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Overview

Rachel Whiteread began working in London during the mid-1980s when she was a student at the Slade School of Fine Art. For the past fifteen years she has pursued and developed various approaches to casting as both a process and a vehicle for content. Working initially in wax and plaster, then later in resin, Whiteread created uncanny replicas of ordinary objects, parts of the body, and eventually, empty space.

In its scale and ambition, Ghost is her breakthrough piece and, by far, her best-known work. Approximately nine feet wide, eleven and one-half feet high, and ten feet deep, Ghost is a negative plaster cast of the space of an entire parlor in a modest Victorian townhouse. Intending to "mummify" air, Whiteread worked in an abandoned building at 486 Archway Road, North London. She first stripped the room down to its bare architectural décor, and then, using compositional proportions derived from Renaissance paintings by Piero della Francesco, gridded each wall into units that could be handled easily. Over a period of three months, Whiteread then covered the interior walls with multiple plaster molds, each about five inches thick. When the plaster dried, she peeled the molds from the walls and reassembled them on a steel frame. The result is a spectral monument: a structure composed from a void in which the architectural elements defining that space -- windows, doors, a door handle, soot-streaked fireplace, tile grids, moldings, light switch -- all appear in reverse.

The tomblike appearance of the aptly named Ghost emanates stillness and quiet, a mood reinforced by the unassertive pallor of the plaster. Fixed in time and isolated from its conventional cycle of use, Ghost triggers memories of something familiar that has suddenly become strange -- a once lively domestic space frozen in rigor mortis. The association of Ghost with death and loss is reinforced by the artist's reference to her experience on the grounds crew at Highgate Cemetery. Fascinated by the moldering graves and crypts, she found herself compelled to peer through the cracks. Viewers find themselves doing the same thing as they walk around Ghost, translating its cavities into protrusions and vice versa. In so doing, details -- the smooth black hole of the door handle or the circular depression of the light switch -- that normally would be overlooked become unexpectedly prominent. Even if the volume of the room is physically clear, it is, as one critic noted, "psychologically impossible" to comprehend, for Ghost places viewers inside and outside the parlor at the same time. We are on the outside, locked out as we gaze at interior walls. Simultaneously, we are on the inside, unable to escape, and it is the tension between exclusion and entrapment, between absence and presence that makes the sculpture at once alienating and compelling.

The poetry and power of Ghost derives from the unexpected emotional, psychological charge elicited by this minimal form. Neither abstract nor representational, Whiteread's sculpture references numerous art historical themes: the history of memorial architecture and symbolic space; the history and temporal implications of plaster as a medium that preserves an original; and the extension of minimal and conceptual art at the end of the twentieth century. Ghost has already been acknowledged as a new "classic," one that resonates deeply with the history of Western art and architecture, and Whiteread is now recognized as one of the most important artists of her generation.

Exhibition History
1990
Rachel Whiteread. Ghost, Chisenhale Gallery, London, 1990, unnumbered catalogue, repro.
1991
Rachel Whiteread, Arnolfini Gallery, Bristol, 1991.
1992
Rachel Whiteread, Stedelijk Van Abbemuseum, Eindhoven, 1992-1993, repro.
1992
Young British Artists. John Greenwood, Damien Hirst, Alex Landrum, Langlands & Bell, Rachel Whiteread. The Saatchi Collection, London, 1992, unnumbered catalogue, repro.
1993
Passagearbeten. Passageworks, Rooseum Centre for Contemporary Art, Malmö, Sweden, 1993.
1997
Rachel Whiteread, Palacio de Velázquez, Museo Nacional Centro de Arte Reina Sofia, Madrid, 1997, unnumbered catalogue, repro.
1997
Sensation: Young British Artists from the Saatchi Collection, Royal Academy of Arts, London; Neue Nationalgalerie im Hamburger Bahnhof, Berlin, 1997-1998, unnumbered catalogue, repro.
2000
Between Cinema and a Hard Place, Tate Modern, London, 2000, no. 22, repro.
2002
Blast to Freeze: British Art in the 20th Century, Kunstmuseum Wolfsburg; Les Abattoirs, Toulouse, 2002-2003, pl. 211.
2004
Gagosian Gallery, London, 2004.
Bibliography
1990
Gillick, Liam. Rachel Whiteread: Ghost. Exh. cat. Chisenhale Gallery, London, 1990.
