Rachel Whiteread (b. 1963)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Rachel Whiteread (b. 1963)

Untitled (Double)

Rachel Whiteread (b. 1963)
Untitled (Double)
plaster and polystyrene, in two parts
each: 28 ¾ x 44 1/8 x 25 ¼in. (73 x 112 x 64cm.)
Executed in 1998

Anthony D’Offay, London
Private collection
Luhring Augustine, New York.
Private Collection, The Netherlands.
Anon. sale, Christie’s London, 23 October 2005, lot 126.
Acquired at the above sale by the present owner.

C. Mullins, Rachel Whiteread, London 2004, no. 60 (illustrated in colour, p. 84).
A. Pontegnie and M. Godfrey, Cranford Collection, Out of the House, Madrid 2013 (illustrated in colour, pp. 146-147).
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

“My works are very much connected with the body and with the human touch. Whether it’s my touch, or someone else’s, or a whole family’s touch, they’re about a piece of furniture that has been used.”—R. WHITEREAD,quoted in Rachel Whiteread, exh. cat., Tate Gallery, London, 2004, unpaged

Cast from the underside of two adjacent tables, Rachel Whiteread’s pivotal work Untitled (Double) memorialises the negative space of everyday, domestic objects. Mirroring the curved indents of the table undersides and chair legs, Untitled (Double) presents the viewer with ghostly traces of the past function of the tables as a space for human interaction. Isolated and cast in solid white plaster, the sculpture exudes heaviness through its opaque, tomb-like form. Untitled (Double) materialises the intangible and challenges the distinction between presence and absence by reversing positive and negative space.
The notion of casting negative space reflects the key principles of Whiteread’s practice, who was awarded the 1993 Turner Prize for her sculpture, House, a full sized cast of the interior of an entire terraced house in the East End of London. With House, Whiteread challenged traditional notions surrounding human perception of sculptural space. Whiteread’s exploitation of the sculptural and architectural qualities of negative space reflects the reductive visual language of the American Minimalist sculptors such as Richard Serra, Carl Andre and Donald Judd. However in opposition to the Minimalists’ stark geometry and mechanical repetition, Whiteread’s sculptures are concerned with reflecting emotive human qualities. The space underneath a table is familiar on a human physical scale, and relates to the universally familiar social ritual of a shared meal or exchanged conversation. Rejecting the functional qualities of the casted tables, Untitled (Double), renders the space inaccessible and leaves the viewer with a haunting impression of a past human narrative.

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