Sculpture: A Dialogue between Space and Matter Room II: to create 140018389 Word count: 4254
Synopsys: The absence, the lack of something create a dynamic feeling; the absence is restless. From Bruce Naumann to Anish Kapoor, artists have looked towards this connection between sculpture and space through the antithetical notions of presence and absence. The aim of this exhibition is to prompt the audience into questioning what space is: if multiple spaces can occupy the same room and the part that sculpture plays in this experience. Absence is a silent monument to presence; negative spaces, the reflections in the mirrors and cold voids create, distort and redefine our perception of what is simply solid matter.
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Introduction: The exhibition that we, as a group, have been preparing during this month focuses on the various aspects of absence and its interaction with the matter which is crystallized in the medium of sculpture. Empty spaces, voids and reflections interact with the visitors in the three rooms of the exhibition. The names of the rooms have been chosen in connection with the effect that the absence produces on the objects exhibited; the verbs to distort, to create and to redefine emphasise the ways in which the voids form the matter.
Room 2 is dedicated to the aspect of creation and to the perception of void as a creative force. The absent, negative space in the four objects exhibited can be perceived almost as a physical value, or in other words have meta-physical qualities. Some of objects chosen for this room enclose voids within themselves: the space created by Richard Serra in his One Ton Prop (House of Cards), 1969 is very different in character from the one in David Nash’s Picture of the Inside Space, 1997; but despite their differences both of them work exactly in the same way – the empty spaces supplement the physical matter, enveloping it and serving as an integral part in the formation of the feeling of materiality in these sculptures.
But sometimes the difference between the positive and negative spaces, the border between the outside and inside becomes blurry. In this case the roles can switch and what is traditionally perceived as a material solid substance can be presented by its very absence as it happens with House, 1993 created by Rachel Whiteread. In this object the sculptor created the exact replica, of the air inside the house, which was demolished after and the resulting cast of the negative form became some sort of memorial to the destructed architectural form. This object challenges the exhibition visitor with the ques-
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tion what should be considered as a sculpture in this case: the materialised absence or the invisible presence – the sculpture dissolved in the air.
The object by Yasuki Onishi – Reverse of volume RG, 2014 fits in this discourse as well. The ghost-like sculpture is suspended to the gallery ceiling, the negative space underneath reveals some natural landscape forms. These forms seem to have almost a physical quality, but in the same time they can be entered by the visitor – the plastic half-transparent membrane forms an intimate cave-like space.
All those illusions, as well as the mirrors and video installations exhibited in two other rooms put the visitor into questioning what the nature of our perception of materiality is and the role which absence plays in it.
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Objects create Voids: The choice of the verbs to distort, to create, to redefine as the room titles was a collective but an unconscious curatorial decision, which appeared on the early stages of work. But, as happens with most of the unconscious decisions, lately we found it very successful because it appeared to be deeply relevant to the main ideas and thoughts on the nature of the post-war sculpture.
The sculpture of this period was declared by Clement Greenberg as ‘the representative visual art of modernism.’ In contrast with architecture and paint1 Clement Greenberg, The Collected Essays and Criticism, (Chicago: University of Chicago Press, 1986-1993) p. 61
ing, which had to bear other functions apart from the aesthetic one, sculptures were considered as self-sufficient art and therefore the ‘the positivist aspects of the modernist “aesthetic”’ had the possibility to fully realise in it.[1] Its physical independence allowed sculpture to be a thing in itself and to represent and commemorate different aspects of the modern being.
On the other hand, the medium of sculpture is closely tied with the verbal linguistic form; the sculptural objects can often be considered as the monuments to an action. Rosalind Krauss reflects on the links that connect the notions of sculpture and monument in her essay Sculpture in the Expanded 2 Rosalind Krauss, “Sculpture in the Expanded Field”, October files, vol. 8, (Cambridge, Mass.: MIT Press, Spring 1979) p. 33
Field, 1978. Her argument is that the logic of the sculpture is inseparable from the logic of the monument because the sculpture is a “commemorative representation”[2] of the particular place and event – in other worlds of the action and the affect that it created. The sculpture monumentalises the action; the verb defines the action.