1990
Saltz, Jerry. “Rachel Whiteread: Ghost.” CV: Journal of Art and Crafts vol. 3, no. 3 (September - November 1990): 18-19.
1991
Archer, Michael. “Ghost Meat.” Artscribe 87 (Summer 1991): 35-38.
1991
Feaver, William. “Breaking the Mould.” The Observer (24 November 1991): A67.
1992
Dorment, Richard. “Disturbing Symbols of Death.” The Telegraph (11 March 1992): 22.
1993
Chater, Peter, ed., and David Batchelor. Rachel Whiteread: Plaster Sculptures. Exh. cat. Luhring Augustine, New York; Karsten Schubert, London. New York: 1993: 6-8, 9, 10; repros. 24-27.
1993
Graham-Dixon, Andrew. “This is the House that Rachel Built.” The Independent (2 November 1993): 25.
1993
Hall, James. “I can't go on,but...” The Guardian (4 November 1993): A7.
1993
McEwen, John. “The House That Rachel Unbuilt.” The Sunday Telegraph (24 October 1993): 6.
1993
Meschede, Friedrich. Rachel Whiteread: Gouachen. Exh. cat. Deutsche Akademische Austauschdienst (DAAD) Gallery, Berlin. Stuttgart, 1993: 9, 12-14, 16, 17; repros. 10, 13, 14, 15.
1993
Roberts, Alison. “Turner's Best Equals the Worst.” The Times (24 November 1993): 1, 3.
1993
Shone, Richard. “Rachel Whiteread’s ‘House.’" The Burlington Magazine vol. 135, no. 1089 (December 1993): 837-838, esp. 838.
1994
Fairbrother, Trevor. “Whiteread’s Ghost.” Parkett no. 40/41 (2 June 1994): 90-93; repros. 91-93.
1994
Grunenberg, Christoph, et al. Rachel Whiteread: Skulpturen. Exh. cat. Kunsthalle Basel; Institute of Contemporary Art, Philadelphia; Institute of Contemporary Art, Boston. Basel, 1994: 21, 22, 24, and 25.
1994
Strickland, Carol. "Seven Women Artists Expand Limits of What Is 'Acceptable.'" The Christian Science Monitor; https://m.csmonitor.com/1994/0818/18111.html; published 18 August 1994; accessed 28 July 2017.
1994
Wakefield, Neville. “Rachel Whiteread: Separation Anxiety and the Art of Release.” Parkett vol. 42 (1994): 76-82, esp. 81
1994
Zelevansky, Lynn. “Sense and Sensibility: Women Artists and Minimalism in the Nineties.” MoMa no. 17 (Summer 1994): 14-16.
1995
Barnes, Rachel. “No More House Work with House.” The Guardian (8 April 1995): 28.
1995
Gale, Iain. “Cabinet Art: Jason & Rhoades.“ The Independent (15 August 1995): 10.
1995
Kimmelman, Michael. “Turning Things Inside Out.” The New York Times; http://www.nytimes.com/1995/02/05/arts/art-turning-things-inside-out.html?pagewanted=all; published 5 February 1995; accessed 16 December 2016.
1995
Lingwood, James, ed., et al. Rachel Whiteread: House. London, 1995: 121, 128, 157.
1995
Princenthal, Nancy. “All That Is Solid.” Art in America (July 1995): 52-57, esp. 56.
1995
Smith, Roberta. “Some British Moderns Seeking to Shock.” The New York Times; http://www.nytimes.com/1995/11/23/arts/art-review-some-british-moderns-seeking-to-shock.html; published 23 November 1995; accessed 28 July 2016.

1995
Temin, Christine. “Rachel Whiteread Brings Her Investigations to Boston.” Boston Globe (7 May 1995): 33.
1996
Batchelor, David. "Rachel Whiteread: Liverpool and Madrid." The Burlington Magazine vol. 138, no. 1125 (December 1996): 837-838.
1996
Bradley, Fiona, ed., et al. Rachel Whiteread: Shedding Life. Exh. cat. Tate Gallery Liverpool; Museo Nacional Centro de Arte Reina Sofia, Madrid. London, 1996: 12, 14, 64. 77, 80; repro. 15.
1996
Cousins, Mark. “Rachel Whiteread: Making Space Matter.” Tate: The Art Magazine 10 (Winter 1996): 32-36.
1996
Duval-Smith, Alex. “Paris 'Insulted' by British Art.” The Observer (16 June 1996): 21.
