Rachel Whiteread : biography
The critical response included:
"With this work Whiteread has deepened her game, and made a work as rich and subtle as it is spectacular. Whatever else it is, Embankment is generous and brave, a statement of intent."Searle, Adrian. "". The Guardian, 11 October 2005. Retrieved on 28 March 2007.
- — Adrian Searle, The Guardian, 11 October 2005.
"Everything feels surprisingly domestic in scale, the intimidating vistas of the Turbine Hall shrunk down to irregular paths and byways. From atop the walkway, it looks like a storage depot that is steadily losing the plot; from inside, as you thread your way between the mounds of blocks, it feels more like an icy maze."
- — Andrew Dickson, The Guardian, 10 October 2005.
"This is another example of meritless gigantism that could be anywhere, and is the least successful of the gallery’s six attempts to exploit its most unsympathetic space," (Australia)
- — Brian Sewell, London Evening Standard, October 2005.
"[looks] like a random pile of giant sugar cubes […] Luckily, the £400,000 sponsored work is recyclable."
- — Stephen Moyes, Daily Mirror, 11 October 2005.
Charity Box (2007)
Whiteread created this small, plaster sculpture for a charity auction by the Prior Weston PTA, in support of the Prior Weston primary school in Islington, London.
The piece measures, a comparatively tiny, 16 cm x 11.5 cm x 11.5 cm.
Angel of the South (2008)
She was one of the five artists shortlisted for the Angel of the South project in January 2008.
Cast from generic wooden sheds, Detached 1, Detached 2, and Detached 3 (2012) render the empty interior of a garden shed in concrete and steel. Circa 1665 (I) (2012), LOOK, LOOK, LOOK (2012) and Loom (2012) belong to a series cast from doors and windows in shades of rose, eau-de-nil, or steely resin. Propped against or affixed to walls, the sculptures glow with absorbed and reflected light. Gagosian Gallery, London.
Other works like Untitled (Amber) (2012) and Untitled (Green) (2012) are diminutive cardboard constructions mounted on graphite-marked notepaper, painted with silver leaf and complete with celluloid “windows” that refer to the resin sculptures. Gagosian Gallery, London.
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