Podcasts about whiteread

The year 1993 marked a watershed for the famous Turner Prize, when it was awarded for the first time to a woman. That artist was Rachel Whiteread and the work was House in East London. In On Space, Whiteread is in conversation with the art historian Briony Fer. Together, they discuss the urges and concerns that underpin Whiteread's work, from seminal works of the 1990s to her more recent projects, such as the site-specific commission unveiled in the summer of 2023 at Palazzo della Ragione in Bergamo, Italy, which responds to the experience and legacy of the COVID-19 pandemic.   [Drawing] is something I've always done in the studio and it's a way of slowing things down, it's a way of being on my own, it's a way of meditating, a way of bringing some colour into my life. – Rachel Whiteread  Rachel Whiteread is a contemporary British artist working across sculpture and drawing, using casting to free her subject matter. Briony Fer is Professor of History of Art at University College and has published extensively on 20th century and contemporary art. Find images of the artwork discussed here. About Frieze Masters Podcast Series two of the Frieze Masters Podcast is now available, bringing you our annual programme of live talks – the Frieze Masters Talks programme – curated by the Director of the National Portrait Gallery, Dr Nicholas Cullinan. These eight conversations between leading artists, writers, museum directors and curators all reflect the ethos of the Frieze Masters fair: looking at the past with a contemporary gaze. The Frieze Masters Talks programme and the Frieze Masters Podcast are brought to you by Frieze in collaboration with dunhill, the foremost British luxury menswear house. This podcast is a Reduced Listening production. The producer was Silvia Malnati and sound engineer was Andy Fell. About Frieze Frieze is the world's leading platform for modern and contemporary art, dedicated to artists, galleries, collectors and art lovers alike. Frieze comprises three magazines –

I am so excited to say that my guest on the GWA Podcast is one of the most pioneering artists alive today, Rachel Whiteread. Working across sculpture and drawing, in mediums ranging from concrete to resin, and in scales that go from miniscule to colossal – from casting domestic hot water bottles to entire immersive libraries – Whiteread is hailed for her poetic, stoic works that draw so intimately on our human experiences. Discussing how her work gives, in her words “authority to forgotten things” Whiteread's sculptures of the past three decades have not only made me rethink sculpture as a form and medium, but they have provided incredible commentary on the changes that have occurred – from the rapidly gentrifying London, the state of political change in 1990s and 2000s Britain, as well as imparting on us a reflection of impermanence and loss. As someone born in the 90s, I grew up with Whiteread's work. Her sculptures were some of the first I ever saw and knew of as a kid and no matter what age we are, one can't help but be utterly stunned and fascinated by them. Famous for casting familiar objects and settings, from houses to the underneath of a chair, baths to doors, Whiteread takes elements we use in our everyday life, transforms them into ghostly replicas, and ultimately makes us rethink their purpose, practical use, and the memory that these objects once held. Raised in London to an artist mother and geography teacher father, who encouraged her to scavenge found objects and “look up” wherever she went, Whiteread studied at Brighton Polytechnic and sculpture, with the late and great Phyllida Barlow, at the Slade School of Fine Art in the 1980s. Her first solo exhibition in 1988, included her first series of cast objects, and in the early 1990s she made headlines with her sculpture House, a monumental, to-scale concrete cast of the inside of a three-storey townhouse. She has since taken over the Tate Modern's Turbine Hall, London's Fourth Plinth, created an extraordinary Holocaust Memorial in Vienna that resembles the shelves of a library with the pages turned outwards, has had major exhibitions and retrospectives all over the world and is still continuing to push forth all boundaries of sculpture in the most exciting and impactful ways. THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Talk Art exclusive! Russell & Robert meet legendary British artist Dame Rachel Whiteread DBE for an intimate studio visit where we view her new works prior to installing her new exhibition ‘Internal Objects’. In Rachel Whiteread’s sculptures and drawings, everyday settings, objects, and surfaces are transformed into ghostly replicas that are eerily familiar. Through casting, she frees her subject matter—from beds, tables, and boxes to water towers and entire houses—from practical use, suggesting a new permanence, imbued with memory. We discuss childhood, experimenting with numerous materials as a student, the joy of sharpening pencils, studying with Richard Wilson, her now iconic artworks 'House' (1993) and 'Ghost' (1990), further early works made by casting a wardrobe and household furniture and her large permanent Holocaust Memorial (2000) in Vienna's Judenplatz. We learn about her ‘Shy Sculpture‘ series installed in unexpected international locations and hear of her experiences during the YBA years, and subsequently being the first woman to win the Turner Prize in 1993.We explore the new works made during lockdown including two large cabin-like structures 'Poltergeist' (2020) and 'Döppelganger' (2020–21) which now form the central part of a new exhibition at Gagosian’s Grosvenor Hill gallery, made of found wood and metal, meticulously overpainted in white household paint. The exhibition also features a new body of sculptures in resin and new works on paper, as well as recent cast sculptures in bronze, similar to works in bronze Whiteread made in 2000–10, and exhibited at a major retrospective at Tate Britain in 2017. Finally, we discover her interest in cinema, admiration for Italian Renaissance painter Piero della Francesca and living with contemporary artworks by Bridget Riley, Christopher Wool, Kiki Smith and Rebecca Warren and why Kenwood House in North London is worth a visit! Rachel Whiteread’s new solo show ‘Internal Objects’ opened this week at Gagosian in London and runs until 6th June 2021. Follow @RachelWhitereadOfficial and @Gagosian on Instagram. View exhibition views at Gagosian's website: https://gagosian.com/exhibitions/2021/rachel-whiteread-internal-objects/ A fully illustrated catalogue, including a short story by John Steinbeck and an essay by Richard Calvocoressi, will be published to accompany the exhibition.For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

