Casting Call: Spatial Impressions in the Work of Rachel.

Rachel Whiteread became the first woman to receive the Turner Prize with her sculpture House (1993), a replica of the interior of a condemned London house created by filling a house with concrete and stripping away the mold. Her sculptures examine the negative space surrounding or contained by objects, such as casts of the area beneath chairs, suggesting how human contact becomes embedded in.

House was a temporary public sculpture by British artist Rachel Whiteread, on a street in Mile End in East London.It was completed on 25 October 1993 and demolished eleven weeks later on 11 January 1994. The work won Whiteread the Turner Prize for best young British artist and the K Foundation art award for the worst British artist in November 1993.

As stated in the first part of the question Maya Ying Lin and Rachel Whiteread are the artists who created memorials. The Vietnam Veterans memorial was designed by Maya Ying Lin. The memorial is a V-shaped wall made of advanced black granite plates. Lin initiated the memorial at ground level, which allows visitors to experience the feelings of.

House always had the potential to be a contentious work of art. But in my first conversations with Rachel Whiteread in the summer of 1991, it was impossible to imagine that it would be quite as exposed, quite as contentious as things turned out; and that its transition from private projection to public phenomenon would be so dramatic and so quick.

Famous for her sculpture that gives solid forms to negative space, Rachel Whiteread was the first woman to present a solo exhibition at the Pavilion. Whiteread had already received recognition in the UK as the first female to win the prestigious Turner Prize in 1993 but this exhibition propelled her onto the international stage.

Rachel Whiteread is famed for her use of casting to physically represent memory and absence. The progress of creating her vast sculpture for Tate Modern's Turbine Hall is followed here, featuring dramatic installation photography.

The internationally renowned sculptor, Rachel Whiteread is to be the latest artist to take on the challenge of Tate Modern's vast Turbine Hall in autrumn 2005, following in the footsteps of Bruce Nauman's haunting sound installation Raw Materials. Whiteread is an appropriate choice for the commission as some of her best-known works have seen.

Rachel Whiteread - Embankment (Tate Modern, London 11 October 2005 - 26 March 2006) by WHITEREAD, Rachel (Essays by Catherine Wood and Gordon Burn) COVID-19 Update April 20, 2020: Biblio is open and shipping orders.

No one who keeps an eye on the British contemporary art scene will need much of an introduction to Rachel Whiteread,. writing essays about them in all the most credible arts magazines, it has to be said that even her staunchest defenders might have a hard time identifying tricks number two, three and beyond. Meanwhile the sort of critic who gets worked up about issues of skill and facture.

ESSAYS. From Here and Elsewhere: Figuring Contemporary Painting by Meghan Dailey. The mnemonic function of the painted image by Alison M. Gingeras. An art that eats its own head by Barry Schwabsky. Kippenbergiana by Alison M. Gingeras. AN ART THAT EATS ITS OWN HEAD. Barry Schwabsky. Painting in the Age of the Image. We live in the age of the.

Rachel Whiteread (b. 1963) uses materials such as plaster, concrete, resin, and rubber to mold not the object itself but the area within or around it, single-handedly expanding the parameters of contemporary sculpture in the process. This book is the first significant survey of her career and includes a new commentary on key works by the artist.

The work of Rachel Whiteread is a funeral for objects and she accomplishes this by preparing them for a different kind of life, a life that is recorded as having existed. She mentions on the preparation of the project House as resembling embalming a body, which becomes even more fascinating.