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Based upon a practice of inverted casting—making space tangible—Rachel Whiteread's work offers both intimate and public meditations on vital questions of history, memory, and social change. But these are also artworks with profound and carefully weighed formal concerns and an affiliation with the critical issues of sculpture raised ...
Based upon a practice of inverted casting—making space tangible—Rachel Whiteread's work offers both intimate and public meditations on vital questions of history, memory, and social change. But these are also artworks with profound and carefully weighed formal concerns and an affiliation with the critical issues of sculpture raised throughout the twentieth century.
Whiteread's work is, perhaps, provoking because it so successfully melds artistic and historical issues, restoring to public attention neglected issues that more dominant interests would wish forgotten. Out of the solidification of space Whiteread creates an archive that compacts and makes legible those intangibles that comprise so much of ordinary life.
This collection of essays by leading authorities on contemporary art examines Whiteread's work from her earliest domestic objects of the late 1980s through controversial projects such as House to her recent, large-scale public works, including Water Tower in New York, Monument in London's Trafalgar Square, and Holocaust Memorial in Vienna. The book includes discussions of both Room 101, her cast of George Orwell's room at the BBC, and recent gallery installations. Whiteread's work is appraised both in terms of its relationship to art history and its social and political impact, and examined for theoretical approaches through which we may better understand this most complex and challenging of contemporary artists. 60 illustrations.
Author Biography: Chris Townsend is Senior Lecturer in the Department of MediaArts, Royal Holloway, University of London.
|Introduction : when we collide : history and aesthetics, space and signs in the art of Rachel Whiteread||6|
|Ch. 1||Remembrance of things present||34|
|Ch. 2||Matters immaterial : on the meaning of houses and the things inside them||51|
|Ch. 3||Sensitive skin : infra mince and differance in the work of Rachel Whiteread||68|
|Ch. 4||Moving on||85|
|Ch. 5||Gothic public art and the failures of democracy : reflections on house, interpretation, and the 'political unconscious'||107|
|Ch. 6||As the weather||128|
|Ch. 7||The shimmer of industrial form||149|
|Ch. 8||Rachel Whiteread's Judenplatz memorial in Vienna : memory and absence||162|
|Ch. 9||Lessons from what's poor : Monument and the space of power||173|
|Ch. 10||Live as if someone is always watching you : George Orwell's, Rachel Whiteread's and the BBC's versions of Room 101||197|