Rachel Whiteread: Internal Objects
Rachel Whiteread: Internal Objects
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Rachel Whiteread: Internal Objects
W032026 | $69.95
Exhibition Catalog
Gagosian Gallery, London, 2021.
116 pp. well illustrated (all col.). 28 x 23 cm. In English. Paperbound.
ISBN 9781951449131
Whiteread employs the formal language of Minimalism, taking cues from its emphasis on geometric seriality, yet adds a quietly emotive aspect, maintaining an acute sensitivity to the minor details of objects and the subtle markers of use and human irregularity. Whether they take the form of monumental public installations or small, intimate objects, the forms imply hidden narratives and secret histories. For the exhibition, the artist has again created cabin-like structures but has, for the first time, eschewed casting existing objects in favor of building original ones. While the sheds of a decade ago were closed, the new sculptures are open, inverting the formal system of their predecessors. They suggest that something catastrophic has occurred, allowing nature to take over. The artist was inspired by her reading of John Steinbeck and by her experience of driving through the Mojave Desert and Death Valley in California after installing two sculptures in Joshua Tree National Park in 2017. Although the new works represent a departure from her established sculptural process, they continue her overall project in considering the intimate haptic qualities of the spaces that surround us.
Subject Headings: Eastern and Western European Art ; Western Art -- Great Britain -- Post-1945 ; Post-1970 ; Post-1990 ; Post-2000 -- Several Fine Arts Media (Western) -- Women Artists --
W032026 | $69.95
Exhibition Catalog
Gagosian Gallery, London, 2021.
116 pp. well illustrated (all col.). 28 x 23 cm. In English. Paperbound.
ISBN 9781951449131
Whiteread employs the formal language of Minimalism, taking cues from its emphasis on geometric seriality, yet adds a quietly emotive aspect, maintaining an acute sensitivity to the minor details of objects and the subtle markers of use and human irregularity. Whether they take the form of monumental public installations or small, intimate objects, the forms imply hidden narratives and secret histories. For the exhibition, the artist has again created cabin-like structures but has, for the first time, eschewed casting existing objects in favor of building original ones. While the sheds of a decade ago were closed, the new sculptures are open, inverting the formal system of their predecessors. They suggest that something catastrophic has occurred, allowing nature to take over. The artist was inspired by her reading of John Steinbeck and by her experience of driving through the Mojave Desert and Death Valley in California after installing two sculptures in Joshua Tree National Park in 2017. Although the new works represent a departure from her established sculptural process, they continue her overall project in considering the intimate haptic qualities of the spaces that surround us.
Subject Headings: Eastern and Western European Art ; Western Art -- Great Britain -- Post-1945 ; Post-1970 ; Post-1990 ; Post-2000 -- Several Fine Arts Media (Western) -- Women Artists --