“Ghost,” the ambitious sculpture by Rachel Whiteread tells a story of family, memory, impending loss and survival. We'll find out the mind-blowing idea behind it, the tenacity of a young artist and its connection to a rock legend. “Ghost” is part of a survey of Whiteread's work at the Gallery which runs through January 13, 2019. See the artwork at https://www.nga.gov/collection/art-object-page.131285.html SHOW NOTES “A Long Look” theme is “Ascension” by Ron Gelinas. Episode theme is “Sad Ambient Piano” by AShamaluevMusic. Courtesy of Soundcloud. Ghost information Molly Donovan/Rachel Whiteread's Vies Trouvées (Found Lives) (accessed Oct 20, 2018). Rachel Whiteread: “Ghost” (video) Bronze casting (video) Courtesy of the Khan Academy Slow Art Day The post Ghost by Rachel Whiteread appeared first on A Long Look.

1993: Rachel Whiteread remporte le Turner Prize avec House, l'emprunte en béton d'une maison victorienne. Béton, plâtre, résine... au-delà de la simplicité des matériaux, les oeuvres de Whiteread nous apprennent avant tout à regarder l'espace - et les objets- autrement. Plus d'info www.culturealt.com

Two is a famously bad age for toddlers, but it seems to be a prime number for a reading series marking a rite of passage—in this case, the celebration this past Wednesday of the Happy Ending Music and Reading Series’ two-year anniversary at Joe’s Pub.  Host and curator Amanda Stern called the evening “Old Friends/New Friends” and invited as readers Nelly Reifler and A.M. Homes—her first two guests when she started the series at a Chinatown bar seven years ago. Both women read stories that might be called modern fables. Reifler’s “Formica Dinette” was written for the Web site Underwater New York, which collects writing and art inspired by the waterways around New York City (take that, James Cameron). In this darkly comic piece (the actual dinette is somewhere in the East River) the Formica company somehow joins with a survivalist family gearing up for the final battle, and kitchen redesign is linked to the rehabilitation of a possessed parent. A.M. Homes’ untitled piece, written for her friend, the English painter Rachel Whiteread, shares some characteristics with its protagonist, a shapeshifter who treats sick buildings. It is a protean, lyrical work in which the woman moves through her day adapting her body to each circumstance she encounters. And she’s given to randomly sprouting feathers, which I take to be a metaphor for writing itself—the sharp feathery thing that makes its way to the surface and lets the possessor take wing. The Pulitzer Prize-winning novelist Michael Cunningham, who represented “New Friends” on the program, and whose work is often as lyrical and complex as a Beethoven sonata, seemed to be channeling Norman Mailer, who he later cited, in a passage from his new novel “By Nightfall.”  In a glimpse of the early courtship of the married couple whose story the novel tells, Pete Harris is dazzled by the opulent gentility of his girlfriend Rebecca’s Virginia home, and is equally titillated by tales of the sexual adventures of her sister. (Click on the link above to hear selections from the evening’s readings.) Happy Ending’s trademark (other than good literature read in good company) is host Stern’s insistence that her authors take a risk on stage. This trio met the challenge inventively. Reifler translated randomly selected passages of T.S. Eliot’s “The Wasteland” into an imaginary language, Idiga. A.M. Homes courted four volunteers from the audience using “speed dating” techniques from various Internet sites. (Hint, ask outrageous questions designed to reveal your candidate’s personality: “Do you think of chocolate as part of the food triangle?”; “Do you have a flat side?”; If you were a stalker, would you be a good one?”).  