. They discuss her public projects from the early 1990s to the present, the relationship between drawing and sculpture in her practice, and the way her works reveal the memories embedded in familiar everyday objects.

Still from the video "In Conversation: Rachel Whiteread and Ann Gallagher"

In Conversation
Rachel Whiteread and Ann Gallagher

Rachel Whiteread speaks to Ann Gallagher about a new group of resin sculptures for an exhibition at Gagosian in London. They discuss the works’ emphasis on surface texture, light, and reflection.

Piero della Francesca, The Baptism of Christ, after 1437, egg on poplar.

Rachel Whiteread on Piero della Francesca

Rachel Whiteread writes about the Italian artist’s Baptism of Christ (after 1437) and what has drawn her to this painting, from her first experience of it at a young age to the present day.

Anselm Kiefer, Volkszählung (Census), 1991, steel, lead, glass, peas, and photographs, 163 ⅜ × 224 ½ × 315 inches (4.1 × 5.7 × 8 m)/

Cast of Characters

James Lawrence explores how contemporary artists have grappled with the subject of the library.

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.

News

Photo: Anita Corbin, from the series First Women UK

Artist Spotlight

Rachel Whiteread

October 21–27, 2020

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.

Photo: Anita Corbin, from the series First Women UK