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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

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

Related News

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

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

Award

Rachel Whiteread

The annual Art Icon award, created in 2014 and supported by Swarovski in conjunction with Whitechapel Gallery, London, celebrates the work of an artist who has made a profound contribution to a particular medium, influencing his or her own generation of artists and those that follow. This year Rachel Whiteread, known for her large-scale works and use of everyday materials, has been accorded this distinction: she will be presented with the award at the Whitechapel Gallery gala on Tuesday, January 29, 2019.

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

Rachel Whiteread, Nissen Hut, 2018 © Rachel Whiteread

Public Installation

Rachel Whiteread
Nissen Hut

Opening Wednesday, October 10, 2018
Dalby Forest, Yorkshire, England
www.forestryengland.uk

This sculpture by Rachel Whiteread is a concrete cast of a Nissen hut—a military structure invented during World War I—set in the middle of Dalby Forest in Yorkshire, England. Co-commissioned by 14-18 NOW and the British Forestry Commission, the sculpture is part of a series of events marking the centenary of the end of World War I.

Rachel Whiteread, Nissen Hut, 2018 © Rachel Whiteread

Before the Smoke Has Cleared

Before the Smoke Has Cleared

Angela Brown provides a glimpse into the charged ecologies of recent drawings and sculptures by Tatiana Trouvé. These works will be included in On the Eve of Never Leaving, Trouvé’s first solo exhibition in Los Angeles, opening in November 2019.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

Video still of Sarah Sze speaking at a TED conference, Vancouver, BC, April 2019.

Sarah Sze: Art That Explores Time and Memory

Join Sarah Sze as she talks about the questions that drive her work. She describes creating immersive experiences that blur the lines between time, memory, and space—and between art and life.

Helen Frankenthaler in her studio in Provincetown. Black and white image.

Abstract Climates: Helen Frankenthaler in Provincetown

Lise Motherwell, a stepdaughter of Helen Frankenthaler and vice president of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director of the Foundation, recently cocurated an exhibition of the artist’s work entitled Abstract Climates: Helen Frankenthaler in Provincetown. Here they discuss the origin of the exhibition, the relationship between the artist’s work and her summers spent in Provincetown, and the presentations at the Provincetown Art Association and Museum, in 2018, and the Parrish Art Museum, Water Mill, New York, in 2019.

Nathaniel Mary Quinn and Troy Carter

In Conversation
Nathaniel Mary Quinn and Troy Carter

On the eve of the opening of his first exhibition with Gagosian, in Beverly Hills, Nathaniel Mary Quinn joined Troy Carter for a conversation at LA’s Hammer Museum. They spoke about deliverance, Quinn’s new work, and what drives him to make art.

Richard Serra, Hands Scraping, 1968, film still.

The Art of Perception: Richard Serra’s Films

For eleven years, from 1968 to 1979, Richard Serra created a collection of films and videos that felt out the uncharted phenomenological boundaries of the medium. Carlos Valladares explores a selection of these works.

Sterling Ruby, ACTS/OSIRIS-REx, 2016 (detail).

Sterling Ruby: Disjointed Monuments to Nothing

Alessandro Rabottini investigates the theoretical and formal underpinnings of Sterling Ruby’s career through the lens of the artist’s series ACTS.

Michael Craig-Martin at his London studio, 2019

Behind the Art
Michael Craig-Martin: Ordinariness

Join Michael Craig-Martin at his London studio as he speaks about his working methods, his interest in the ordinary, and his abiding concern for the sculptural.

Nathaniel Mary Quinn, Brooklyn, New York, 2019.

Nathaniel Mary Quinn

Anderson Cooper spoke with the artist at his Brooklyn studio about his childhood and the visionary nature of his art.

Nina Simone at the Globe Jazz festival at Symphony Hall, Boston, March 20, 1986.

Nina Simone, Our National Treasure

Text by Salamishah Tillet.

Helen Frankenthaler in gondola with various friends, Venice, June 1966

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992 marks the first time that Frankenthaler’s paintings have been exhibited in Venice since her inclusion in the 1966 Biennale as part of the US Pavilion. This video, including interviews with the show’s curator, John Elderfield; the chairman of the Helen Frankenthaler Foundation, Clifford Ross; and the Foundation’s executive director, Elizabeth Smith, provides viewers with an in-depth look at the fourteen paintings included in the exhibition.

Left: Sally Mann, Self-Portrait, 1974; right: Jenny Saville in her studio, c. 1990s.

Sally Mann and Jenny Saville

The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.