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Rachel Whiteread

November 6–December 20, 2008
Beverly Hills

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Installation video

Works Exhibited

Rachel Whiteread, DRILL, 2008 Plaster, pigment, steel, and rubber, 29 ¾ × 21 ¾ × 39 ⅜ inches (75.5 × 55 × 100 cm)© Rachel Whiteread

Rachel Whiteread, DRILL, 2008

Plaster, pigment, steel, and rubber, 29 ¾ × 21 ¾ × 39 ⅜ inches (75.5 × 55 × 100 cm)
© Rachel Whiteread

Rachel Whiteread, GHOST, GHOST I, 2008 Polyurethane, 30 ¼ × 34 ¼ × 23 ⅝ inches (77 × 87 × 60 cm)© Rachel Whiteread. Photo: Joshua White

Rachel Whiteread, GHOST, GHOST I, 2008

Polyurethane, 30 ¼ × 34 ¼ × 23 ⅝ inches (77 × 87 × 60 cm)
© Rachel Whiteread. Photo: Joshua White

Rachel Whiteread, STEP, 2007–08 Plaster, pigment, resin, wood, and metal, 5 ½ × 15 ¾ × 8 inches (14 × 40 × 20 cm)© Rachel Whiteread

Rachel Whiteread, STEP, 2007–08

Plaster, pigment, resin, wood, and metal, 5 ½ × 15 ¾ × 8 inches (14 × 40 × 20 cm)
© Rachel Whiteread

Rachel Whiteread, LINE UP, 2007–08 Plaster, pigment, resin, wood, and metal, 6 ¾ × 35 ½ × 9 ¾ inches (17 × 90 × 25 cm)© Rachel Whiteread

Rachel Whiteread, LINE UP, 2007–08

Plaster, pigment, resin, wood, and metal, 6 ¾ × 35 ½ × 9 ¾ inches (17 × 90 × 25 cm)
© Rachel Whiteread

Rachel Whiteread, SCATTER, 2008 Plaster, pigment, resin, mild steel, wood, and metal, 11 ¼ × 23 ¾ × 9 ¾ inches (28.5 × 60 × 25 cm)© Rachel Whiteread

Rachel Whiteread, SCATTER, 2008

Plaster, pigment, resin, mild steel, wood, and metal, 11 ¼ × 23 ¾ × 9 ¾ inches (28.5 × 60 × 25 cm)
© Rachel Whiteread

Rachel Whiteread, FELL, 2008 Plaster, pigment, resin, and bronze, 7 × 55 ¼ × 26 ¾ inches (17.5 × 140 × 68 cm)© Rachel Whiteread

Rachel Whiteread, FELL, 2008

Plaster, pigment, resin, and bronze, 7 × 55 ¼ × 26 ¾ inches (17.5 × 140 × 68 cm)
© Rachel Whiteread

Rachel Whiteread, WEB, 2008 Plaster and bronze, 3 ¾ × 15 × 16 ¼ inches (9.5 × 38 × 41.5 cm)© Rachel Whiteread

Rachel Whiteread, WEB, 2008

Plaster and bronze, 3 ¾ × 15 × 16 ¼ inches (9.5 × 38 × 41.5 cm)
© Rachel Whiteread

Rachel Whiteread, Untitled (Blue), 2008 Plaster, pigment, resin, and patinated bronze, 22 ½ × 13 ¾ × 5 ¼ inches (57 × 34.5 × 13 cm)© Rachel Whiteread

Rachel Whiteread, Untitled (Blue), 2008

Plaster, pigment, resin, and patinated bronze, 22 ½ × 13 ¾ × 5 ¼ inches (57 × 34.5 × 13 cm)
© Rachel Whiteread

Rachel Whiteread, Untitled (Hive) I, 2007–08 Resin, 32 ⅛ × 19 ⅞ × 25 ⅛ inches (81.6 × 50.6 × 64 cm)© Rachel Whiteread

Rachel Whiteread, Untitled (Hive) I, 2007–08

Resin, 32 ⅛ × 19 ⅞ × 25 ⅛ inches (81.6 × 50.6 × 64 cm)
© Rachel Whiteread

Rachel Whiteread, FOUNDATION, 2007–08 Plaster and bronze, 23 ¼ × 22 ¾ × 9 ¾ inches (59 × 58 × 24.5 cm)© Rachel Whiteread

Rachel Whiteread, FOUNDATION, 2007–08

Plaster and bronze, 23 ¼ × 22 ¾ × 9 ¾ inches (59 × 58 × 24.5 cm)
© Rachel Whiteread

Rachel Whiteread, JUGGLE II, 2008 Plaster, pigment, and bronze, 9 ¾ × 21 ¼ × 17 ½ inches (24.5 × 54 × 44.5 cm)© Rachel Whiteread

Rachel Whiteread, JUGGLE II, 2008

Plaster, pigment, and bronze, 9 ¾ × 21 ¼ × 17 ½ inches (24.5 × 54 × 44.5 cm)
© Rachel Whiteread

Rachel Whiteread, GREEN, BLACK, GREEN, 2008 Gouache, pencil, and collage on paper, 22 ⅜ × 29 ⅞ inches (57 × 76 cm)© Rachel Whiteread

Rachel Whiteread, GREEN, BLACK, GREEN, 2008

Gouache, pencil, and collage on paper, 22 ⅜ × 29 ⅞ inches (57 × 76 cm)
© Rachel Whiteread

Rachel Whiteread, METALLIC, BLACK, YELLOW, 2008 Gouache, pencil, and collage on paper, 22 ⅜ × 29 ⅞ inches (57 × 76 cm)© Rachel Whiteread

Rachel Whiteread, METALLIC, BLACK, YELLOW, 2008

Gouache, pencil, and collage on paper, 22 ⅜ × 29 ⅞ inches (57 × 76 cm)
© Rachel Whiteread

Rachel Whiteread, RED, BLACK, WHITE, 2008 Gouache, pencil, and collage on paper, 22 ⅜ × 29 ⅞ inches (57 × 76 cm)© Rachel Whiteread

Rachel Whiteread, RED, BLACK, WHITE, 2008

Gouache, pencil, and collage on paper, 22 ⅜ × 29 ⅞ inches (57 × 76 cm)
© Rachel Whiteread

Rachel Whiteread, BLUE, BLACK, GREEN, BLACK, 2008 Gouache, pencil, and collage on paper, 22 ⅜ × 29 ⅞ inches (57 × 76 cm)© Rachel Whiteread

Rachel Whiteread, BLUE, BLACK, GREEN, BLACK, 2008

Gouache, pencil, and collage on paper, 22 ⅜ × 29 ⅞ inches (57 × 76 cm)
© Rachel Whiteread

About

Color confuses me. Every day when I get up, I have to think about it. I love color, but there are too many decisions to make. Am I an aesthete? Is color about necessity for me in my work—or is it simply a product of what I am thinking about?

I try not to dwell on it; if I did, I would only ever use black and white.
—Rachel Whiteread

Gagosian is pleased to present new sculpture by Rachel Whiteread. This will be the artist’s first solo exhibition in Los Angeles.

Over the past two decades, Whiteread has developed various approaches to casting and impression as both a process and vehicle for content. Her practice is based on a persistent duality: a pragmatic approach to the materials and making of art coupled with a fascination with the psychologically charged associations and traces of human contact borne by and embedded in objects and environments. By casting the empty and unexamined spaces inside and around the domestic objects and materials that populate daily life, she renders negative space as positive sculptural form to poignant and unprecedented effect.

Read more

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