1996
Feaver, William. "A Century of British Sculpture." Art News vol. 95, no. 9 (Oct 1996): 147.
1996
Gayford, Martin. “Confusing for les rosbifs.” The Telegraph (12 June 1996): 23.
1996
Levy, Paul. “The Gallery: British Artists Teach French a Lesson.” The Wall Street Journal, Europe (28 June 1996): 11.
1996
Lewis, Jo Ann. “At the Hirshhorn, a New World Disorder.” The Washington Post (7 July 1996): G05.
1996
McEwen, John. “It's That Old Centennial Syndrome Again.” The Sunday Telegraph (6 October 1996): 9.
1996
Searle, Adrian. “No Stone Unturned.” The Guardian (25 June 1996): A10.
1996
Searle, Adrian. “World of Interiors.” The Guardian (17 September 1996): A10.
1996
Soulillou, Jacques. “L'architecte et le fantôme.” Revue d'esthétique vol. 29, no. 96 (1996): 75-81, esp. 76.
1996
Wilkin, Karen. "British Sculptors Invade Paris." The Hudson Review vol. 49, no. 3 (Autumn 1996): 457-462, esp. 461-462.
1997
Barwick, Sandra. “Rachel Whiteread.” The Telegraph (15 September 1997): 34.
1997
Benedict, David. “The Week in Review: The Exhibition Sensation.” The Independent (20 September 1997): 19.
1997
Cork, Richard. “The Establishment Clubbed.” The Times (16 September 1997): 16.
1997
Feaver, William. “Myra, Myra on the Wall...” The Observer (21 September 1997): 10.
1997
Feaver, William. "’Sensation.’" Art News vol. 96, no. 11 (December 1997): 173.
1997
Gallagher, Ann, ed., et al. Rachel Whiteread: British Pavilion XLVII Venice Biennale. Manchester, 1997: 30, repro. 57.
1997
Jobey, Liz. "A Rat Race?" The Guardian (4 October 1997): B28-B33; repro. B30.
1997
Jobey, Liz. “Tate Expectations.” The Guardian (10 February 1997): A12-A13.
1997
Long, Denny. “The Turner Prize.” The Guardian (11 October 1997): T78.
1997
Searle, Adrian. “Feeding Frenzy.” The Guardian (16 September 1997): A10-A11.
1998
Dault, Gary Michael. “Whiteread's Meteor Hits Art Gallery of Ontario.” The Globe and Mail (9 April 1998): C1.
1998
Iversen, Margaret. “In the Blind Field: Hopper and the Uncanny.” Art History vol. 21, no. 3 (September 1998): 409–429, esp. 409-410; repro. 410.
1998
MacRitchie, Lynn. “Rude Britannia.” Art in America vol. 86, no. 4 (April 1998): 37-39, esp. 38.
1998
Murphy, Anna. “Dinky Cars and Hats and Houses: They Used to Belong in the Nursery, Now You Find Them in Art Galleries.” The Observer (23 August 1998): 22.
1999
Barstow, David. “Documents Show Battle for Control of Exhibit.” Houston Chronicle (7 December 1999): 3D.
1999
Burton, Jane. “Concrete Poetry.” Art News (May 1999): 154-157, esp. 157.
1999
Cork, Richard. “Art Attacks.” Illustrated London News (6 December 1999): 60-65.
1999
Cruzvillegas, Abraham. “El Ojo Breve/ Juntos pero no revueltos.” Reforma (14 July 1999): 3.
1999
Danto, Arthur. “'Sensation' in Brooklyn.” The Nation vol. 269, no. 14 (1 November 1999): 25-29.
1999
Franceschetti, Roberta. “Whiteread riempie il vuoto: per dare corpo alla memoria.” Arte vol. 316 (December 1999): 60.
1999
Knight, Christopher. “In the End, It's Simply Misnamed.” Los Angeles Times (19 November 1999): 2.
1999
Madoff, Steven Henry. "Shock for Shock's Sake." Time vol. 154, no. 15; http://content.time.com/time/magazine/article/0,9171,992208,00.html; published 11 October 1999; accessed 28 December 2016.
1999
Pietsch, Hans. "Rachel Whiteread: der Blick ins Innere der Dinge." ART: das Kunstmagazin vol. 2 (February 1999): 46-55; esp. 48, 55, repros. 48-49
1999
Pollack, Barbara. "Sensation." Art News vol. 98, no. 10 (November 1999): 190.
