Tate Museum Video Installation Pedestal Design
Rachel Whiteread, Ghost, 1990
Plaster and steel frame, 269 × 355 ½ × 317 ½ inches (683.3 × 903 × 806.4 cm)
© Rachel Whiteread
Rachel Whiteread, Untitled (Bath), 1990
Plaster and glass, 40 ⅝ × 82 ½ × 41 ½ inches (103 × 209.5 × 105.5 cm)
© Rachel Whiteread
Rachel Whiteread, Untitled (Pink Torso), 1991
Pink dental plaster, 3 ¾ × 6 ¾ × 9 ⅜ inches (9.5 × 17 × 23.5 cm)
© Rachel Whiteread
Rachel Whiteread, Untitled (Table), 1993
Resin, 27 ⅝ × 48 ¼ × 22 ¼ inches (70.2 × 122.3 × 56.5 cm)
© Rachel Whiteread
Rachel Whiteread, Stairs, 1995
Correction fluid on paper, 11 ⅝ × 8 ⅜ inches (29.5 × 21 cm)
© Rachel Whiteread
Rachel Whiteread, Trafalgar Square Project, 1998
Photographic collage and acrylic on museum board, 19 ¾ × 12 ⅜ inches (50 × 31.5 cm)
© Rachel Whiteread
Rachel Whiteread, Monument, 2001
Resin and granite, 354 ⅜ × 200 ⅞ × 94 ½ inches (900 × 510 × 240 cm), installed in Trafalgar Square, London
© Rachel Whiteread
Rachel Whiteread, Untitled (White), 2000–01
Steel and enamel, 8 ¼ × 6 ¼ × 6 ¼ inches (21 × 15.9 × 15.9 cm)
© Rachel Whiteread
Rachel Whiteread, FOLDED, 2004
Plaster, 4 × 11 ½ × 15 ¼ inches (10.3 × 29 × 39 cm)
© Rachel Whiteread
Rachel Whiteread, RED, BLACK, WHITE, 2008
Gouache, pencil, and collage on paper, 22 ½ × 30 inches (57 × 76 cm)
© Rachel Whiteread
Rachel Whiteread, The Gran Boathouse, 2010
Concrete, installed in Røykenviken, Gran, Norway
© Rachel Whiteread
Rachel Whiteread, LOOK, LOOK, LOOK, 2012
Resin, in 3 parts, each: 74 ⅝ × 15 ⅝ × 5 ⅞ inches (189.5 × 39.5 × 15 cm)
© Rachel Whiteread. Photo: Mike Bruce
Rachel Whiteread, Detached 2, 2012
Concrete and steel, 76 ⅜ × 67 ¾ × 92 ⅛ inches (194 × 172 × 234 cm)
© Rachel Whiteread. Photo: Mike Bruce
Rachel Whiteread, Tree of Life, 2012
Bronze, permanent installation at Whitechapel Gallery, London
© Rachel Whiteread. Photo: Michael Bowles/REX/Shutterstock
Rachel Whiteread, Untitled, 2013
Resin, in 2 parts, overall: 38 ⅝ × 18 ⅞ × 3 inches (98 × 48 × 7.5 cm)
© Rachel Whiteread. Photo: Mike Bruce
Rachel Whiteread, US Embassy (Flat pack house), 2013–15
Concrete, installed at the US Embassy, London
© Rachel Whiteread. Photo: Mike Bruce
Rachel Whiteread, Nissen Hut, 2018
Concrete, 9 feet 10 ⅛ inches × 17 feet ¾ inches × 36 feet 5 inches (3 × 5.2 × 11.1 m), installation view, Dalby Forest, Yorkshire, England
© Rachel Whiteread. Photo: Ben Thomas, Forestry Commission
Rachel Whiteread, Untitled, 2019
Papier-mâché, overall dimensions variable
© Rachel Whiteread. Photo: Mike Bruce
About
Seeing a great piece of art can take you from one place to another—it can enhance daily life, reflect our times and, in that sense, change the way you think and are.
—Rachel Whiteread
In Rachel Whiteread's sculptures and drawings, everyday settings, objects, and surfaces are transformed into ghostly replicas that are eerily familiar. Through casting, she frees her subject matter—from beds, tables, and boxes to water towers and entire houses—from practical use, suggesting a new permanence, imbued with memory.
