Rachel Whiteread

The limited edition, Untitled (Tiles), 2005, 2017, was produced by Rachel Whiteread in support of Tate and on the occasion of the exhibition, Rachel Whiteread, 12 September 2017 – 21 January 2018, Tate Britain. Presented in a bespoke frame with a sprayed white finish, there are four remaining of the five signed and numbered Directors’ Reserves*.

Although Whiteread is renowned for her evocative large-scale sculptures and castings, drawing has always remained one of her core activities. Her work on paper shares many of the themes familiar from her public commissions: texture and surface; void and presence; absence and memory.

Each print is signed on the back of the print and comes in a bespoke frame.

Prices of the artwork are liable to change. As a limited edition sells out, prices of the artwork are subject to increase and the price will be clearly indicated.

*Directors’ Reserves (or DRs) are an extra smaller edition that exists outside of the limited edition. They are produced as a way for a non-profit institution to raise extra funds after the edition has sold out and are signed and numbered by the artist.

• Artist Rachel Whiteread
• Artwork Untitled (Tiles), 2005
• Exhibition Rachel Whiteread
• Dimensions 42 x 29.7 cm (A3), frame: 57 x 43.5 cm
• Material Lithographic print with screen printed spot varnish on 300gsm Somerset Satin in bespoke frame glazed with AR/UV Artglass70
• Edition Edition of 100, plus 5 Directors' Reserves signed and numbered by the artist and comes in a bespoke sprayed white frame with window mount and anti-reflective Artglass 70
• Date of work 2017

For three decades, Rachel Whiteread (b. 1963) has created spare, resonant sculptures, cast from the spaces in and around familiar objects and structures, offering new perspectives from which to consider the human imprint on our everyday environment. Whiteread has charted new territory for sculpture, focusing critical attention on post-1960s form within a framework of the personal and encouraging pause for contemplation of our collective and individual histories. Known for her consistent use of the technique of casting, employing a carefully selected repertoire of materials, she is an artist whose practice is nevertheless expansive and often surprising.