1999
Saltz, Jerry. “Material Girl.” The Village Voice (16 November 1999): 79.
1999
Storr, Robert. “Remains of the Day.” Art in America vol. 87, no. 4 (April 1999): 104-109, 154, esp. 106-107; repro. 106.
1999
Sylvester, David. “Carving Spaces.” Tate: The Art Magazine vol. 17 (Spring 1999): 40-47, esp. 42.
1999
Temin, Christine. "'Sensation' Isn’t so Much of One.” Boston Globe (24 November 1999): C1.
2000
Barber, Lynn. “Art Struck.” The Observer (19 March 2000): H5-H6.
2000
Dorment, Richard. “A Brutal Fact of Life in the City of Dreams.” The Telegraph (27 October 2000): 26.
2000
Pops, Martin. "Three Exhibitions." Salmagundi no. 128/129 (Fall 2000 - Winter 2001): 16-41, esp. 23; repro. 22.
2000
Potts, Alex. The Sculptural Imagination: Figurative, Modernist, Minimalist. New Haven and London, 2000: 360; repro. 360.
2000
Rice, Robin. Review of Rachel Whiteread by Christoph Gruenberg and Rachel Whiteread: Shedding Life by Fiona Bradley et al. Woman’s Art Journal vol. 21, no. 1 (Spring 2000): 59-60.
2000
Searle, Adrian. “Making Memories.” The Guardian (17 October 2000): A12.
2000
Shone, Richard. "'Ant Noises' and 'Outthere.'" The Burlington Magazine vol. 142, no. 1168 (July 2000): 455-56, esp. 455.
2001
Aidin, Rose. “A Sculptor Who Casts a Long Shadow: Rachel Whiteread talks to Rose Aidin.” The Sunday Telegraph (17 June 2001): 5.
2001
Cork, Richard. “Space Craft” The Times (2 June 2001): 23.
2001
Corrin, Lisa G., Patrick Elliott, and Andrea Schlieker. Rachel Whiteread. Exh. cat. Seprentine Gallery, London; Scottish National Gallery of Modern Art, Edinburgh. London and Edinburgh, 2001: 7, 9, 11, 13, 59; repro. 8.
2001
Daily, Meghan, ed., et al. Rachel Whiteread: Transient Spaces. Exh. cat. Deutsche Guggenheim, Berlin: 21, 52-53. 62, 71-72, 73, 82-83, 133; repro. 53.
2001
Denny, Ned. “Spaced Out.” New Statesman vol. 14, no. 664 (Jul 9, 2001): 41.
2001
Gale, Iain. “Upstairs at Rachel's.” Scotland on Sunday (30 September 2001): 4.
2001
Lubbock, Tom. “A Matter of Absence.” The Independent (3 July 2001): 11.
2001
Muir, Robin. “Rachel Whiteread.” The Independent Magazine (26 May 2001): 15, 16, 20.
2001
Mullins, Charlotte. “Exposed: The Space Beneath the Stairs.” The Independent (17 June 2001): 10.
2001
Mullins, Charlotte. Rachel Whiteread. London, 2004: 23-4, 26, 39, 48, 49, 50, 52, 61, 104, 110, 119, 122; repro. 16.
2002
Fernie, Jes. “Impossible Dreams.” Building Design (5 July 2002): 14-15.
2002
Gleadell, Colin. “Contemporary Market.” The Telegraph (30 September 2002): 20.
2002
Irving, Mark. “Inner Space, the Final Frontier,” Financial Times (7/8 December 2002): 12.
2002
Nairne, Sandy. “Rachel Whiteread.” Art Now: Interviews with Modern Artists. (London and New York, 2002): 46 - 59, esp. 51, 52; repro. 53.
2002
Schneider, Christiane, ed., and Susanna Greeves. Rachel Whiteread Exh. cat. Haunch of Venison, London. London, 2002: 26, 28, 38; repro. 25.
2002
Wahjudi, Claudia. “Rachel Whiteread: Transient Spaces.” Kunstforum International vol. 158 (January 2002): 281-282.
2003
Beechey, James. "Blast to Freeze. Toulouse." The Burlington Magazine vol. 145, no. 1202 (May 2003): 392-94.
2003
Brooke, Stephen. "Memory and Modernity." Journal of British Studies vol. 42, no. 1 (January 2003): 132-139.
