Contemporary Drawing from 1970 to Now
Through January 12, 2020
British Museum, London
Celebrating drawing in its own right, rather than its historic role as preparatory to painting, this exhibition explores how contemporary artists have used drawing to examine themes including identity, place, and memory. Work by Glenn Brown, Ellen Gallagher, Anselm Kiefer, and Rachel Whiteread is included.
Rachel Whiteread, Pink, 1993 © Rachel Whiteread
Rachel Whiteread in
Through January 26, 2020
Fondation Beyeler, Riehen/Basel
Resonating Spaces aims to create a specific quality of spatiality in very varied forms—acoustic, sculpted, and drawn. Although different from one another, the works in the show create spaces rather than being perceived as single objects only. They induce sites and respites in which the capacity of remembering is elicited and images and memories come to life. Work by Rachel Whiteread is included.
Installation view, Resonating Spaces, Fondation Beyeler, Riehen/Basel, October 6, 2019–January 26, 2020. Artwork © Rachel Whiteread
Objects of Wonder
From Pedestal to Interaction
Through March 1, 2020
ARoS Aarhus Art Museum, Denmark
Objects of Wonder features sculptural works from 1960 until the present. The exhibition, conceptualized in collaboration with Tate, London, showcases recent sensory or thought-provoking sculpture and experiments. The audience encounters a series of works that challenge the genre, where tactility, context, and light play a central role. Work by Damien Hirst, Bruce Nauman, and Rachel Whiteread is included.
Installation view, Objects of Wonder: From Pedestal to Interaction, ARoS Aarhus Art Museum, Denmark, October 12, 2019–March 1, 2020. Artwork © Damien Hirst and Science Ltd. All rights reserved, DACS 2019
Through March 8, 2020
Georgia Museum of Art, University of Georgia, Athens
Using various materials to articulate the negative space surrounding or contained by objects, Rachel Whiteread has elaborated various approaches to casting and impression as subject, process, and vehicle for content. In this solo exhibition, Whiteread is exhibiting a 2010 series of five outdoor stone sculptures, cast from the voids under different chairs.
Rachel Whiteread, Untitled, 2010 © Rachel Whiteread
Elephant in the Room
Sculptures of the Marx Collection and the Collection of the Nationalgalerie
November 1, 2018–September 29, 2019
Hamburger Bahnhof–Museum für Gegenwart, Berlin
Elephant in the Room—Sculptures of the Marx Collection and the Collection of the Nationalgalerie explores the relationship between artwork and spatiality. The titular “elephant in the room” is those forces and sizes that, although not part of the sculptures, have a decisive influence on their presence in space and are thus an integral part of the expanded concept of art of the 1960s. Work by Jeff Koons and Rachel Whiteread is included.
Jeff Koons, New Shop-Vac Wet/Dry, 1980 © Jeff Koons
March 17–June 9, 2019
Saint Louis Art Museum, Missouri
This momentous show is the most comprehensive exhibition to date of Rachel Whiteread’s career. It brings together well-known works alongside new pieces that have never been previously exhibited. Special sections are devoted to the artist’s archival materials and to her drawings. This exhibition originated at the Tate Britain in London.
Rachel Whiteread, Due Porte, 2016 © Rachel Whiteread
ON BOARD THE SHIPS
AT SEA ARE WE
February 23–May 18, 2019
FLAG Art Foundation, New York
This exhibition features four works in poetic dialogue: Robert Therrien’s monumental No title (table and six chairs) (2003); Rachel Whiteread’s Untitled (Pair) (1999); and two text-based works by Lawrence Weiner, including a newly created aphorism from which the show takes its title.
Robert Therrien, No title (table and six chairs), 2003 © Robert Therrien/Artists Rights Society (ARS), New York
September 16, 2018–January 13, 2019
National Gallery of Art, Washington, DC
This momentous show is the most comprehensive exhibition to date of Rachel Whiteread’s career. It brings together well-known works such as Untitled (Stairs) (2001) alongside new pieces that have never been previously exhibited. Special sections are devoted to the artist’s archival materials and to her drawings. This exhibition has traveled from Tate Britain in London and Belvedere 21 in Vienna.
Rachel Whiteread, Line Up, 2007–08 © Rachel Whiteread
March 7–July 29, 2018
Belvedere 21, Vienna
This momentous show is the most comprehensive exhibition to date of Rachel Whiteread’s career. It brings together well-known works such as Untitled (Stairs) (2001) alongside new pieces that have never been previously exhibited. Special sections are devoted to the artist’s archival materials and to her drawings. This exhibition has traveled from the Tate Britain.
Rachel Whiteread, Untitled (Stairs), 2001 © Rachel Whiteread
The Sculptor’s Drawings
April 20–July 12, 2018
Museo Novecento, Florence, Italy
Drawing, as the initial and essential visual definition of an idea, has since antiquity played a fundamental role in the field of artistic creation. The Sculptor’s Drawings will highlight the connection between the graphic medium and the realization of sculpture and installation art. Work by Henry Moore and Rachel Whiteread will be included.
