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RACHEL
WHITEREADEXPLORATION OF NEGATIVE SPACE
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CASTING NEGATIVE
SPACES
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GHOST (1990)
CASTING NEGATIVE SPACE
“I had an idea of mummifying the
sense of silence in the room.” –
Rachel Whiteread
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HOUSE (1993)“…a reversal of an enclosing,comforting, dwelling, a place of
repose and comfort, a symbol of
domestic hopes and dreams. What
was left was a monument to one’s
most private moments but with the
privacy stripped bare and petrified.
“House” monumentalized the past in
a subversive manner, instead of
allowing for a connection to and
retrieval of the past, “House”
subverted the warm cozy memories
of home.”
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UNTITLED – 100 SPACES (1997)
CASTING ABSENCE
Composed of the underside of 100 chairs, displayed in a grid pattern
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INFLUENCE: MINIMALISM
BRUCE NAUMAN, A CAST OF SPACE UNDERMY CHAIR, 1965 - 1968
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WATER TOWER (1998)
Give places and spaces to
something that never had a placein this world
Texture of water inside a tower
Solidifying water, water to look
frozen in a moment of time
Completely takes on its
environment and becomes part of
the sky
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JUDENPLATZ HOLOCAUST
MONUMENT (2000)
• The outside surfaces of thevolume are cast library shelvesturned inside out.
• The spines of the books arefacing inwards and are notvisible, therefore the titles ofthe volumes are unknown andthe content of the booksremains unrevealed.
• The shelves of the memorial
appear to hold endless copiesof the same edition, whichstand for the vast number ofthe victims, as well as theconcept of Jews as "People ofthe Book.“
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UNTITLED MONUMENT (2001)
• provide a sculpture for the
empty fourth plinth in Trafalgar
Square.
• 11 ton resin cast of the plinth
itself, which stood upsidedown,making a sort of mirror-image
of the plinth.
• largest object ever made out of
resin
Critics response:
She sees it not as a space to be
filled, but as an absence to be
acknowledged
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EMBANKMENT (2005-2006)
• Whiteread selected a number
of differently-shaped old boxesfound in her mother house
• She filled them with plaster,
peeled away the exteriors and
was left with perfect casts,
each recording and preserving
all the bumps and indentationson the inside.
box in connection with memory
and loss, perceiving the box as
a keeper of collective memory.
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CHARITY BOX
(2007)
Sculpture for a charity auction
Similar to installation in
Embankment
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Josef Albers(1888 – 1976)
Colour
Interactions
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StyleGeometric abstraction
Untitled, 1942 “ Tenayuca,” ,
1936
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StyleManipulate human perception by color
Formulation: Articulation Folio II, Folder 18, 1972 Portfolio I : Folder 2,
1972
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Colour Theory 1
Colour is constantly changing-colour is in relation with the colors it is surrounded by.
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Colour Theory 2
Colour is understood through experience-Choice of the colors and their sequence influences and changes each other forth
and back.
Homage to the Square series,1949
Boxes move
• forth and back• in and out
• near and far
• enlarged and diminished.
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Colour Theory 3
Colour reversal- Creates two way 3D perceptions
Protruding outwards orinwards?
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Colour Theory 4
Color is deceived continuously.- Interaction of colours can create optical illusion
A transparent folded square
appeared when slight
different color with
background is used.
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Furniture
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Murals
• Manhattan, 1963
• 28 x 55 feet
• Lobby of the Pan-Am
Building, New York City,USA(removed)
• Black, white and red strips
arranged in interwoven
columns. Strips seem 3d and
floating.
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Murals
• Two Portals, 1961
• Bronze and glass
• 12.75 x 4.25 m
• Time-Life Building, New York City,
USA
• To create an illusion of depth.