SMITH, R. (2012) Rachel Whiteread presentation

8/3/2019 SMITH, R. (2012) Rachel Whiteread presentation

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Rachel Whitereads Vitrine


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Rachel WhitereadTrafalgar Square Project1998 [Fig.2]Photographic collage,acrylic, and pencil onmuseum board 50 x 31.5 cm


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Contents:

1.Introduction toWhitereads work

1b.Drawings

1c.Whiteread, the

Minimalists andthe New BritishSculptors

1d.Political House

2.Untitled (EarthBasket) ,2012. Anewly commissionedpiece for WrittleGreen.

2b.World Green, A

topographicalstudy.

2c.Site of Cross

3.Archeologicalsources andfndings.

3b.Commonplace

objects


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Rachel WhitereadBritish sculptor and draughtsman b. 1963

Brighton Polytechnic (Painting), Brighton, 1982-85Slade School of Fine Art (Sculpture), London, 1985-87

Rachel Whiteread, Ghost, 1990 [Fig.4]Installed at National Gallery of Art (NY), 2004

Mummifying the sense of silence in aroom, mummifying the air (Whiteread, 2005)

Rachel Whiteread, (Untitled) Torso, 1992 [Fig.5]Dental plaster

Junk shops and salvage yards...[are] her sketchbooks.(Whitread, 2001, quoted in Pesenti, 2010)


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Rachel WhitereadUntitled (Bath IV) ,1996 [Fig.6]Ink, correction uid,and varnish on graphpaper 59.5 x 84 cm

Drawing runs simultaneously,distinctly and privatelyalongside the large, unwieldysculptural work in Whitereadspractice. Drawings are a placewhere [she] worries, and they arealso where she plays.

Their space is quiet. (Pesenti, 2010)

Whiteread often usesgraph paper, tipp-exand ink, while collageof old photographs andcut paper is used inher later works. Theedge of the paper andsculptural puckeringcaused by wet varnishis valued.


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Carl AndreAmerican Minimalist b. 1935

Agnes MartinAmerican abstract painter 1912-2004

...experience can be expressed for me inart which is wordless and silent. (Martin,1997, quoted in Kettles Yard, 2010)

None of their [Minimalists] emotionswere registered in their works of art.(Martin, 2002, quoted in Pesenti, 2010)

Agnes Martin, Wood 1 , 1963 [Fig.8]Watercolour and graphite on paper38.1 x 39.37 cm

Carl Andre, Drawing for The perfect painting1967 [Fig.7] Pencil on paper 39 x 44.6 cm


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Eva HesseGerman-American sculptor and painterassociated with Minimalism 1936-1970

Alison WildingNew British Sculptor b. 1945

Alison Wilding, Rising , 2001 [Fig.10]acrylic 16.5 x 16 x 13 cm

Eva Hesse, Sans II 1968 [Fig.9]Installed at Yale University Art Gallery, 1992


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HouseTurner Prize Winner November 1993Demolished January 1994

Grove Road was on a green corridorwith a view to Canary Wharf, one ofThathchers troubled economic babies,originally envisaged as an urbanutopia. (Whiteread quoted in Mullins, 2004)

[Fig. 12]

[Fi 11]


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Discover the properties oframmed earth

Push the material

Excavation, Absence, Extrusion.

[Fig.13]


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The maund (hand basket) sits in the crook of your arm, rest-ing on the hip.Here that intimate interaction is disabled,the space lled with the degrading matter of past mauns.

[Fig.14] [Fig.15]

A greater volume of soil is needed to create the sculpturethan will be displace by the nal block, leaving a void onthe green.


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Rachel Whiteread The World-Green, 2006 [Fig.16]Gouache and collage on paper38.1 x28.2 cm

The light switch is back to front- I am the wall.I made the viewer the wall. (Whiteread, 2005)

Writtle Green ,bounded. Tied to an image of perfection.

[Fig.18][Fig.17]


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1960s mapdetail showingthe site of thecross and lossof tree besides

1870s map ofWrittle Green

Archeologists excavate for lost objects buton Writtle green there is a lost memory ; onewhich should have been protected. This raises aquestion of what else has been lost to the earth,

the quiet moments with unimportant objects.

[Fig.19] Hidden by trees

[Fig.20] Hidden in the green

[Fig.21] Hidden in the view

[Fig.22]

Cross (site of)


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We only got down to layer 7 which revealed

an interesting curved shape made up of alight coloured, calcarious sandy clay loamcompared with the darker loam soil eitherside. This could have something to do withthe base of the cross that is thought tohave been in the vicinity up to 100 years

ago (Heritage Writtle, 2009).

