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Rachel Whiteread, House (1993). Whiteread had previously exhibited her sculpture Ghost, a plaster cast of the four living room walls inside of an abandoned Victorian townhouse, at the Chisenhale Gallery in 1990. Whiteread was one of the Young British Artists who exhibited at the Royal Academy 's Sensation exhibition in 1997. But the implacable opposition of Bow Neighbourhood Council - whose land it occupied and whose leader, Eric Flounders, had publicly reviled the sculpture as 'utter rubbish' and 'a little entertainment for the gallery-going classes of Hampstead' - sealed its fate. It began, an idea without a name, in the quiet of Rachel Whiteread's studio in East London. After Whiteread took possession of the building in August 1993, new foundations were created to support the new concrete. Indeed, Whiteread and I had looked at several other terraced houses in North and East London through 1992 without success. Dove sta il minimalismo realista di Rachel Whiteread. The other houses in the terrace had already been demolished by Tower Hamlets London Borough Council. It satisfies contemplative as well as aesthetic taste. She donated half of the money to the housing charity Shelter, and the remainder in grants to young artists. © The Artangel Trust. Eric Flounders, Chair of Bow Parks Board (to the letters page), The Independent, 17 November 1993, In the East End of London, Rachel Whiteread's architectural sculpture, House, has been voted into destruction. House (1993), Rachel Whiteread © Rachel Whiteread / Photo Sue Omerod Almost as soon as its shell was peeled off, House stood at the centre of a national debate that had no middle ground. These elegant noticeboards are a convenient way of mixing a self-serving rhetoric with the pieties of historical revisionism: we are informed that the park 'suffered from under-investment and remote management' at the hands of the GLC and the LCC. Whiteread has said of this sculpture that she was trying to "mummify the air in the room," hence the title. House became a popular visitor attraction, with thousands of visitors per day. Rachel Whiteread – Ghost, 1990, plaster on steel frame. In the late 19th century, Grove Road, where House would be constructed, was a typical row of terraced houses of the kind built throughout the East End of London. [6] The area was in the middle of an extensive redevelopment, and the local authorities decided to demolish the terrace to create a new park beside Roman Road and Grove Road. (above) Rachel Whiteread taking questions from the press. Rachel è nata nel 1963 a Londra , In Inghilterra . A multi-million pound restoration programme initiated by Bow Neighbourhood - and funded by a list of private sector benefactors and Euro charities that must have kept the sign-painters busy for a fortnight - made this a fit location in which to parade that most precious of icons, Elizabeth the Queen Mother, on her ninetieth birthday. House could have been made elsewhere, in a different place, at a different time; perhaps with another cast list and chorus. Rachel Whiteread (right, pictured by Nicholas Turpin inside ‘House’ before it was sealed) was born in London in 1963 and studied at Brighton and the Slade. House was completed on October 25 1993. Photograph: John Davies. Rachel Whiteread is one of my favorite artists. Without commission, without cost and without a team of town planners, one of the most significant public sculptures of recent years has simply emerged in the council's brand new park. She takes a unique look at the world by examining the spaces left behind, such as the underside of a chair and creating artwork around that. House is a modern masterpiece. It must delight the Parks and Amenities Committee of the Tower Hamlets Council to know that the Royal Hotel survives, freshly painted, hung with flower baskets, obediently empathetic with the royal blue and gold colour scheme that makes the whole zone appear, to the migrant gunning for docklands, like a travelogue down the flank of an upmarket cigarette packet: railings, ironwork gates with chamberpot crowns and gilded lilies, litter bins, plaques offering soundbites of PC antiquarianism. The chosen image is a frame of film, made over, about to flicker into life (like the honky-tonk interlude in Butch Cassidy and the Sundance Kid). Image: Rachel Whiteread, House (1993). [8] Being so heavy, the work was exhibited at the original site of the house, on the edge of a new public park, Wennington Green, and beside Grove Road. The work won Whiteread the Turner Prize for best young British artist and the K Foundation art award for the worst British artist in November 1993.