Rachel Whiteread - Vienna for Sale

Rachel Whiteread - 50 Spaces

arrow to next work titled: Untitled (Nets)

Rachel Whiteread - Untitled (Nets)

Top

Rachel Whiteread

You are following

Vienna, 2018

View Work
to Scale

About The Work

On the occasion of the comprehensive Rachel Whiteread exhibition at the Belvedere 21, the edition Vienna has been developed in close cooperation with the artist. Each number is a framed direct-from-original print of a punched postcard work created by the artist to reflect the special position that her art occupies in Vienna. The postcard shows Whiteread's Holocaust Monument, which has stood on the city square Judenplatz since the year 2000. The monument depicts the negative space of a fictive library. While the artist's earlier works of this sort generally are casts of real hollow cavities, the "impression" of invisible exterior space is of relevance in this work. Those who visit it symbolically lay down at the monument their thoughts, memories and experiences relating to the Holocaust. Rachel Whiteread captures this invisible thought space surrounding the Holocaust Monument in her postcard, recalling to memory the disappearance of the Jewish victims of the Shoah in Austria.

Courtesy of Österreichische Galerie Belvedere

About Rachel Whiteread

Rachel Whiteread, one of the leading contemporary sculptors, is best known for her Minimalist casts of objects, furniture, and architectural spaces that are at once personal, monumental, and public, evoking themes of absence and memory. Although she is often associated with the Young British Artists, Whiteread's work is more closely aligned with artists such as Bruce Nauman, whose work A Cast of the Space Under My Chair (1965—68) was a profound influence on the younger artist.

The exploration of the overlooked aspects of negative space is an ever-present theme in many of her most notable works, such as House (1993), for which she created a large-scale, site-specific plaster cast of the interior of a condemned East London flat. Similarly, her Holocaust Memorial in Vienna, also known as the Nameless Library (2000), is constructed of casts of unknown books whose spines face inward. Whiteread's use of space, from the large-scale and public to the small-scale and intimate, creates a new relationship between history and time as she situates her work, both physically and thematically, among the everyday and the habitual.

In 1993, Whiteread became the first woman to win the prestigious Turner Prize. She has had solo exhibitions at acclaimed institutions such as Kunsthalle Basel, the Reina Sofia, the Serpentine Gallery, and the Deutsche Guggenheim. She represented Great Britain at the 1997 Venice Biennale.