In 1967, Richard Serra created the Verb list which included more than a hundred verbs and in essence comprised a list of actions which could be taken with a solid material. In her later essay from 1981 Rosalind Krauss emphasises
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3 Rosalind Krauss, Passages in Modern Sculpture (Cambridge Mass.; London: MIT Press, 1981), p. 276
the importance of Richard Serra’s document and it is not a sculptor’s notebook with an “inventory of forms” but a list “of behavioral attitudes”.[3]
Serra’s Verb list included the verb to prop which was deeply meaningful for the artist. It can be traced from 1965 when the artist, fascinated with the works of Constantin Brancusi, visited his reconstructed studio in the Museé National d’Art Moderne in Paris during his one year long trip to Paris on a Yale Universi-
4 Rosalind Krauss, “Sense and Sensibility: Reflections on Post - ‘60-s Sculpture”, Artforum, vol.12, no. 3, November 1973, p. 41
ty Scholarship. There he has seen Brancusi’s Colonne sans fin (Endless column) of 1937-1938. This is an incredibly long object without a defined beginning or an end which according to Brancusi could prop up the sky. [4]
The Series To Prop by Richard Serra embodies the internal contradiction, the duality of static-dynamic. Structures created under this name give the feeling of heaviness but in the same time of the instability and temporality. All of them were made of lead, a material which gives a sense of weight and durability. Richard Serra’s interest in lead as a material also roots in his early art, since the very first works he has been interested in are its industrial, rough appearance. In the 1960s he made a series of experiments, exploring the possibilities of this material melting and splashing it to a studio wall in the Leo Castelli Warehouse (Splashing, 1968), tearing it into long ribbons (Tearing lead from 1:00 to 1:46, 1968) and twisting it (Double roll, 1968; Bullet, 1968;Thirty-five Feet of Lead Rolled Up, 1969).
The usage of the industrial materials was the part of Serra’s artistic language, which always balanced between the sculptural and the constructive practices. Hal Foster describes it in his book Art since 1900: Modernism, Antimodernism, Postmodernism:
Thus he foregrounded particular processes of engineering, fabricating and rigging,
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One Ton Prop (House of Cards). 1969 Lead Four plates, each 48 x 48 x 1� (121.9 x 121.9 x 2.5 cm)
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5 Hal Foster, Art since 1900: Modernism, Antimodernism, Postmodernism (London, New York: Thames & Hudson, 2004) p.536
especially in his ‘prop’ pieces, as a means not only to disclose the inherent properties of materials such as lead but also to demonstrate ‘the axiomatic principles’ of sculpture as building. [5]
In the series To Prop, sculptures have been installed directly on the gallery floor (some, however, also used the surface of the wall); they avoided the usage of plinth. Their elements were also not connected to each other in any mechanical way – they were independent constructions which the artist
6 Rosalind Krauss, “Richard Serra: Sculpture”, October files 1: Richard Serra, (Cambridge, Mass.: MIT Press, 2000) p. 107
brought in an equilibrium using the principles of the gravity. Stability in these works was “achieved through the conflict and balance of forces.” [6]
The exposition in the Room 2 starts with one of the most famous works from this series: One Ton Prop (House of Cards) created in 1969. It is a semiclosed geometrical form, consisting of four five-hundred-pound lead plates propped against each other in order to remain in stability. The artist plays around the simplicity of the cubic form, which was so popular between the
7 Rosalind Krauss, Richard Serra: Sculpture, (New York: Museum of Modern Art, 1986), p.22
Minimalist artists such as Donald Judd and Tony Smith, introducing an element of an instable enclosed space. [7]
The space inside the House of Cards is half-transparent, half-open and half-penetrable. It does not feel alienated and in some ways is inviting to squeeze or to stay inside. In his later works, Richard Serra developed this idea of the half-open internal space to the series of corner-like (Circuit 1972, T.W.U. 1980) and corridor-like spaces (Clara-Clara 1983, Double Torqued Ellipse, 1997, etc.), this shift in his artistic interests can be traced in the following quote from his interview:
What bothered me about the Props, which were made of lead, was that you could walk all around them but you couldn’t move into their physical space. I want-
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8 Richard Serra, Writings, Interviews, (Chicago, London: University of Chicago Press, 1994), p. 32
ed to increase the scale to be able to walk into, through and around them. [8]
But in the case of House of Cards it is still an enclosed space. It can be compared to a trap because its physical stability is illusionary and in Oliver Wick’s words “a slight push against one of the plates and the balanced struc-
9 Oliver Wick, Constantin Brancusi and Richard Serra: a Handbook of Possibilities, (Riehen, Basel: Beyeler Museum AG; Ostfildern, Germany: Hatje Cantz, 2011), p.160
ture would collapse in upon itself.” [9]
The character of the void in Picture of the inside space by David Nash is totally different. If Richard Serra’s piece can be compared to a trap, than the one by David Nash can be compared to a shelter. Its simple triangular shape can be read as a metaphor linking to an image of a hut or a cave. As well as Richard Serra’s piece it is half-open and inviting. The piece created by David Nash also bears this idea of the empty interior space. This idea appears in Passages in Modern Sculpture by Rosalind Krauss. In this book she emphasises the “symbolic importance of a central, interior space from which the energy of living
10 Rosalind Krauss, Passages in Modern Sculpture (Cambridge Mass.; London: MIT Press, 1981) p. 253
matter derives and from which its organization develops as do the concentric rings that annually build outward from the tree trunk’s core” [10] , in other words of the central void that became an important element for modern sculpture.