During her childhood in London, Whiteread's parents' interests in art and architecture made an enormous impact on her understanding of form and material. Her father's fascination with urban architecture "enabled [her] to look up," and her mother's artistic practice allowed her to see the intersection of home and studio, life and art. Whiteread fondly remembers helping her father lay a concrete floor in their basement to convert it into a studio. The processes of looking, emptying, and filling run throughout her work, revealing how the surfaces of daily life can disappear and reappear, bearing the traces of their previous lives.
Whiteread studied painting at Brighton Polytechnic and sculpture at the Slade School of Fine Art in the 1980s. In 1988 she had her first solo exhibition, at the Carlisle Gallery in London, which included the sculptures Shallow Breath(1988), cast from the underside of a divan, and Torso(1988), the first in a series of cast hot water bottles. The Torso sculptures (1988–) are notably the only works in her oeuvre that make direct anthropomorphic reference. This exhibition marked the beginning of Whiteread's use of domestic items; in these early pieces, she often left remnants of the original objects—such as scraps of wood—embedded into the cast forms.
Ghost(1990) was Whiteread's first large-scale sculpture and set in motion the ambitious, architecturally scaled works for which she is widely recognized today. Made by filling a room of a Victorian house in North London with concrete to create a solid cast that picks up the details of the walls, mantle, and windows, Ghost is a positive room-sized object that reveals itself gradually, as one encircles the huge form. Whiteread expanded on this working method in House(1993; destroyed 1994), cast from an entire Victorian terrace house. Whiteread created this work after all the other terraces in the row had been demolished, and it stood alone as a reminder of the working-class homes that once spanned the street. The sculpture sparked heated debates around issues of real estate, class divisions, and urban sprawl.
Whiteread's first public commission in New York, Water Tower(1998), was cast from one of the city's distinctive rooftop water towers in clear resin. "On a cloudy, gray day," Whiteread explained, "it might just completely disappear. And on a really bright blue-sky day, it will ignite." This ethereal presence contrasts with the weight of her Holocaust Memorial(2000), permanently installed in Vienna. Dedicated to the 65,000 Austrian Jews murdered during the Holocaust, the sculpture resembles, in the words of James Lawrence, "a private library turned inside out," each wall lined with rows of nameless books, with two permanently closed doors on the front. In 2018 Whiteread's US Embassy (Flat pack house)(2013–15) was unveiled at the United States Embassy in London, where the cast sections of an average 1950s suburban American house, arranged as separate geometric planes on a wall, greet visitors as they enter through the consular court.
Photo: Dan Kitwood/Getty Images
#RachelWhiteread
Gagosian Premieres
From the Quarterly
Augurs of Spring
As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.
In Conversation
Tom Eccles and Kiki Smith on Rachel Whiteread
On the occasion of Artist Spotlight: Rachel Whiteread, curator Tom Eccles and artist Kiki Smith speak about the work of Rachel Whiteread through the lens of their personal friendships with her. They discuss her public projects from the early 1990s to the present, the relationship between drawing and sculpture in her practice, and the way her works reveal the memories embedded in familiar everyday objects.
In Conversation
Rachel Whiteread and Ann Gallagher
Rachel Whiteread speaks to Ann Gallagher about a new group of resin sculptures for an exhibition at Gagosian in London. They discuss the works' emphasis on surface texture, light, and reflection.
Rachel Whiteread on Piero della Francesca
Rachel Whiteread writes about the Italian artist's Baptism of Christ (after 1437) and what has drawn her to this painting, from her first experience of it at a young age to the present day.
Cast of Characters
James Lawrence explores how contemporary artists have grappled with the subject of the library.
Shy Sculpture: Nissen Hut
Rachel Whiteread's public sculpture Nissen Hut was unveiled in October 2018 in Yorkshire's Dalby Forest. Curator Tamsin Dillon explores the dynamic history of these structures and provides a firsthand account of the steps leading up to the work's premiere.
For Notre-Dame
An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.
Now available
Gagosian Quarterly Summer 2019
The Summer 2019 issue of Gagosian Quarterlyis now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
Now available
Gagosian Quarterly Spring 2019
The Spring 2019 issue of Gagosian Quarterlyis now available, featuring Red Pot with Lute Player #2by Jonas Wood on its cover.
Becoming Home
Rachel Whiteread's US Embassy (Flat pack house) was unveiled in its permanent home at the new American embassy in Nine Elms, London, in early 2018. Virginia Shore, the curator for the London embassy project who worked with Whiteread to realize this site-specific commission, reflects on the history of prefabricated housing, the power of "home," and the connecting force of art.
Solid Recollections: Rachel Whiteread
James Lawrence explores the quiet power and critical role of memory in Rachel Whiteread's public works.
