Menu

Rachel Whiteread

January 28–March 22, 2014
Geneva

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Works Exhibited

Rachel Whiteread, Box, 2013 Bronze, 22 ½ × 13 × 12 ¼ inches (57 × 33 × 31 cm)© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Box, 2013

Bronze, 22 ½ × 13 × 12 ¼ inches (57 × 33 × 31 cm)
© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, circa 1610 (I), 2012 Resin, 70 ⅛ × 31 ⅞ × 2 inches (178 × 81 × 5 cm)© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, circa 1610 (I), 2012

Resin, 70 ⅛ × 31 ⅞ × 2 inches (178 × 81 × 5 cm)
© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Ocular (II), 2013 Resin, 19 ⅜ × 19 ⅜ × 3 ¾ inches (49 × 49 × 9.5 cm)© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Ocular (II), 2013

Resin, 19 ⅜ × 19 ⅜ × 3 ¾ inches (49 × 49 × 9.5 cm)
© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Untitled (Blue), 2012 Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Blue), 2012

Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)
© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Mauve), 2012 Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Mauve), 2012

Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)
© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Yellow), 2012 Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Yellow), 2012

Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)
© Rachel Whiteread. Photo: Prudence Cumings Associates

About

The reason my work has affected people over the years is because it draws people’s attention to their lives and the things in their lives. There’s a certain amount of humility that goes with that.
—Rachel Whiteread

Gagosian is pleased to present an exhibition of recent sculpture and works on paper by Rachel Whiteread in Geneva.

Whiteread’s approach to sculpture is predicated on the translation of negative space into solid form. Casting from everyday objects, or from spaces around or within furniture and architecture, she uses materials such as rubber, dental plaster, and resin to record every nuance. In recent large-scale works, the empty interiors of wooden garden sheds were rendered in concrete and steel, recalling the earlier architectural works Ghost (1990), House (1993), and the imposing concrete sculpture The Gran Boathouse (2010), installed on the water’s edge in the remote Nordic landscape of Røykenviken.

Read more

La raison pour laquelle mon travail a affecté le public durant toutes ces années est qu’il attire leur attention à leurs vies et aux choses dans leurs vies. Il y a une part d’humilité qui l’accompagne.
—Rachel Whiteread

Gagosian est heureuse de présenter une exposition de sculptures récentes et d’œuvres sur papier de Rachel Whiteread dans Genève.

L’approche de Whiteread à la sculpture est fondée sur la traduction d’espaces négatifs en formes solides. Moulant à partir d’objets usuels ou à partir d’espaces autour ou au sein de mobilier et d’architecture, elle utilise des matériaux tels que le caoutchouc, le plâtre dentaire ou la résine afin d’enregistrer chaque nuance. Dans ses œuvres récentes de grand format, les intérieurs vides d’abris de jardin sont reproduits en ciment et en acier, rappelant des œuvres architecturales antérieures telles que Ghost (1990), House (1993) et l’imposante sculpture en ciment Boathouse (2010), installée au bord de l’eau dans le lointain paysage Nordique de Røykenviken.

L’exposition se concentre sur une série de sculptures récentes en résine, moulées à partir de portes et de fenêtres dans des tons éthérés d’eau-de-nil ou gris métallisé ainsi qu’une sélection de collages en plusieurs couches composées de carton, de papier et de feuille d’argent. A la surface des sculptures, les changements de lumière et d’ombre deviennent des dimensions subjectives. Appuyées contre ou fixées au mur, ces œuvres à la fois massives et spectrales, contreparties des éléments utilitaires desquels ils sont dérivés, font écho à des œuvres de grand format en résine antérieures telles que Untitled (Floor) (1994) et One Hundred Spaces (1995).

Les œuvres sur papier de Rachel Whiteread révèlent des nuances esthétiques qui vont au-delà des histoires trouvées de ses sculptures. Untitled (Amber) et Untitled (Green) (toutes deux de 2012) sont des constructions diminutives de carton montées sur du papier à lettres marqué de graphite, peint à la feuille d’argent, afin de former des monuments minuscules, imparfaits, terminés avec des « fenêtres » en celluloïd. Chaque œuvre engage fraîchement ses préoccupations actuelles avec la masse et le vide, les textures de la vie et de l’histoire et les traces omniprésentes de la présence humaine.

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