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Rachel Whiteread, Untitled (Clear Torso), 1993 |
Rachel Whiteread is at
Tate Britain until 21 January 2018.
I am, generally, more drawn to the forms and textures of the
everyday than to the stuff of fantasy; Rachel Whiteread’s work speaks
directly and poetically about the fascination and strangeness of the often-overlooked
objects and spaces of mundane reality. Her life’s work has followed a consistent
and focused practice of casting ordinary objects and the spaces they define.
She takes familiar objects but makes them strange, she makes the invisible
visible, she makes the very air solid – in concrete, plaster, resin, rubber or
metal. The strategy may be consistent but the variety of scale and character is
exhilarating. From the largest works -
House (1993 – now demolished), the ‘nameless
library’ that is The
Judenplatz HolocaustMemorial (2000) in Vienna and the
WaterTower (1998) in New York – to the smallest, the spaces beneath chairs,
Untitled (One Hundred Spaces) 1997, and
the form of hot water bottles, eg
Untitled (Clear Torso), 1993.
This exhibition promises an exciting survey of 25 years of
remarkable work.
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Rachel Whiteread, Untitled (Amber Bed), 1991 |
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Rachel Whiteread, Untitled (One Hundred Spaces), 1993 (detail) |
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Rachel Whiteread, Untitled (Floor), 1995 |
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Rachel Whiteread, Untitled (Stairs), 2001 |
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Rachel Whiteread, Untitled (Hive) I, 2007-8 |
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Rachel Whiteread, Due Porte, 2016 |
Selected larger works (obviously not in exhibition)
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Rachel Whiteread, House, 1993 (demolished, 1994) |
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Rachel Whiteread, Water Tower, 1998 |
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Rachel Whiteread, Judenplatz Holocaust Memorial, Vienna, 1996-2000 |
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