[1]. Photograph: John Davies. That hopes and dreams and indeed art itself should emerge from these haphazard shelters is testimony to the human spirit, a worthy subject for a remarkable monument. A cast of the commonplace, it reverses the spatial relationships we are used to, but as soon as one has filed it under 'abstract form' out come all the evocative details calling for a naturalistic viewing mode and then the endless ripples of association of 'home' and of 'house' and of 'housing policy' and of 'lives'. A motion for its retention was moved in the House of Commons by the local Bow and Poplar member of parliament Mildred Gordon in November 1993. To visit House … It is to be taken to another world, like and yet completely unlike this one: the world of the photographic negative, with its phantom-like reversals of known fact; the world that Alice enters through her looking glass; the world that lurks behind the molten silver mirror in Cocteau's Orphee, where normal relations between objects have been summarily suspended. Paperback The Houseless Park has now had over 20 years to bed in to the community’s psyche and flourish naturally. The final houses were demolished in early 1993. 'What did your street look like in the past?' The casting took place from August to October 1993, and the work was opened to the public on 25 October 1993. One of the figures assisting in the construction of House was Michael Landy, the artist who created Breakdown (2001). She was the first woman to win the annual Turner Prize in 1993. Whiteread was one of the Young British Artists who exhibited at the Royal Academy's Sensation exhibition in 1997. [Joe] Cullen, not a man of many words, seemed somewhat taken aback by the sudden interest shown in his attitudes to modern art. The life-sized replica of the interior of a condemned terraced house in London’s East End was made by spraying liquid concrete into the building’s empty shell before its external walls were removed. She was the first woman to win the annual Turner Prize in 1993. A documentary tracing the making of Rachel Whiteread's House, and its demolition. Rachel Whiteread first won acclaim for her sculpture of a house’s interior. Photographs and working drawings chart the house's life from construction to demolition. There are now so many of these plaques that, peeping through the fence, it looks like they've let in a plague of estate agents to sell off Victoria Park in strips. From that moment, House was of a specific place and a particular time. Virginia Shore, the curator for the London embassy project who worked with Whiteread to realize this site-specific commission, reflects on the history of prefabricated housing, the power of “home,” and the connecting force of art. A stroller in a straw boater pauses at the kerbside. Rachel Whiteread was approached by two locals who had lived in the now demolished terrace for 40 years and thanked for 'making their memories real'. House always had the potential to be a contentious work of art. Image: Joe Cullen of Demo One Ltd (Demolition and Dismantling Engineers) atop his digger begins demolition of House after a significant press campaign failed to preserve the sculpture (1994). (left) Rachel Whiteread inside House during construction. Rachel Whiteread’s US Embassy (Flat pack house) was unveiled in its permanent home at the new American embassy in Nine Elms, London, in early 2018. Born in London in 1963 to Thomas Whiteread, a Labour-supporting teacher, and Patricia, an artist, Rachel Whiteread grew up surrounded by politics and art from a young age. This early day motion 109 was signed in the United Kingdom's parliamentary House of Commons on 25 November 1993 by MPs including Ken Livingston (future Mayor of London), Diane Abbott (still MP for Hackney North and Stoke Newington) and Jeremy Corbyn (future leader of the Labour party in opposition). — Tim Neilson (to the letters page), The Independent, 16 November 1993, Sir: We will be brave, Mr Neilson (letter, 16 November), we will be brave! This is a monument to the house that refused to become a park. In 1993 she won the Turner Prize for her work "House" a casting of the interior of a building where the insides and secrets were laid bare, and set on the site where the house once stood. Whiteread won the Turner Prize for The House, making her the first woman to receive this prestigious prize. Like many public sculptures and memorials, House was a cast. Once seen, it makes you look at all houses in a new way. It began, an idea without a name, in the quiet of Rachel Whiteread's studio in East London. Virginia Shore, the curator for the London embassy project who worked with Whiteread to realize this site-specific commission, reflects on the history of prefabricated housing, the power of “home,” and the connecting force of art. The work was a concrete cast of the inside of the entire three-story house, basement, ground floor and first floor, including stairs and bay windows, but not the roof space. Dame Rachel Whiteread (born 20 April 1963) is an English artist who primarily produces sculptures, which typically take the form of casts. In 2008, the artist presented a new, larger version of her acclaimed installation Village, bringing together more than 200 dollhouses that the artist has collected over the past 20 years, for the acclaimed exhibition ‘Psycho Buildings’ at the Hayward gallery. Rachel Whiteread. Dame Rachel Whiteread DBE (born 20 April 1963) is an English artist who primarily produces sculptures, which typically take the form of casts. Traspone il vuoto in pieno e il pieno in vuoto. The builders left through a hole in the roof which was then sealed, and the external brick-built structure was