Rachel Whiteread, "Untitled (Library)" (1999) installed at Hirshhorn. Dental plaster from polystyrene mold and steel mounting.
Compare Richard Artschwager’s 2008 Book in Formica and wood, wherein he simplifies the book to its iconic shape.
Or, compare Victor Schrager’s Composition as Explanation series, which pictures unlabeled books as color compositions.
Or, compare Victor Schrager’s Composition as Explanation series, which pictures unlabeled books as color compositions.
Or compare the image of books from Kirby Pilcher’s Room Temperature series. This photograph of unidentified books at a windowsill is evocative and the most located of the works discussed in this show–a certain desk, not “a desk,” and certain floral curtains, not “curtains.” Kirby depicts the singular–a small set of books in a specific place, where Whiteread casts the inparticular and sometimes imposing form of the library bookshelf.
Negative charge. A domestic light switch box, cast inversely in delicate plaster, becomes an impenetrable source of embalmed energy. An early edition by Rachel Whiteread in plaster and brass. Signed with initials by Rachel Whiteread, dated 1994 and numbered on the reverse of the archival box. Published by Parkett Publishing, Zurich.
Negative charge. A domestic light switch box, cast inversely in delicate plaster, becomes an impenetrable source of embalmed energy. An early edition by Rachel Whiteread in plaster and brass. Signed with initials by Rachel Whiteread, dated 1994 and numbered on the reverse of the archival box. Published by Parkett Publishing, Zurich.
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