David Nash used wood in his sculpture, which can be considered an antithetical material to Serra’s lead plates. He has shown his interest for this material from the very first experiments with the waste wood in 1970s and made it as a part of his signature artistic style. Wood is a natural material as it is soft but resilient, which allowed the artist to use the techniques of carving and 11 Norbert Lynton, David Nash, (London, New York: Thames & Hudson, 2007), p. 38
chiselling in order to receive the very raw and rough-looking surface. The wood also changes with time which introduces the possibility to experiment with the processes of cracking and drying. [11] At the same time the artist started making casual experiments with fire, trying to control it and use it as a creative tool for finishing or shaping his
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Picture of the inside space. 1997 Oak 67 x 35 cm
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12 Norbert Lynton, David Nash, (London, New York: Thames & Hudson, 2007), p. 114
objects. [12] The sources for the aesthetic language can be found from his trip to Paris, where he (as well as Richard Serra) was deeply impressed by Constantin Brancusi’s reconstructed studio at the Museé d’Art Moderne and from his trip
13 Julian Andrews, The Sculpture of David Nash, (London, Berkley: University of California Press, 1999), p.14,16
to Australia, where he discovered a number of half-burnt trees in Tasmania and found inspiration in their natural-unnatural appearance. It is probable that the artist’s interest in Surrealist art [13] can be explained by his experiments with the basic geometric shapes [14] and the use of black colour.
14 Norbert Lynton, David Nash, (London, New York: Thames & Hudson, 2007), p. 161
David Nash used the charring process in many of his works, as well as in the Picture of the inside space. Norbert Lynton, the author of the David Nash monograph describes it as a process for building the artist’s language:
In addition to the effects already mentioned, which often give a haunting and evocative atmosphere to the pieces (they even retain the smell of charring for a long time), Nash is also interested in the effect and impact of black as a colour.
15 Norbert Lynton, David Nash, (London, New York: Thames & Hudson, 2007), p. 119
In spite of many years working exclusively with natural wood, almost in monochrome as it were, he has never lost his fascination with the problem how to use and present colour in space. [15]
The dark triangular void in the Picture of the inside space tempts the viewer because of its soft and secure darkness. The object may push the visitor into the dreams about the mystic forest with the old hollow trees. Norbert Lynton in his text makes the point that the artist was aware of lithography by 16 Norbert Lynton, David Nash, (London, New York: Thames & Hudson, 2007), p. 117
Odilon Redon “in which the gaze of the viewer is drawn inexorably to the dark space inside the hollow tree.” [16]
Despite the differences between the two works described, it is also possible to find some intertwines between the works of Richard Serra and David
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Nash. These links have no direct evidence in the academic sources and can be considered only in the context of this part of the exposition, as an additional food for thought. For example, David Nash used the chain saw in his experiments with the wood. Richard Serra was interested in more industrial materials such as lead and rubber. But in the one of his works, which he created in 1970, Serra’s artistic language comes in the close proximity with the aesthetics that David Nash used in his works Sawing device: Base Plate Measure. This consists of four massive logs cut from a chain saw and left on the gallery floor.
On the other hand, the Picture of the inside space is very similar to the early works of Richard Serra’s verb series. To Lift which was created in the 1967 is a physical representation of the simple action, executed in a piece of the discarded vulcanized rubber, discovered in a warehouse in Lower Manhattan. The very simple form, found by an artist, reflects the simplicity of an action implemented towards the heavy but flexible material. The resulting internal dark space is different in scale, but still structurally similar to David Nash’s Picture of the inside space.
These comparisons, of course, can be made only with some level of abstraction. It is very unlikely that these works could have influenced each other, but in the context of Serra, Nash’s juxtaposition can become an interesting observation.
