History of Our World

The Art of Rachel Whiteread

Posted in Architecture, Art by A on May 20, 2010

Ghost, 1990.

Untitled (Black Bed), 1991.

Untitled (Wardrobe), 1994.

Untitled (Cast Iron Floor), 2001.

Valley, 1990.

Water Tower, 1998 – 1999.

Untitled (Amber Bed), 1991.

When referring to the specific atmosphere of a space, one often speaks metaphorically, filling it with fear, sorrow or tension. In this context, the essential presupposition is the initial emptiness of the space, which allows the viewer to fill it with something. Hardly anyone has interpreted this process as literally as the British artist Rachel Whiteread. Characterized by a certain monumentality, her sculptures push towards a chain reaction of emotional, symbolic, metaphorical, personal, and ethical/political reflections.

The viewer searches for signs to explain the vague feeling inside, tries to discover personal traces of the inhabitants in the spaces, or projects his or her own visions on or into it. Recollections, memories past and present, private and public, themes of intimacy, domestic life, childhood, loss, and death come to the fore, but the uniformity of the plaster, rubber and concrete yields nothing; blocking any sense of narrative or identity.

These spaces reveal no symbols from which one might read a personal spatial meaning or even a history. Within the solidifying of spatial volumes, the possibility of being becomes lost. The fact that the material and shape of the objects have a certain resemblance to tombstones or even mausoleums – which has been claimed repeatedly about Ghost – nourishes a feeling of permanence and finality; a feeling that can only be described as hollow.

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The Art of Rachel Whiteread

Chris Townsend : Rachel Whiteread

Thames & Hudson

2004

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Rachel Whiteread

Thames & Hudson

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Thoughts of a Night Sea | Garry Fabian Miller

Posted in Art, Photography, Print by A on February 2, 2010

Lux 2, 2001.

Lux 11, 2001.

Lucent 12, 2000.

July 6, 2000.

Lux 10, 2001.

July 18, 2000.

Born in 1957, Garry Fabian Miller has made exclusively ‘camera-less’ photographs since the mid 1980s. He works in the darkroom, shining light through coloured glass vessels and over cut-paper shapes to create forms that record directly onto photographic paper. These rudimentary methods recall the earliest days of photography, when the effects of light on sensitised paper seemed magical.

‘Thoughts on a Night Sea’ is perhaps Miller’s most personal and reflective works to date, in that it echoes one of his first breakthrough pieces: ‘The Sea Horizon’ (1976 – 1977). Deeply formal, yet profoundly spiritual, Fabian Miller’s imagery straddles the Modernism of international figures such as Donald Judd, Elsworth Kelly and James Turrell with a sense of essential Englishness, and an appreciation of the sublime.

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Thoughts of a Night Sea, Photographs by Garry Fabian Miller

Garry Fabian Miller : Lavinia Greenlaw

Merrell Publishers

2003

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James Hyman Gallery

Merrell Publishers

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