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Rachel Whiteread

January 28–March 22, 2014
Geneva

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view Artwork © Rachel Whiteread. Photo: Annik Wetter

Installation view

Artwork © Rachel Whiteread. Photo: Annik Wetter

Works Exhibited

Rachel Whiteread, Box, 2013 Bronze, 22 ½ × 13 × 12 ¼ inches (57 × 33 × 31 cm)© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Box, 2013

Bronze, 22 ½ × 13 × 12 ¼ inches (57 × 33 × 31 cm)
© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, circa 1610 (I), 2012 Resin, 70 ⅛ × 31 ⅞ × 2 inches (178 × 81 × 5 cm)© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, circa 1610 (I), 2012

Resin, 70 ⅛ × 31 ⅞ × 2 inches (178 × 81 × 5 cm)
© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Ocular (II), 2013 Resin, 19 ⅜ × 19 ⅜ × 3 ¾ inches (49 × 49 × 9.5 cm)© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Ocular (II), 2013

Resin, 19 ⅜ × 19 ⅜ × 3 ¾ inches (49 × 49 × 9.5 cm)
© Rachel Whiteread. Photo: Mike Bruce

Rachel Whiteread, Untitled (Blue), 2012 Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Blue), 2012

Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)
© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Mauve), 2012 Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Mauve), 2012

Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)
© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Yellow), 2012 Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)© Rachel Whiteread. Photo: Prudence Cumings Associates

Rachel Whiteread, Untitled (Yellow), 2012

Silver leaf, cardboard, celluloid, and graphite on paper, 16 ⅝ × 11 ⅝ inches (42 × 29.5 cm)
© Rachel Whiteread. Photo: Prudence Cumings Associates

About

The reason my work has affected people over the years is because it draws people’s attention to their lives and the things in their lives. There’s a certain amount of humility that goes with that.
—Rachel Whiteread

Gagosian is pleased to present an exhibition of recent sculpture and works on paper by Rachel Whiteread in Geneva.

Whiteread’s approach to sculpture is predicated on the translation of negative space into solid form. Casting from everyday objects, or from spaces around or within furniture and architecture, she uses materials such as rubber, dental plaster, and resin to record every nuance. In recent large-scale works, the empty interiors of wooden garden sheds were rendered in concrete and steel, recalling the earlier architectural works Ghost (1990), House (1993), and the imposing concrete sculpture The Gran Boathouse (2010), installed on the water’s edge in the remote Nordic landscape of Røykenviken.

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La raison pour laquelle mon travail a affecté le public durant toutes ces années est qu’il attire leur attention à leurs vies et aux choses dans leurs vies. Il y a une part d’humilité qui l’accompagne.
—Rachel Whiteread

Gagosian est heureuse de présenter une exposition de sculptures récentes et d’œuvres sur papier de Rachel Whiteread dans Genève.

L’approche de Whiteread à la sculpture est fondée sur la traduction d’espaces négatifs en formes solides. Moulant à partir d’objets usuels ou à partir d’espaces autour ou au sein de mobilier et d’architecture, elle utilise des matériaux tels que le caoutchouc, le plâtre dentaire ou la résine afin d’enregistrer chaque nuance. Dans ses œuvres récentes de grand format, les intérieurs vides d’abris de jardin sont reproduits en ciment et en acier, rappelant des œuvres architecturales antérieures telles que Ghost (1990), House (1993) et l’imposante sculpture en ciment Boathouse (2010), installée au bord de l’eau dans le lointain paysage Nordique de Røykenviken.

L’exposition se concentre sur une série de sculptures récentes en résine, moulées à partir de portes et de fenêtres dans des tons éthérés d’eau-de-nil ou gris métallisé ainsi qu’une sélection de collages en plusieurs couches composées de carton, de papier et de feuille d’argent. A la surface des sculptures, les changements de lumière et d’ombre deviennent des dimensions subjectives. Appuyées contre ou fixées au mur, ces œuvres à la fois massives et spectrales, contreparties des éléments utilitaires desquels ils sont dérivés, font écho à des œuvres de grand format en résine antérieures telles que Untitled (Floor) (1994) et One Hundred Spaces (1995).

Les œuvres sur papier de Rachel Whiteread révèlent des nuances esthétiques qui vont au-delà des histoires trouvées de ses sculptures. Untitled (Amber) et Untitled (Green) (toutes deux de 2012) sont des constructions diminutives de carton montées sur du papier à lettres marqué de graphite, peint à la feuille d’argent, afin de former des monuments minuscules, imparfaits, terminés avec des « fenêtres » en celluloïd. Chaque œuvre engage fraîchement ses préoccupations actuelles avec la masse et le vide, les textures de la vie et de l’histoire et les traces omniprésentes de la présence humaine.

Installation view of Rachel Whiteread's ...And the Animals Were Sold exhibition in Italy

Rachel Whiteread: … And the Animals Were Sold

An installation by Rachel Whiteread in the Palazzo della Ragione, Bergamo, Italy, commissioned by Galleria d’Arte Moderna e Contemporanea di Bergamo and cocurated by Lorenzo Giusti and Sara Fumagalli, opened in June of 2023 and ran into the fall. Conceived in relation to the city, the architecture of the site, and the history of the region, it comprised sixty sculptures made with local types of stone. Fumagalli writes on the exhibition and architect Luca Cipelletti speaks with Whiteread.

Anna Weyant’s Two Eileens (2022) on the cover of Gagosian Quarterly, Winter 2022

Now available
Gagosian Quarterly Winter 2022

The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.

Rachel Whiteread, Kunisaki House, 2021–22, concrete, 102 ½ × 305 ⅛ × 191 ⅜ inches (260 × 775 × 486 cm)

Rachel Whiteread: Shy Sculpture

On the occasion of the unveiling of her latest Shy Sculpture, in Kunisaki, Japan, Rachel Whiteread joined curator and art historian Fumio Nanjo for a conversation about this ongoing series.They address the origins of these sculptures and the details of each project.

Augurs of Spring

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.

Rachel Whiteread

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.

Still from the video "In Conversation: Rachel Whiteread and Ann Gallagher"

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.

News

Photo: Anita Corbin, from the series First Women UK

Artist Spotlight

Rachel Whiteread

October 21–27, 2020

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.

Photo: Anita Corbin, from the series First Women UK