2003
Cork, Richard. Breaking Down the Barriers: Art in the 1990s. New Haven, 2003: 33, 179.
2003
Cork, Richard. “Inside-Out Nightmare.” The Times (17 December 2003): 16.
2003
Ferris, Alison. "Disembodied Spirits: Spirit Photography and Rachel Whiteread's 'Ghost.'" Art Journal vol. 62, no. 3 (Fall 2003): 45-55; esp. 48, 50-52; repro. 51.
2003
Grant, Simon. "'My Biggest Fear? A Place Where There Are No Walls at All.'" The Independent on Sunday (16 November 2003): 7.
2003
Hedlin Hayden, Malin. "Out of Minimalism: The Referential Cube; Contextualizing Sculptures by Anthony Gormley, Anish Kapoor, and Rachel Whiteread." Ph.D. diss., Uppsala Universitet (2003): 102, 104, 243.
2004
Baker, Kenneth. “Touching the Void -- Empty Spaces are Artist's Blank Slate.” San Francisco Chronicle (6 May 2004): E1.
2004
Cole, Ina. “Mapping Traces.” Sculpture Magazine (April 2004): 36-42, esp. 38.
2004
Darwent, Charles. “Can You Tell What It Is Yet? No? Good.” The Independent on Sunday (9 May 2004): 17.
2004
Darwent, Charles. “Simply Streets Ahead of the Rest; Michael Landy: Semi-Detached Tate Britain.” The Independent on Sunday (23 May 2004): 16-17.
2004
Richard, Paul. "In the Anti-Room, No One's Home." The Washington Post (8 November 2004): C1, C8.
2004
Searle, Adrian. “Riddle of the Sands." The Guardian; https://www.theguardian.com/culture/2004/may/11/1; published 11 May 2004; accessed 28 July 2017.
2004
Sweet, Matthew. “Rachel Whiteread: Model Artist.” The Independent (11 December 2004): 12, 13, 15, 16, esp. 12.
2004
Townsend, Chris, ed., et al. The Art of Rachel Whiteread. London, 2004: 10, 17, 21-22, 24-25, 51, 53, 70-71, 74, 84, 87, 116, 184; repros. 54, 86.
2004
Vogel, Carol. “Another Round for Saatchi vs. Tate.” The New York Times; http://www.nytimes.com/2004/11/27/arts/design/another-round-for-saatchi-vs-tate.html; published 27 November 2004; accessed 28 December 2016.
2004
Vogel, Carol. “Inside Art: Wandering Room Finds a Home.” The New York Times (15 October 2004): E31.
2005
Akbar, Arifa. "Head Made of Blood Sold by Saatchi for Profit of Pounds 1,487,000." The Independent (21 April 2005): 18.
2005
Brooks, Xan. “The Guardian Profile: Rachel Whiteread.” The Guardian; https://www.theguardian.com/artanddesign/2005/oct/07/art; published 7 October 2005, accessed 28 December 2016.
2005
Burn, Gordon. “I Want It, I Want It All, and I Want It Now: Charles Saatchi Sells Part of His Art Collection at Christie's Tomorrow.” The Guardian (7 October 1998): B2-B3.
2005
Burn, Gordon. “So Rachel Whiteread, What’s With the Boxes?” The Guardian (11 October 2005): 8-11, esp. 10.
2005
Jones, Jonathan. “A Tale of Two Cities.” The Guardian (6 October 2005): 14.
2005
Potts, Alex. Rachel Whiteread: Sculpture. Exh. cat. Gagosian Gallery, London, 2005.
2005
Schneider, Eckhard, ed. Rachel Whiteread: Walls, Doors, Floors, and Stairs. Exh. cat. Kunsthaus Bregenz, 2005: 7-8, 70, 96, repros. 96, 110.
2005
Sutcliffe, Thomas. “What's in a name? Quite a lot.” The Independent (14 October 2005): 5.
2005
Vine, Sarah. “I don't get all modern art, so why should you?” The Times (13 May 2005): 6.
2007
Batchelor, David, and Mario Codognato. Rachel Whiteread. Exh. cat. Museo d’Arte Contemporanea Donnaregina, Naples, 2007: 17, 57; repros. 28-29.
2007
Duguid, Hannah. “Sculptures of People Who Aren’t There.” The Independent (11 May 2007): 1.
