Rachel whiteread and John Albers.pdf

8/14/2019 Rachel whiteread and John Albers.pdf

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RACHEL

WHITEREADEXPLORATION OF NEGATIVE SPACE



CASTING NEGATIVE

SPACES



GHOST (1990)

CASTING NEGATIVE SPACE

“I had an idea of mummifying the

sense of silence in the room.” –

Rachel Whiteread



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.”



UNTITLED – 100 SPACES (1997)

CASTING ABSENCE

Composed of the underside of 100 chairs, displayed in a grid pattern



INFLUENCE: MINIMALISM

BRUCE NAUMAN, A CAST OF SPACE UNDERMY CHAIR, 1965 - 1968



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



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.“



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



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.



CHARITY BOX

(2007)

Sculpture for a charity auction

Similar to installation in

Embankment



Josef Albers(1888 – 1976)

Colour

Interactions



StyleGeometric abstraction

Untitled, 1942 “ Tenayuca,” ,

1936



StyleManipulate human perception by color

Formulation: Articulation Folio II, Folder 18, 1972 Portfolio I : Folder 2,

1972



Colour Theory 1

Colour is constantly changing-colour is in relation with the colors it is surrounded by.



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.



Colour Theory 3

Colour reversal- Creates two way 3D perceptions

Protruding outwards orinwards?



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.



Furniture



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.



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.

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