Rachel Whiteread, Untitled, 1993 © Rachel Whiteread
December 1, 2017–June 3, 2018
Weserburg | Museum für moderne Kunst, Bremen, Germany
For this exhibition, several rooms have been specially designed by artists, and works included range from painting and sculpture to photography and video work, along with multimedia installations. Work by Karin Kneffel and Rachel Whiteread is included.
Karin Kneffel, Untitled, 2008, Miettinen Collection © VG Bild-Kunst, Bonn 2018
No Place Like Home
March 1–June 3, 2018
Museu Coleção Berardo, Lisbon, Portugal
In celebration of Dada’s one hundredth anniversary in 2016 and the centennial of Marcel Duchamp’s Fountain in 2017, this exhibition examines how artists have incorporated commonplace household items into their work, removing these objects from the context of the home in ways that subvert the experiences of daily life. This exhibit has traveled from the Israel Museum in Jerusalem. Work by Duchamp, Duane Hanson, Damien Hirst, Man Ray, Takashi Murakami, Nam June Paik, Robert Therrien, and Andy Warhol is included.
Robert Therrien, No title (table leg), 2010 © Robert Therrien/Artists Rights Society (ARS), New York. Photo: Peter Cox
March 9–May 28, 2018
National Museum of Women in the Arts, Washington, DC
Women House explores both the female gender and the concept of the domestic space. Thirty-six female artists of the twentieth and twenty-first centuries who take on these subjects draw our attention to the persistence of stereotypes about the house as a feminine realm. This exhibit has traveled from the Monnaie de Paris. Work by Cindy Sherman and Rachel Whiteread is included.
Cindy Sherman, Untitled Film Still #35, 1979. Photo courtesy the artist and Metro Pictures, New York
The Classical Now
March 2–April 28, 2018
King’s College, London
The Classical Now pairs the work of modern and contemporary artists with classical Greek and Roman antiquities. The exhibition traces the ways in which Greco-Roman art has captured and permeated modern imagination, while exploring the myriad continuities and contrasts between the ancient, modern, and contemporary, revealing the “classical” as a living and fluid tradition. Work by Michael Craig-Martin, Damien Hirst, Alex Israel, Yves Klein, Roy Lichtenstein, Henry Moore, Bruce Nauman, Pablo Picasso, and Rachel Whiteread is included.
Roy Lichtenstein, Temple, 1964 © Estate of Roy Lichtenstein
September 12, 2017–January 21, 2018
Tate Britain, London
This momentous show is the most comprehensive exhibition to date of Rachel Whiteread’s career. It brings together well-known works such as Untitled (100 Spaces) (1995) and Untitled (Staircase) (2001) alongside new pieces that have never been previously exhibited. Special sections are devoted to the artist’s archival materials and to her drawings.
Installation view, Rachel Whiteread, Tate Britain, London, September 12, 2017–January 21, 2018
© Rachel Whiteread. Photo by Joe Humphrys
May 20–July 30, 2017
Wexner Center for the Arts, The Ohio State University, Columbus
This multifaceted survey features the work of thirty-seven contemporary women artists who have explored the practice of creating en grisaille—in shades of gray. The works on display reveal the truly vibrant and variegated spectrum of black, white, and gray. Work by Nancy Rubins and Rachel Whiteread is included.
Nancy Rubins, Drawing, 2005 © Nancy Rubins
À pied d’oeuvre(s)
March 31–July 9, 2017
Monnaie de Paris
À pied d’oeuvre(s) examines the history of sculpture through three crucial moments. In 1917, Marcel Duchamp placed a coatrack on the ground and named it Trébuchet (Trap); in 1939, Alberto Giacometti showed a sculpture of a body of an injured woman lying on the floor; in 1960, Yves Klein removed one of his paintings from a wall and covered the space in gesso. These three masterpieces, rarely seen together, initiate a floor-level tour of the Centre Pompidou’s collections and synthesize three key moments from the history of twentieth-century sculpture: in doing so, they embody the exhibition’s aim. Work by Man Ray, Richard Serra, Tatiana Trouvé, and Rachel Whiteread is included.
Alberto Giacometti, Femme égorgée, 1932/40, Collection Centre Pompidou, Paris © Succession Alberto Giacometti (Fondation Giacometti, Paris et ADAGP, Paris)
The Beginning of Everything
Drawings from the Janie C. Lee, Louisa Stude Sarofim, and David Whitney Collections
February 24–June 18, 2017
The Menil Collection, Houston
In anticipation of the October 2017 opening of the Menil Drawing Institute, the museum is exhibiting a selection of drawings spanning the mid-nineteenth to the late twentieth century. The show highlights promised gifts from the collections of Janie C. Lee and Louisa Stude Sarofim, as well as works from David Whitney’s 2005 bequest, which include those by Balthus, Georg Baselitz, Helen Frankenthaler, Alberto Giacometti, Anselm Kiefer, Brice Marden, Bruce Nauman, Richard Serra, Cy Twombly, and Rachel Whiteread.
Brice Marden, Untitled, 1988–91 © Brice Marden/Artist Rights Society (ARS), New York