seen from China
seen from United States
seen from United States
seen from Canada
seen from Canada
seen from Pakistan
seen from Türkiye
seen from Czechia
seen from United States
seen from Chile
seen from Netherlands
seen from Pakistan
seen from United States
seen from United States
seen from United States
seen from United States
seen from United Kingdom
seen from United States
seen from Pakistan
seen from Indonesia
Something that I often try and do is make a sculpture that is just one sentence, or feels like that, or one word. I think that's where poetry can become very interesting, in the way things are sort of honed in on to such a degree that it's just the sound of two words touching.
Rachel Whiteread, A brush with... Rachel Whiteread, The Art Newspaper, 23 December 2020
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Rachel Whiteread closes this Sunday, July 29, at Belvedere 21, Vienna, Austria. For over three decades, Rachel Whiteread has materialized the intangible. Her sculptures make voids visible and awaken memories of that which has been irretrievably lost. For the first time in Austria, the Belvedere 21 shows a cross-section of the renowned British artist's work: http://fal.cn/yc5LÂ
"Modern Chess Set" de Rachel Whiteread (2005) Ã l'exposition "Women House" de la Monnaie de Paris, janvier 2018.
Rachel Whiteread, Untitled (Patched Up), 2015. Resin 75 9/16 x 27 15/16 x 3 5/16 inches
I have always seen objects to have a kind of soul. It sounds strange, but I mean that the things we touch and use in daily life are what come through to the surface. Like my desk that I have had for decades, there is an area where my leg always touches the side or the cat rubs its body. I have found a way to bring that out and that is why I think people are touched by my work—because it touches everyone’s life. I break it down in a way that is not too complex and sentimental. There is an emotional energy in the Minimalist form. As a student, I became interested in Minimalism and those artists have probably influenced me more than anyone.
Rachel Whiteread, How Rachel Whiteread Changed Contemporary Art for Women Forever, by Jennifer Sauer, CR Fashion Book, March 30, 2020
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Rachel Whiteread’s monumental, site-specific work for the new US Embassy in London, "US Embassy (Flat pack house)" (2013–15), was unveiled January 16. Whiteread has cast the interior of an average suburban American house, the type that may have been purchased from a catalogue in the 1950s, in concrete, lifting the details and surfaces of the structure. Each section is unique and mounted on the walls of the lobby, greeting embassy visitors as they enter through the consular court. The work was commissioned by Art in Embassies and curated by Virginia Shore. http://fal.cn/qMNf
Whiteread’s inside-out casts of everything from hot-water bottles to chicken sheds are poised between banality and a spellbinding poetry of the past
Rachel Whiteread's retrospective at  Britain, London closes this Sunday, January 21. The Guardian gave the exhibition a four-star review, stating that the early works in the show carry a special potency and poetry: "There is a spellbinding quietude to these early works. People still go on tiptoe to look into the kitchen sink, as if there might something stirring there. Closet – the cast of a wardrobe covered in black felt – still makes the childhood fear of such interior darkness both visible and solid. Cell, her cast of a grate and the space behind it, goes to the quick of one’s curiosity about the secret world behind the fireplace. And the towering white plaster "Untitled (Stairs)," from 2001, zooms up and down to nowhere, with overtones of Piranesi and Escher, like the flights of steps in trapped dreams." Make sure to see "Rachel Whiteread" before it ends.
There’s something cool yet passionate about Rachel Whiteread’s work. It is calmly paradoxical, domestic but monumental, tactile but detached, nostalgic but austere: objects and dwellings from everyday lives are lifted to a different sphere, a dance in space. In a new exhibition celebrating twenty-five years of her career as an artist, Tate Britain has removed the partitions that usually divide separate rooms, creating a huge open space with white walls and glowing, pale wood floor. She asks us to see things we know—tables and chairs, the inside of a room—from the opposite of our normal perspective, looking at the space instead of the walls, the gaps instead of the frames, making the air itself solid.