Excavations at Test Pit 7

[Fig.24]

[Fig.23]

[Fig.25] [Fig.26]

The bases of Roman wells discoveredin Essex re ect the square test pit.The wood survives to tell a storyunseen by the people of the time.

discovered an absence.


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The pseudo-scienti c layout ofWhitereads visual essay detailsthe overlooked. In comparison,the iron objects left behind atthe Hunting lodge are lovinglybrushed from the ground, studiedand drawn.

It rarely occurs to people that most of thepresent days signifcant archaeologicalartifacts were, in their own day, garbage.The majority of important archaeologicalsites giving us clues to former civilizationswere burial grounds for discarded bodiesor ancient trash dumps. (Goldwyn, 2011)

Excavations at King Johns Hunting Lodge, Writtle, Essex,1955-57 by P.A. Rahtz, 1969

A Visual Essay by Rachel Whiteread, 2010[Fig.27]


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Discoveries

[Fig.28]Objects unearthed in Writtle excavation


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...when opening it after so long, it

contained inside it the smell of herfamily home. (Wood, 2005)

Andrew Dunkley and Marcus LeithThe Sellotape box 2005 [Fig.29]photograph of found object


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Rebecca SmithBrown Basket, 2012 [Fig.30]Acrylic on old photographcopy

(Steer, 1969)


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Rebecca Smith Yellow Basket, 2012[Fig.31] Acrylic onold photograph copy(Steer, 1969)


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Rebecca SmithBlue Basket, 2012 [Fig.32]Acrylic on old photographcopy

(Steer, 1969)


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Pesenti, A. (2010) Rachel Whiteread Drawings .Los Angeles: Hammer Museum and DelMonico Books,Prestel Publishing.

Rahtz, P.A. (1969) Excavations at King JohnsHunting Lodge, Writtle, Essex, 1955-57. London:Society for Medieval Archaeology, UniversityCollege.

Steer, F.W. (1969) Farm and cottage inventoriesof mid-Essex 1635-1749 (2nd edition). Chelms-ford: Philimore.

Frith,F. Thompson, R. (2004) Francis FrithsEssex Second Selection (Photographic Memories) .England: Frith.

Wymer, N. (1949) Wheatsheaf and willow: theEastern shires. Lutterworth.

Mullins, C. (2004) Rachel Whiteread. London:Tate publishing.

The Weltkunst Collection. Cork, R. Curtis, P.Marshall, C. (1997) Breaking the Mould, BritishArt of the 1980s and 1990s. London: Lund Hum-phries Publishers Ltd.

Townsend, C. (ed.) (2004) The art of RachelWhiteread. London: Thames and Hudson.

Burn, G. and Wood, C. (2005) Rachel Whiteread Embankment, The Unilever Series. London: Tatepublishing.

References

Department of Archaeology, University ofCambridge (2009) . Pottery Report and Test pitlocation map. Access Cambridge Archaeology,Writtle, Essex [www document]. http://www.arch.cam.ac.uk/aca/writtle.html (Accessed 23 January2012).

theEYE.(2005) Rachel Whiteread, IlluminationsMedia. DVD.

Heritage Writtle, (2009) News from the eld HEFA in Writtle- The Diggin project [www.document] http://heritage-writtle.co.uk/news.aspx (Accessed 24 January 2012)

Greenwood, P. Perring, D. and Rowsome, P.(2006)From Ice Age to Essex. London: Museum of LondonArchaeology Service

Marden, P. and Trevor, B. (1990) The Writtleweve loved. Chelmsford: the authors

Kettles Yard, (2010) Agnes Martin. [www.document] www.kettlesyard.co.uk/exhibitions/agnes_martin.html (Accessed 24 January 2012)


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List of IllustrationsFig. 1. Smith, R. (2012) Rachel Whitereadsvitrine . [tipp-ex and ink on brown envelope]reference Whiteread, R. (1985) Invitation. [inkon card] Private Collection.

Fig. 2. Whiteread, R. (1998) Trafalgar SquareProject . [collage] Source: (Pesenti, 2010),Credits: Prudence Cumings Associates Ltd.

Fig. 3. Smith, R. (2012) Shelf. [photograph]

Fig. 4. Whiteread, R. (1990) Ghost. [Sculpture}Source: http://www.nga.gov/press/2004/releases/fall/whiteread.shtm. [www. document] Photographycredit: Gagosian Gallery, New York.