Fairs, Events & Announcements
October 13–17, 2021, booth C02
Regent's Park, London
www.frieze.com
Gagosian is pleased to participate in Frieze Masters 2021 with Material Process. Conceived, carved, cast, or constructed—sculpture remained a continuously strong tradition throughout the twentieth century in Britain. Artists such as Henry Moore, Anthony Caro, Michael Craig-Martin, Rachel Whiteread, Damien Hirst, and Douglas Gordon have extended this lineage, often focusing on human figures or body parts, transforming materials and techniques, including language, into a widely diverse practice that is internationally recognized.
Rachel Whiteread, Untitled (Plaster Torso), 1993 © Rachel Whiteread. Photo: Prudence Cuming Associates
Wednesday, September 22, 2021, 1pm
Messe Basel
artbasel.com
As part of Art Basel's Conversation series, Rachel Whiteread will participate in a Premiere Artists Talk with Ann Gallagher, former director of Tate's collection of British art and editor of the forthcoming catalogue raisonné of the artist's sculpture, about key moments in her career and what drives her work today. The conversation will be introduced by Marc Spiegler, global director of Art Basel. The event is free to attend with fair admission. To watch the livestream event, visit Art Basel's Facebook.
Rachel Whiteread
June 4–6, 2021
London
londongalleryweekend.art
As part of the inaugural London Gallery Weekend, Gagosian will have extended hours at all three London locations. Damien Hirst: Relics and Fly Paintings, the second exhibition of the artist's yearlong takeover of the Britannia Street gallery, will be unveiled on June 5 to coincide with the event. Visitors can also see Rachel Whiteread: Internal Objects at Grosvenor Hill, alongside additional works by the artist at Davies Street, before it closes on June 6. London Gallery Weekend is a new and free annual event featuring over 140 of the city's leading contemporary art galleries coming together to celebrate culture and creativity.
As part of the event, Gagosian is collaborating with the Connaught Patisserie for a special pop-up, which will be at Gagosian, Grosvenor Hill, on June 5 from 10am to 4pm and June 6 from 11am to 3pm.
Installation view, Rachel Whiteread: Internal Objects, Gagosian, Grosvenor Hill, London, April 12–June 6, 2021. Artwork © Rachel Whiteread. Photo: Prudence Cuming Associates
See all News for Rachel Whiteread
Museum Exhibitions
On View
Masterpieces in Miniature
The 2021 Model Art Gallery
Through April 24, 2022
Pallant House Gallery, Chichester, England
pallant.org.uk
In a unique response to the coronavirus pandemic, Pallant House Gallery has commissioned the 2021 Model Art Gallery, a scaled-down space designed by Wright & Wright architects featuring specially made miniature artworks—all ranging from the size of a pound coin to no larger than 20 centimeters—by more than thirty leading contemporary British artists, including Glenn Brown, Edmund de Waal, Damien Hirst, and Rachel Whiteread. Together with the Thirty Four Gallery and the Model Gallery 2000, these miniature galleries tell the story of Modern British art from the 1930s through today.
Edmund de Waal, and show and end,2020, Pallant House Gallery, Chichester, England © Edmund de Waal
Closed
Diversity United
Contemporary European Art
June 9–October 10, 2021
Flughafen Tempelhof, Berlin
www.stiftungkunst.de
Presenting work by more than ninety established and emerging artists from thirty-four countries, Diversity United reflects the diversity and vitality of Europe's contemporary art scene. The exhibition, which will travel to venues in Moscow and Paris, sheds light on subjects such as freedom, democracy, migration, territory, and political and personal identity. Work by Georg Baselitz, Anselm Kiefer, Gerhard Richter, Tatiana Trouvé, and Rachel Whiteread is included.
Rachel Whiteread, Untitled, 2010, installation view, Flughafen Tempelhof, Berlin © Rachel Whiteread
Closed
Rachel Whiteread
September 7, 2019–March 8, 2020
Georgia Museum of Art, University of Georgia, Athens
georgiamuseum.org
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
Closed
Objects of Wonder
From Pedestal to Interaction
October 12, 2019–March 1, 2020
ARoS Aarhus Art Museum, Denmark
www.aros.dk
Objects of Wonderfeatures 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.
Rachel Whiteread, Untitled (Air Bed II), 1992 © Rachel Whiteread
See all Museum Exhibitions for Rachel Whiteread
Gagosian Shop / Rachel Whiteread
Tate Museum Video Installation Pedestal Design
Source: https://gagosian.com/artists/rachel-whiteread/
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