removed. All rights reserved. (A slightly odd choice given that the hotel is in South Hackney and barely ducks under the cut-off line at the top of the map.) But in my first conversations with Rachel Whiteread in the summer of 1991, it was impossible to imagine that it would be quite as exposed, quite as contentious as things turned out; and that its transition from private projection to public phenomenon would be so dramatic and so quick. Artangel 31 Eyre Street HillLondon EC1R 5EWUnited KingdomTelephone number:+44 (0)20 7713 1400E-mail address:info@artangel.org.uk. — Andrew Graham-Dixon, The Independent, January 14, 1994. She studied painting at Brighton Polytechnic and sculpture at the Slade School of Fine Art. Si distingue dai suoi contemporanei grazi… Rachel Whiteread – House (1993) Documentary (26 mins) The exhibition space itself was dominated by two huge pieces, Untitled (Stairs) and Untitled (Room 101) with numerous other pieces dotted around the vast open space however it is Untitled (Room 101) which grabs your … ‘In … A psychogeographical response by Iain Sinclair, A motion against the demolition of House by Tower Hamlets Council. The claw scraped and scratched and battered away and in a surprisingly short time, Ms Whiteread's mute and cenotaph-like creation was unrecognisable. Every artefact must align itself with the wacky concept of the 'Bow Heritage Trail', a conceit which it is impossible to imagine anyone actually walking, as it meanders from the dog plinths to the 'Top o' the Morning' public house and its gleeful commemoration of the First Railway Murder. Dame Rachel Whiteread (born 20 April 1963) is an English artist who primarily produces sculptures, which typically take the form of casts. Whiteread, whose mother was also an artist, grew up in Ilford and Image: Coating the concrete interior. He had come to bury House, not to praise it. Rachel Whiteread – House, 1993, concrete Material & How it was made Set in East London, House, encompassed the interior of a home that had been cast in concrete. It is a once-in-a-lifetime gift that a thousand towns and cities across Europe would seize readily. Well, I probably will cry, but I'll do it on my own. Further assistance on this project was received by The Henry Moore Foundation and the London Arts Board. [5], By the 1990s, the area had a diverse social mix, with churches from three different denominations nearby. Despite an early rebellion against her mother’s line of work, by her late teens Whiteread was set on following in her footsteps. The work was commissioned by Artangel, and sponsored by Beck's Beer and Tarmac Structural Repairs. Image creative commons The House by Rachel Whiteread. She won the Turner Prize in 1993 and represented Great Britain at the Venice Biennale in 1997. Another in Hackney was knocked down before we could make a proposal to the owner. [10] However, it was described as a monstrosity by Eric Flounders, the chair of the local council. [...] On Tuesday night the Bow standing neighbourhood committee voted to pull House down. Rachel Whiteread ha raggiunto grande popolarità grazie alla sua prima commissione pubblica ‘House‘ nella East End di Londra nel 1993. More than 100,000 people had seen House during its 10-week tenure of a patch of scrubby parkland at the junction of Roman Road and Grove Road in London E3, and a vigorous campaign - conducted largely within the pages of this newspaper - had been mounted to save it. Rachel Whiteread is a sculpture artist and she usually uses cast for her creation. Finally, after months of private persuasion and occasional public meetings, the councillors of Bow Neighbourhood voted by a small majority to give a temporary lease on 193 Grove Road, one of the few remaining houses in what had once been a Victorian terrace. — Lynn MacRitchie, Financial Times, 6 November 1993, I do not recall seeing a more ambitious piece of public sculpture in London than Rachel Whiteread's House. He was determined to expunge it from Tower Hamlets at the earliest moment. Find out more: Continue reading to see more photographs of the construction of House, Andrew Graham-Dixon, The Independent, January 14, 1994, Join Artangel and support extraordinary new art. Photograph: Stephen White. Photograph: Edward Woodman. Continue reading to see more photographs of the construction of House. — Kester Rattenbury, Building Design, 29 October 1993, Standing revealed before us, our homes, secured at such cost, are proved to be poor crooked things, their mean interiors measuring out our days. Local builders have called the sculpture 'amazing', people living across the road have said it is 'impressive' and 'wonderful''; a local resident said on Thursday that 'it should stay for future generations to remember what it was like here'. Mr Flounders had huffed and he had puffed, and by 11am yesterday he had, finally, blown House down. The local buildings comprised a mixture of Victorian terraces and villas, with high-rise blocks of flats from the 1960s and later, and the development at Canary Wharf was visible in the distance. It is simply not a case of 'them' against 'us', local against national. 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