Cunningham, whose novel “The Hours” drew on the life of Virginia Woolf, offered a five-minute (all right, eight minute) history of the novel, concluding that rumors of its death have been greatly exaggerated, and quoting Mailer, who once told a panel audience, with characteristic brio, that “The novel will be at your funeral.” Listen to Cunningham’s own version of “Cliff’s Notes” here: The musical guests for the evening were Thomas Bartlett and Sam Amidon, who offered up an eclectic mix of folk tunes, original songs, and pop standards, distinguished by fragile vocals that almost seemed to morph into the accompanying instruments. Hear their first set here:     Bon Mots "Mother may be disoriented mentally and spatially. This is just one more reason we suggest timing Mother’s emergence with the kitchen re-do."—Nelly Reifler, “Formica Dinette”.  "She’s a navigator, a mover, a shifter. She’s flown as a gull over the ocean, she’s dived deep as a whale, she spent an afternoon as a jellyfish, floating, as an evergreen with the breeze tickling her skin…She’s in constant motion, trying to figure out what comes next."—Reader A.M. Homes "If you were young Pete Harris, you felt the modesty of it eroding you, depopulating you. All those little satisfactions, and no big dangerous ones."—Michael Cunningham, “By Nightfall.” "The novel is born as a sort of lower form of entertainment, not unlike 'Real Housewives of Beverly Hills.'”—Michael Cunningham’s history of the novel in five minutes.

Sue Lawley's castaway this week is the artist Rachel Whiteread. She came to public prominence in 1993 with the life-size concrete cast of a Victorian house in East London. The sculpture prompted a public debate about what conceptual art is - the house was destroyed shortly afterwards. At the same time, Whiteread was named winner of the Turner Prize at the age of 30. She had studied sculpture at the Slade School of Fine Art and became one of the generation of Young British Artists, with her work displayed alongside that of Damien Hirst. Her most controversial work - a memorial to 65,000 Austrian Jews who died in the Holocaust - was unveiled in Vienna in 2000 amid heightened political tension. Much of her work focuses on casting hidden spaces, with the inside of a box as the inspiration for the 14,000 boxes which form her latest exhibit, Embankment, on display at Tate Modern, London, until the end of April. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: The Köln Concert Part 1 by Keith Jarrett Book: A reference book on the natural history of the island Luxury: Ink, pen, paper and correction fluid

Sue Lawley's castaway this week is the artist Rachel Whiteread.She came to public prominence in 1993 with the life-size concrete cast of a Victorian house in East London. The sculpture prompted a public debate about what conceptual art is - the house was destroyed shortly afterwards. At the same time, Whiteread was named winner of the Turner Prize at the age of 30. She had studied sculpture at the Slade School of Fine Art and became one of the generation of Young British Artists, with her work displayed alongside that of Damien Hirst. Her most controversial work - a memorial to 65,000 Austrian Jews who died in the Holocaust - was unveiled in Vienna in 2000 amid heightened political tension. Much of her work focuses on casting hidden spaces, with the inside of a box as the inspiration for the 14,000 boxes which form her latest exhibit, Embankment, on display at Tate Modern, London, until the end of April.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: The Köln Concert Part 1 by Keith Jarrett Book: A reference book on the natural history of the island Luxury: Ink, pen, paper and correction fluid