Since achieving an international reputation in the early 1990s with casts of empty architectural spaces such as House and Ghost, Rachel Whiteread has gone on making complex, subtle and often provocative works that consistently grab public attention.
In pieces such as Water Tower in New York and her Holocaust Memorial in Vienna, Whiteread's work is at once immensely reflective, both in its reference to history and to social or political situations of the present, and aware of its place within art history.
In The Art of Rachel Whiteread a group of leading critics from museums and universities in Europe and North America examine the full range of Whiteread's work, from the early domestic pieces of the late 1980s, through to her most recent public art projects such as Monument and Room 101.
These essays examine both the art historical legacy of post-minimalism within which Whiteread works and the historical commentaries that her site specific projects engender, and they suggest new critical approaches to what is likely to be one of the most enduring artistic projects of our time.
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