2007
Luke, Ben. “Whiteread Casts Off Her Past.” The Telegraph (23 June 2007): 12.
2007
Pitcher, Cheri. “Rachel Whiteread: Luhring Augustine.” Creative Quarterly (Summer 2007): 8-13, esp. 9
2007
Wullschlager, Jackie. “The Shape of Things.” Financial Times; https://www.ft.com/content/7e656524-a6be-11db-83e4-0000779e2340; published 19 January 2007; accessed 31 July 2017.
2008
Carley, Rachel. “Domestic Afterlives: Rachel Whiteread's Ghost.” Architectural Design vol. 78, no. 3 (2008): 26-29.
2008
Hattenstone, Simon. “Ghosts of Childhood Past.” The Guardian; https://www.theguardian.com/artanddesign/2008/may/10/art.culture; published 9 May 2008; accessed 28 December 2016.
2008
Lawrence, James. Rachel Whiteread. Exh. cat. Gagosian Gallery, Beverly Hills, 2008: 12.
2008
Luke, Ben. “Rachel Whiteread: Ghost Town.” Art World vol. 3 (February/March 2008): 52-59.
2008
Ollman, Leah. “Casting Form and Intimacy.” Los Angeles Times (14 November 2008): E22.
2008
Rosenberg, Karen. “Hidden Corners of the Neighborhood.” The New York Times (17 October 2008): C33.
2008
Smee, Sebastian. “Missed Opportunity from a Master of Empty Space.” Boston Globe (17 October 2008): D6.
2009
Pindar, Ian. "Gloom, Not Doom.” The Guardian (25 April 2009): 8.
2010
Curiger, Bice, and Rachel Whiteread. "In the Studio: Rachel Whiteread." Tate Etc. 20 (Autumn 2010): 60-69, esp. 62.
2010
Donovan, Molly and Rachel Whiteread. “Diamonstein-Spielvogel Lecture Series: Rachel Whiteread.” http://www.nga.gov/content/ngaweb/audio-video/diamonstein-spielvogel/diamonstein-spielvogel-whiteread.html. National Gallery of Art, Washington, 12 October 2008; released 20 July 2010; accessed 18 December 2016.
2010
Hodge, Brooke. “Seeing Things: Welling and Whiteread in L.A.” T Magazine; http://tmagazine.blogs.nytimes.com/2010/02/04/seeing-things-welling-and-whiteread-in-la/; published 4 February 2010; accessed 7 October 2016.
2010
Lawrence, James. “A Substitute for History: The Origins and Exhibition of Rachel Whiteread's 'Untitled (Room 101),' 2003.” The Burlington Magazine vol. 152, no. 1292 (November 2010): 736-743, esp. 739-740; repro. 741.
2010
Muchnic, Suzanne. “Inside Rachel Whiteread’s Drawing Room.” Los Angeles Times; http://articles.latimes.com/2010/feb/07/entertainment/la-ca-whiteread7-2010feb07; published 7 February 2010; accessed 9 October 2016.
2010
Searle, Adrian. “Rachel Whiteread: Through the Eyes of a Child.” The Guardian; https://www.theguardian.com/artanddesign/2010/sep/06/rachel-whiteread-tate-drawings; published 6 September 2010; accessed 28 July 2017.
2010
Walsh, John. “Rachel Whiteread: 'I've done the same thing over and over.'” The Independent; http://www.independent.co.uk/arts-entertainment/art/features/rachel-whiteread-ive-done-the-same-thing-over-and-over-2068718.html; published 3 September 2010; acccessed 5 October 2016.
2011
Cv / Visual Arts Research. "Rachel Whiteread" in Interview-Artists: Patterns of Experience, Recordings 1988-2011. London, 2011, 265-266.
2011
Johnson, Melissa. "Rachel Whiteread: Drawings by Allegra Pesenti." Woman's Art Journal vol. 32, no. 2 (Fall/Winter 2011): 56-57; repro. of drawing study 56.
2011
Sinclair, Iain. “Lights Out for the Territory," in Ruins, edited by Brian Dillon. London and Cambridge, 2011: 156-158, esp. 157.
2011
Spence, Rachel. “Gilding among the Grime.” Financial Times; https://www.ft.com/content/544d6c0a-519f-11e1-a9d7-00144feabdc0; published 11 February 2011; accessed 28 July 2017.