Both of the artworks described host the voids within themselves. The juxtaposition of these two objects provokes the visitor to trace the contrasts in materials, in character and in colour. Those antagonisms in their turn underline the similarities, which force the visitor to reflect on the nature of void as a space-shaping element.
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Voids create Objects: The exhibited pieces naturally form two groups. The first one, described in a previous chapter combines two objects, which interact with the inner voids. The other two: House, 1993 by Rachel Whiteread and Reverse of the volume RG, 2014 by Yasuki Onishi play around with the surrounding empty space.
The House is a large-scale sculptural object which was completed on October 25th 1993 and won a Turner Prize for an artist but at the same time caused massive public resonance. The original piece was located in a typical East London neighbourhood. The Victorian terraced house, chosen by an artist was supposed to be demolished by the local authorities. Rachel Whiteread set herself a goal to make a cast of the internal space, in order to commemorate the actual loss of the physical building.
The artist developed the technique of casting from the beginning of her career, experimenting in the same time with the different materials such as 17 Jon Bird, “Dolce Domum”, Rachel Whiteread: House, (London: Phaidon in association with Artangel, 1995), p. 100
18 Fiona Bradley, “Introduction”, Rachel Whiteread: Shedding Life (London: Tate Gallery Publishing, 1996) p. 8
rubber, plaster and latex for her casts. The technique that she has adopted is often linked [17] with the iconic work of Bruce Nauman – A cast of space under my chair, 1965-8. This idea of solidifying the empty, negative space that surrounds us in everyday life was so simple and bold that it pushed Rachel Whiteread to the whole series of experiments with the mundane objects, the objects that Fiona Bradley describes as “landmarks of human experience”. [18] Closet, 1988 was one of the first experiments in this field. The artist herself describes the technique in one of the interviews:
I simply found a wardrobe that was familiar, somehow rooted in my childhood. I stripped the interior to its bare minimum, turned it on its back, drilled some holes
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19 Rachel Whiteread, “Tumults of Memory”, Rachel Whiteread: Skulpturen/Sculptures (exh. cat.), Kunsthalle Basel, ICA Philadelphia, ICA Boston, 1995, p.12 20 Bartolomeu Mari, “The Art of the Intangable”, Rachel Whiteread: Shedding Life (London: Tate Gallery Publishing, 1996) p.61 21 Fiona Bradley, “Introduction”, Rachel Whiteread: Shedding Life (London: Tate Gallery Publishing, 1996) p. 17
22 Stuart Morgan, “Rachel Whiteread”, Rachel Whiteread: Shedding Life (London: Tate Gallery Publishing, 1996) p. 19 23 Simon Watney, “On Housed, Iconoclasm & Iconophobia”, Rachel Whiteread: House, (London: Phaidon in association with Artangel, 1995), p. 109 24 Richard Shone, “A cast in time”, Rachel Whiteread: House, (London: Phaidon in association with Artangel, 1995), p. 52
in the doors and filled it with plaster until it overflowed. After the curing process the wooden wardrobe was discarded and I was left with the perfect replica of the inside. [19]
Bartolomeu Mari in his essay The Art of the Intangible describes Whiteread’s
artistic language as an “<…> ironic and successful combination of particular Anglo-Saxon sculptural traditions (Minimalism and Pop-Art) with the fundamentally classical, even ancient, technique of casting.” [20] She focuses not on the object itself but on the invisible space enclosed in it, and the resulting pieces are shadows and reminders of the absent objects:
Whiteread’s sculptures, slipping in and out of a relationship with ‘real’ objects from our experience and from our memory, give us back our own image. They symbolize objects which symbolize us. [21]
Some of the critics, who wrote about Whiteread’s works were emphasising the sense of melancholy and nostalgia they have revealed. Stuart Morgan, in his essay Rachel Whiteread, describes the casts as sterile and silent works that in their resulting form remind us of the fate of the human body. [22] Simon Watney makes the similar argument in his essay On Housed, Iconoclasm & Iconophobia: “Rachel Whiteread’s art is intrinsically melancholic. By its very nature it preserves and holds out the image of the lost object, in simulacrum. It cannot let go, or forget.” [23]
These connections which various researchers discovered are not accidental. The technique of casting itself is closely connected with the ancient funerary practices: “The funerary monuments of Roman nobles and citizens often included a death mask to stand above some suitable inscription, for the sake of memory and posterity.” [24]
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House. 1993 Concrete Destroyed
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25 Rosalind Krauss, “X Marks the Spot”, Rachel Whiteread: Shedding Life (London: Tate Gallery Publishing, 1996) p. 74
Rosalind Krauss was also comparing the House to the death mask[25], linking the sculpture with the notion of death in the same way as Roland Barthes considered photography:
For Death must be somewhere in a society; if it is no longer (or less intensely) in 26 Roland Barthes, Camera Lucida, trans. Richard Howard, London, 1982, section 38, p.93
religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life. [26]
Richard Shone develops this idea in his essay A Cast in Time: “House was the death mask of a particular space and a finite period of time. It was the solidifi27 Richard Shone, “A cast in time”, Rachel Whiteread: House, (London: Phaidon in association with Artangel, 1995), p. 52
cation of memory, anonymous history made palpable.” [27]
The House, chosen for this exhibition, so different in scale from Whiteread’s earlier works such as Closet 1988 or Untitled (Bath) 1990, carries the function that Roland Barthes attributed to photography. It is solidifies the empty space of memory, the place that used to be home for somebody. In his book The Poetics of Space Gaston Bachelard described house as the place of absolute peacefulness and intimacy: “For our house is our corner of the world <…>
28 Gaston Bachellard, The Poetics of Space, trans. Maria Jolass, (Beacon Press: Boston, 1969) p.4
it is our first universe, a real cosmos in every sense of the world.”
29 Doreen Massey, “Space-Time and the Politics of Location”, Rachel Whiteread: House, (London: Phaidon in association with Artangel, 1995), p. 36
But the essential thing about Whiteread’s House, which created this feeling of
[28]
Rachel
Whiteread exposed all the little intimacies in her work, which made the experience of seeing it very personal and vulnerable. [29]
melancholia around it, is that the actual object was destructed in order to get the final cast. The artist conveyed the act of creation through the one of construction intertwining and confusing the notions of absence and materiality.
The object by Yasuki Onishi is different but at the same time very similar with the one by Rachel Whiteread. Originally it was created for the Texas Rice Uni-
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Reverse of volume RG. 2014 Polyethylene sheeting, black hot glue Rice Gallery Space Dimensions
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versity Art Gallery in 2014 and in some sense, it shares the notion of site specificity with the work described before. The Reverse of Volume RG is executed from simple materials. The artist used the black glue and some semi-transparent plastic sheets, which created the very mysterious and glowing effect.
30 Courtesy of Yasuki Onishi, Yasuki Onishi: New Installation, 13 April 2012, http://www. onys.net/en/info/ onishi_rice_press. pdf Accessed on 26.11.2014
Using the cardboard boxes Onishi created a natural mountain-like landscape, covered it with the plastic film, fixed it and then discarded the boxes. The artist himself called this process of draping “casting the invisible”.[30] The resulting piece creates a very special space. From outside the gallery, through the windows it looks like a glowing suspended object, the thin black drops connected with the sheer film created the feeling of materiality that made the air look heavy. The idea of the suspended abstract object is strong by itself, it can be considered as a reference to Alberto Giacometti and his Suspended
31 Rosalind Krauss, Passages in Modern Sculpture (Cambridge Mass.; London: MIT Press, 1981), p. 113
Ball. This work, produced in 1930-1931 was greatly admired by the surrealists, by its explicit eroticism, as Rosalind Krauss describes it: “<…> for it had a quality of objectifying the libidinal energy of the unconscious.” [31]
However, the feeling that the visitor received inside the gallery was dramatically different. The suspended construction did not keep this feeling of heaviness, it created a fragile, tent-like space. The visitor found himself in a glowing 32 Bryony Quinn, The latest extraordinary, space-defying installation by Yausaki Onishi now on show at the Rice Gallery, 14 May 2012, http://www. itsnicethat.com/ articles/yasuaki-onishi-reverse-of-volume Accessed on 26.11.2014
cave with the black dots on the ceiling. Bryony Quinn characterised the installation as invisible “like time, or air, or gravity”. [32]
Like Rachel Whiteread, Yasuki Onishi reflects on the nature of the negative space, of the void. In the Reverse of Volume RG the artist plays around the recognizable forms, exploring the physicality of objects and the space that surrounds them. The House creates an immaterial object by solidifying the space inside it, the Reverse of Volume RG by dividing the gallery with a ghostlike membrane. In some ways, we can say that Onishi also creates a cast of
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33 Fiona Bradley, “Introduction”, Rachel Whiteread: Shedding Life (London: Tate Gallery Publishing, 1996) p. 17
space, using not a liquid material, as Rachel Whiteread does, but glue and a weightless film. The external differences between these two works can disappear, if they are to be considered on an abstract level. The technique of framing the void, which is central to Rachel Whiteread’s work, is structurally very similar to Yasuki Onishi film installations as both of them create a reminder and a space oscillation between presence and absence. [33]
Conclusion: All of the four objects presented in this room of exhibition interact with the notion of absence in their own special ways. Some of them are shaped through the interior voids like Richard Serra’s One Ton Prop (House of Cards) or David Nash’s Picture of the inside space. Rachel Whiteread’s House and Yasuki Onishi’s Reverse of the Volume RG in their turn create the feeling of presence just playing around with the empty space surrounding them.
