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Rachel Whiteread

Internal Objects

April 12–June 6, 2021
Grosvenor Hill, London

Installation view Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view

Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view

Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view

Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view

Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view

Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view

Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Installation view

Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates

Works Exhibited

Rachel Whiteread, Poltergeist, 2020 (detail) Corrugated iron, beech, pine, oak, household paint, and mixed media, 120 ⅛ × 110 ¼ × 149 ⅝ inches (305 × 280 × 380 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Poltergeist, 2020 (detail)

Corrugated iron, beech, pine, oak, household paint, and mixed media, 120 ⅛ × 110 ¼ × 149 ⅝ inches (305 × 280 × 380 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Doppelgänger, 2021 (detail) Corrugated iron, beech, pine, oak, household paint, and mixed media, 110 ¼ × 175 ¼ × 177 ¼ inches (280 × 445 × 450 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Doppelgänger, 2021 (detail)

Corrugated iron, beech, pine, oak, household paint, and mixed media, 110 ¼ × 175 ¼ × 177 ¼ inches (280 × 445 × 450 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled (Yellow Relief), 2020–21 Hand-painted bronze, in 6 parts, overall: 39 ¾ × 44 ¾ inches (101 × 113.5 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled (Yellow Relief), 2020–21

Hand-painted bronze, in 6 parts, overall: 39 ¾ × 44 ¾ inches (101 × 113.5 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled (Silver Relief), 2020–21 Lacquered silver, 19 ¾ × 9 ⅝ inches (50.2 × 24.3 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled (Silver Relief), 2020–21

Lacquered silver, 19 ¾ × 9 ⅝ inches (50.2 × 24.3 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled (Night Drawing), 2018 Gouache and ink on papier-mâché, 30 ¾ × 25 ⅝ inches (78 × 65 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled (Night Drawing), 2018

Gouache and ink on papier-mâché, 30 ¾ × 25 ⅝ inches (78 × 65 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled, 2018 Ink on papier-mâché, 30 ¾ × 26 ⅜ inches (78 × 67 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled, 2018

Ink on papier-mâché, 30 ¾ × 26 ⅜ inches (78 × 67 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled (Corrugated Blue), 2017 Colored silver leaf and papier-mâché, 31 ⅞ × 50 ⅜ inches (81 × 128 cm)© Rachel Whiteread. Photo: Prudence Cuming Associates

Rachel Whiteread, Untitled (Corrugated Blue), 2017

Colored silver leaf and papier-mâché, 31 ⅞ × 50 ⅜ inches (81 × 128 cm)
© Rachel Whiteread. Photo: Prudence Cuming Associates

About

As an artist you create a language, you create depth to a language, you change the language.
—Rachel Whiteread

Gagosian is pleased to present Internal Objects, an exhibition of new work by Rachel Whiteread.

Whiteread employs the formal language of Minimalism, taking cues from its emphasis on geometric seriality, yet adds a quietly emotive aspect, maintaining an acute sensitivity to objects’ minor details and subtle markers of use and human irregularity. Over the past four decades, she has used the method of casting on both “low” materials such as concrete, resin, rubber, and plaster, as well as more traditional sculptural materials, such as bronze. Whether they take the form of monumental public installations or small, intimate objects, Whiteread’s forms imply hidden narratives and secret histories. She employs existing artifacts and spaces—including domestic objects like chairs and mattresses, interiors of rooms, and even, famously, an entire terraced house—to evoke and explore corporeal presence. Notably, her deft use of negative space can imply a thing that’s gone and been reincarnated.

In this exhibition, this suggestion of haunting, or ghostliness, is manifested in a different way. In Detached 1, Detached 2, and Detached 3 (all 2012), which she installed at Gagosian London in 2013, Whiteread rendered the empty interiors of three garden sheds in concrete and steel. Now, in Internal Objects, she has again created cabin-like structures but has, for the first time, eschewed casting existing objects in favor of building original ones. Poltergeist (2020) and Döppelganger (2020–21), which will occupy the two main rooms of the Grosvenor Hill gallery, are made of found wood and metal that has been meticulously overpainted in white household paint.

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Grosvenor Hill, London

20 Grosvenor Hill
London W1K 3QD

+44 20 7495 1500
london@gagosian.com

Hours: Tuesday–Saturday 10–6 by appointment

In the interest of public health, please read the new guidelines for visiting the Grosvenor Hill gallery.

Schedule Appointment

Press

Bolton & Quinn
+44 20 7221 5000

Erica Bolton
erica@boltonquinn.com

Daisy Taylor
daisy@boltonquinn.com

Gagosian
+44 20 7495 1500
presslondon@gagosian.com

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.