Fig. 5. Whiteread, R. (1992) Untitled (Torso).[Sculture] Source: http://www.museomadre.it/opere.cfm?id=604. [www. document]

Fig. 6. Whiteread, R. (1996) Untitled (Bath IV)[drawing] Source: (Pesenti, 2010), Credits: Pru-dence Cumings Associates Ltd.

Fig. 7. Andre, C. (1967) Drawing for The perfect painting. [drawings] Source: http://www.tate.org.

uk/servlet/ViewWork?cgroupid=999999961&workid=511&searchid=11281. [www. document] Credit: VAGA,New York and DACS, London 2002

Fig. 8. Martin, A. (1963) Wood 1 . [drawing]Source: http://peterblumgallery.com/artists/agnes-martin [www.document]

Fig. 9. Hesse, E. (1968) Sans II. [Installation]Source: http://www.tate.org.uk/research/tateresearch/tatepapers/07autumn/barger.htm. [www. document] Cred-it: Hauser & Wirth Zrich London

Fig. 10. Wilding, A. (2001) Rising. [Sculture]Source: http://www.sculpture.org.uk/AlisonWilding/maquette/Rising/ [www. document] Credit: Cass Sculp-ture foundation.

Fig. 11. Whiteread, R. (1993) House. [Sculpture]Source: (Mullins, 2004) Credit: Anthony dOffay, Lon-don.

Fig. 12. Whiteread, R. (1993) House. [drawing]Source: (Mullins, 2004) Credit: Anthony dOffay, Lon-don.

Fig. 13. Smith, R. (2012) Earthbasket [model sculp-ture]

Fig. 14. Smith, R. (2012) Drawing for earthbasket[drawing]

Fig. 15. Smith, R. (2012) Drawing for earthbasket(II) [drawing]

Fig. 16. Whiteread, R. (2006) The World-Green [col-lage] Source: (Pesenti, 2010), Credits: Robert Wede-meyer.

Fig. 17. Smith, R. (2012) Green topography [earthmodel]

Fig. 18. Smith, R. (2012) Drawing for green [collage]


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List of Illustrations (2)Fig. 19. Smith, R. (2012) Hidden by trees [tipp-ex on photo] Photograph source: (Mardon, 1990)

Fig. 20. Smith, R. (2012) Hidden by green [tipp-ex on photo] Photograph source: (Mardon, 1990)

Fig. 21. Smith, R. (2012) Hidden by view [tipp-exon photo] Photograph source: (Mardon, 1990)

Fig. 22. Ordance survey. (1870) Writtle green .Source: EDINA Historic Digimap http://edina.ac.uk/digimap/ [www. document] (accessed 12January)

Fig. 23. Heritage Writtle. (2009) Diggin test pit. Source: http://heritage-writtle.co.uk/news.

aspx

Fig. 24. Department of Archaeology, University ofCambridge (2009) . Test pit location map. Source: Access Cambridge Archaeology, Writtle, Essex [wwwdocument]. http://www.arch.cam.ac.uk/aca/writtle.html.

Fig. 25. Greenwood, P. (2006) Hunts Hill FarmRoman well. [Photograph] Source: Greenwood, P.Perring, D. and Rowsome, P.(2006) From Ice Ageto Essex. London: Museum of London ArchaeologyService

Fig. 26. Greenwood, P. (2006) Moor Hall FarmRoman well. [Photograph] Source: Greenwood, P.Perring, D. and Rowsome, P.(2006) From Ice Ageto Essex. London: Museum of London ArchaeologyService

Fig. 27. Smith, R. (2012) Two books [ Photograph]See references (Pesenti, 2010), (Rahtz, 1969)

Fig. 28. Smith, R. (2012) Discoveries[ Photograph]

Fig. 29. Dunkley, A. and Leith, M. (2005) TheSellotape box [photograph] Source: (Burn, 2005)

Fig. 30. Smith, R. (2012) Yellow Basket. [acrylicon photo] Photograph source: (Greenwood, 2006)

Fig. 31. Smith, R. (2012) Brown Basket. [acrylicon photo] Photograph source: (Frith, 2004)

Fig. 32. Smith, R. (2012) Blue Basket. [acrylicon photo] Photograph source: (Frith, 2004)

Documents

SMITH, R. (2012) Rachel Whiteread presentation