The voids that are enclosed in some works and are enveloping the others catch the visitor’s attention. They prompt the reflections of the nature of sculpture, its role as a medium, which helps us understand and experience the space better. A feeling of emptiness and a lack of something push us out of the comfort zone, whilst exacerbating attention to the surrounding reality. The absence in these works’ shapes creates the actual objects. It works as an invisible tool, becoming an index of materiality.
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Bibliography:
Bachellard, Gaston. The Poetics of Space, trans. Maria Jolass. Boston: Beacon Press, 1969
Barthes, Roland. Camera Lucida, trans. Richard Howard. London: Hill and Wang, 1982 Bird, Jon. “Dolce Domum” in Rachel Whiteread: House. London: Phaidon in association with Artangel, 1995 Bradley, Fiona. “Introduction” in Rachel Whiteread: Shedding Life. London: Tate Gallery Publishing, 1996 Foster, Hal. Art since 1900: Modernism, Antimodernism, Postmodernism. London, New York: Thames & Hudson, 2004 Greenberg, Clement. The Collected Essays and Criticism. Chicago: University of Chi cago Press, 1986-1993 Krauss, Rosalind. “Sense and Sensibility: Reflections on Post - ‘60-s Sculpture”, in Artfo rum, vol.12, no. 3, November 1973 Krauss, Rosalind. “Sculpture in the Expanded Field” in October files 8. Cambridge, Mass.: MIT Press, Spring 1979 Krauss, Rosalind. Passages in Modern Sculpture. Cambridge Mass.; London: MIT Press, 1981 Krauss, Rosalind. Richard Serra: Sculpture. New York: Museum of Modern Art, 1986 Krauss, Rosalind. “X Marks the Spot” in Rachel Whiteread: Shedding Life. London: Tate Gallery Publishing, 1996 Krauss, Rosalind. “Richard Serra: Sculpture” in October files 1: Richard Serra. Cambridge, Mass.: MIT Press, 2000 Lynton, Norbert. David Nash. London, New York: Thames & Hudson, 2007
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Mari, Bartolomeu. “The Art of the Intangable” in Rachel Whiteread: Shedding Life. London: Tate Gallery Publishing, 1996 Massey, Doreen. “Space-Time and the Politics of Location” in Rachel Whiteread: House. London: Phaidon in association with Artangel, 1995 Morgan, Stuart. “Rachel Whiteread” in Rachel Whiteread: Shedding Life. London: Tate Gallery Publishing, 1996 Onishi, Yasuki. Yasuki Onishi: New Installation, 13 April 2012, http://www.onys.net/en/ info/onishi_rice_press.pdf Accessed on 26.11.2014 Quinn, Bryony. The latest extraordinary, space-defying installation by Yausaki Onishi now on show at the Rice Gallery, 14 May 2012, http://www.itsnicethat.com/arti cles/yasuaki-onishi-reverse-of-volume Accessed on 26.11.2014 Serra, Richard. Writings, Interviews. Chicago, London: University of Chicago Press, 1994 Shone, Richard. “A cast in time” in Rachel Whiteread: House. London: Phaidon in asso ciation with Artangel, 1995 Watney, Simon. “On Housed, Iconoclasm & Iconophobia” in Rachel Whiteread: House. London: Phaidon in association with Artangel, 1995 Whiteread, Rachel. “Tumults of Memory” in Rachel Whiteread: Skulpturen/Sculptures (exh. cat.), Kunsthalle Basel, ICA Philadelphia, ICA Boston, 1995 Wick, Oliver. Constantin Brancusi and Richard Serra: a Handbook of Possibilities. Riehen, Basel: Beyeler Museum AG; Ostfildern, Germany: Hatje Cantz, 2011
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