Rachel Whiteread’s Studio, London, May 1996. Her VO saying that good memorials are difficult to make, and wants hers to be "open ended". Whiteread with piles of books, talking about her decisions on the design. Vienna, June 1996. Whiteread discussing details of the project with Wolfgang Baumüller from Werkstatt Kollerschlag. She voices concerns about the accuracy of the work being done. Whiteread in meeting of concrete manufacturers. VO of Andrea Schlieker, Project Co-ordinator, who says that Whiteread was often able to tell manufacturers and other experts how things could be done. Driving to Kollerschlag’s office. Whiteread is not happy about Baumüller’s role. Whiteread with contractors, drawing designs for the memorial’s doors. ...
For a number of years we have been observing the negative phenomenon of a constant deterioration of ...
The proliferation of memory-sites following the reunification of Germany in 1990 was a testament to ...
The exhibition documents the collaboration between architect and lettering designer in the design of...
Vienna, December 1996. Whiteread and Schlieker working on the text of Whiteread’s presentation on t...
Model of Rachel Whiteread’s Holocaust memorial; VO by Simon Wiesenthal describes it as being a memor...
Model of Rachel Whiteread’s Holocaust memorial; VO by Simon Wiesenthal describes it as being a memor...
London, February 1997. Boxes of books. Whiteread filling shelves. Her VO says she no longer has a...
The Tate, Liverpool, September 1996. Assembling Whiteread’s work Shedding Life (1996). Lord Gowrie...
Silent Witness examines the British sculptor Rachel Whiteread’s Nameless Library, (1996-2000), a hol...
At the beginning of 1998 the final round of the 1997 Memorial for the Murdered Jews of Europe artist...
The following paper will elaborate on the basis of the memorial by Rachel Whiteread in Vienna, Austr...
Writing the Monument : Site, Memory, Critique. As contemporary monument-makers begin to challenge ...
With a view to publication we reformatted our project Trace as a picture essay. Here we argue that o...
The British sculptor Rachel Whiteread (b.1963) employs her signature casting practice to render nega...
Experts have been wondering to what extent the work of architects in monument restoration requires c...
For a number of years we have been observing the negative phenomenon of a constant deterioration of ...
The proliferation of memory-sites following the reunification of Germany in 1990 was a testament to ...
The exhibition documents the collaboration between architect and lettering designer in the design of...
Vienna, December 1996. Whiteread and Schlieker working on the text of Whiteread’s presentation on t...
Model of Rachel Whiteread’s Holocaust memorial; VO by Simon Wiesenthal describes it as being a memor...
Model of Rachel Whiteread’s Holocaust memorial; VO by Simon Wiesenthal describes it as being a memor...
London, February 1997. Boxes of books. Whiteread filling shelves. Her VO says she no longer has a...
The Tate, Liverpool, September 1996. Assembling Whiteread’s work Shedding Life (1996). Lord Gowrie...
Silent Witness examines the British sculptor Rachel Whiteread’s Nameless Library, (1996-2000), a hol...
At the beginning of 1998 the final round of the 1997 Memorial for the Murdered Jews of Europe artist...
The following paper will elaborate on the basis of the memorial by Rachel Whiteread in Vienna, Austr...
Writing the Monument : Site, Memory, Critique. As contemporary monument-makers begin to challenge ...
With a view to publication we reformatted our project Trace as a picture essay. Here we argue that o...
The British sculptor Rachel Whiteread (b.1963) employs her signature casting practice to render nega...
Experts have been wondering to what extent the work of architects in monument restoration requires c...
For a number of years we have been observing the negative phenomenon of a constant deterioration of ...
The proliferation of memory-sites following the reunification of Germany in 1990 was a testament to ...
The exhibition documents the collaboration between architect and lettering designer in the design of...