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Image
Courtesy Walker Art Center
Rights
© Rachel Whiteread

Copyright

All content including images, text documents, audio, video, and interactive media published on the Walker web site (walkerart.org) is for noncommercial, educational and/or personal use only. Any commercial use or republication is strictly prohibited. Copying, redistribution, or exploitation for personal or corporate gain is not permitted.

To obtain permission, or for information on slides and reproductions, please contact Loren Smith, Assistant Registrar at 612.375.7673 or rights.reproductions@walkerart.org.

Title
Demolished
Date
1996
Dimensions
each of twelve sheets 19.25 × 29.25 inches
Materials
screenprint on paper
Location
On view at the Walker Art Center

Object Details

Type
Prints (Edition Prints/Proofs)
Accession Number
1997.67.1-.15
Edition
12/35
Inscriptions
each print signed on reverse in pencil “R. Whiteread”; each set of buildings is marked in pencil on reverse immediately after signature “A” “B” or “C”
Physical Description
3 series of 4 images showing the stages of a public housing building being demolished.
Printer
Coriander Ltd., London
Credit Line
T. B. Walker Acquisition Fund, 1997
Object Copyright
© Rachel Whiteread

object label Rachel Whiteread, Demolished (1996) Walker Art Center, 2000

British sculptor Rachel Whiteread is best known for her rubber, plastic, and resin casts of the spaces beneath floors, bathtubs, tables, beds, chairs, and the interiors of architectural spaces. Attempting to give tangible form to negative space, her work House (1993), a plaster cast of the interior of an entire East End rowhouse in London, received critical acclaim and the attention of the art world. Despite an outcry from advocates, the sculpture was eventually demolished as scheduled.

To dispel her frustrations over this razing and as an extension of her interest in the dwellings occupied in our urban life, Whiteread created Demolished, which documents three housing complexes in the process of being leveled. Here, the artist has memorialized these undistinguished, generic buildings with her stark, serial photographs. The lack of a human presence in this series parallels the sense of cultural remains evoked by many of her sculptures. Whiteread considers photography and printmaking to be part of her working process. Photography, because of its documentary potential, reproductive nature, and inherent remove from the artist’s touch, closely parallels her use of casting.

This portfolio of images by Rachel Whiteread builds upon the museum’s growing concentration of work by young British artists, including Angus Fairhurst, Dinos and Jake Chapman, Chris Ofili, Sam Taylor-Wood, Yinka Shonibare, and Georgina Starr.

Label text for Rachel Whiteread, Demolished (1996), from the exhibition State of the Art: Recent Gifts and Acquisitions, Walker Art Center, Minneapolis, July 22-October 8, 2000.

Copyright 2000 Walker Art Center

object label Rachel Whiteread, Demolished (1996) Walker Art Center, 1998

British artist Whiteread is best known for her rubber, plaster, and resin casts of the negative spaces beneath floors, bathtubs, tables, beds, chairs, and the interiors of architectural spaces. Attempting to give tangible form to negative space, her work House (1993), a plaster cast of the interior space of an entire East End London rowhouse, received critical acclaim and the attention of the art world. Despite an outcry from advocates, the work/house was eventually demolished as scheduled.

To dispel her frustrations over this razing and as an extension of her interest in the physical spaces occupied in our urban life, Whiteread created Demolished, which depicts three housing complexes in the process of being leveled. Here, Whiteread has memorialized these undistinguished, generic buildings with her stark, serial photographs. The ominous lack of a human presence in this series parallels the sense of cultural remains or leftovers evoked by many of her sculptures.

Whiteread considers photography and printmaking to be part of her working process. Photography, because of its documentary potential, reproductive nature, and inherent remove from the artist’s touch, closely parallels her use of casting.

Label text for Rachel Whiteread, Demolished (1996), from the exhibition 100 Years of Sculpture: From the Pedestal to the Pixel, Walker Art Center, Minneapolis, February 22-May 24, 1998.

Copyright 1998 Walker Art Center