2011
Wilson, Emma. “Museum Spaces in Palliative Art: Mariana Otero's 'Histoire d'un secret.'" L'Esprit Créateur vol. 51, no. 1 (Spring 2011): 112-124, esp. 120-121.
2012
Cooke, Rachel. “Rachel Whiteread: ‘I Couldn’t Say No. It Felt Right to Do This One.’” The Observer; http://www.guardian.co.uk/uk/2012/jul/07/rachel-whiteread-whitechapel-art-interview?newsfeed=true; published 7 July 2012, accessed 1 October 2016.
2012
Forty, Simon. Concrete and Culture. London, 2012: 217.
2012
Jones, Jonathan. “Rachel Whiteread is Britain's Greatest Living Artist.” The Guardian; https://www.theguardian.com/artanddesign/jonathanjonesblog/2012/dec/14/rachel-whiteread-greatest-british-artist; published 14 December 2012; accessed 9 October 2016.
2012
Lawson, Mark. “Rachel Whiteread: 'I'm Not a Joiner-In.'” The Guardian;
https://www.theguardian.com/artanddesign/2012/jun/12/rachel-whiteread-whitechapel-gallery; published 12 June 2012; accessed 28 December 2016.
2012
Luke, Ben. “Glitzing the Gallery.” Evening Standard (31 May 2012): 52.
2012
Pritchard, Stephen. “For the Record.” The Observer (22 July 2012): 36.
2012
"Rachel Whiteread Print – ‘Installation of Ghost 1990-2012.'” New Art Editions; http://www.newarteditions.com/rachel-whiteread-print-installation-of-ghost-1990-2012-chisenhale-gallery/; published 10 October 2012; accessed 22 November 2016.
2012
Whiteread, Rachel. "My Big Art Inspiration: Rachel Whiteread on Piero della Francesca.” The Guardian; https://www.theguardian.com/artanddesign/2012/oct/10/frieze-2012-big-art-inspiration; published 10 October 2012; accessed 28 December 2016.
2012
Wilson, Emma. "Mother" in Love, Mortality, and the Moving Image. London, 2012: 41-62, 163-165, esp. 59-60.
2013
Haavik-MacKinnon, Amy. “A Colony Within: Art and Identity in London's East End since World War II.” Ph. D. diss., Bryn Mawr College, 2013: 12, 99, 131, 143, 208.
2013
Hamilton, Adrian. “A Lesson in How to Think Inside the Box.” The Independent (15 April 2013): 40.
2013
Searle, Adrian. "Journey Through London Subculture is a Ragbag Bursting with Life." The Guardian; https://www.theguardian.com/culture/2013/sep/12/journey-london-subculture-fascinating-ragbag; published 12 September 2013; accessed 28 December 2016.
2013
Warde-Aldam, Digby. “Ghost House.” Apollo; http://www.apollo-magazine.com/house/; published 25 October 2013; accessed 10 October 2016.
2013
Wroe, Nicholas. “Rachel Whiteread: A Life in Art." The Guardian;
https://www.theguardian.com/artanddesign/2013/apr/06/rachel-whiteread-life-in-art; published 6 April 2013; accessed 31 July 2017.
2014
Tan, Adele. “From Political Travesties to Aesthetic Justice: The Ugly in Teo Eng Seng’s D Cells," in Ugliness: The Non-Beautiful in Art and Theory, edited by Andrei Pop and Mechtild Widrich. London and New York, 2014: 141-180, esp. 160-162.
2015
Gebremedhin, Thomas. “Q&A With Artist Rachel Whiteread.” The Wall Street Journal; https://www.wsj.com/articles/q-a-with-artist-rachel-whiteread-1446750543; published 5 November 2015; accessed 18 December 2016.
2015
Gebremedhin, Thomas. “Q & A with Artist Rachel Whiteread.” Wall Street Journal; https://www.wsj.com/articles/q-a-with-artist-rachel-whiteread-1446750543; published 5 November 2015; accessed 28 July 2017.
2015
Rimell, Victoria. The Closure of Space in Roman Poetics. Cambridge, England, 2015: 150-151.
2016
Bowring, Jacky. Melancholy and the Landscape: Locating Sadness, Memory, and Reflection in the Landscape. New York, 2016: 78.
2016
Wong, Peter L. “Casting Call: Spatial Impressions in the Work of Rachel Whiteread.” The Plan Journal (2016): 97-110; repros. 97, 100, 101.