Embankment

(''Embankment'' by Rachel Whiteread. Turbine Hall, The Tate Modern, Bankside, London. 13 November 2005. Photographer: Fin Fahey.)


Embankment (2005-2006) . Rachel_Whiteread
In spring 2004, she was offered the annual Unilever Series commission to produce a piece for Tate Modern's vast Turbine Hall, delaying acceptance for five to six months until she was confident she could conceive of a work to fill the space [2]. Throughout the latter half of September 2005 and mid-way into October her work Embankment was installed and was made public on October 10. It consists of some 14,000 transluscent, white polyethylene boxes (themselves casts of the inside of cardboard boxes) stacked in various ways; some in very tall mountain-like peaks and others in lower (though still over human height), rectangular, more levelled arrangements. They are fixed in position with adhesive. She cited the end scenes of both Raiders of the Lost Ark and Citizen Kane as visual precursors, she also spoke of the death of her mother and a period of upheaval which involved packing and moving comparable boxes.[15] It is also thought that her recent trip to the Arctic is an inspiration, although critics counter that white is merely the colour the polyethylene comes in, and it would have added significantly to the expense to dye them. The boxes were manufactured from casts of ten distinct cardboard boxes by a company that produces grit bins and traffic bollards.[16]
The critical response included:
"With this work Whiteread has deepened her game, and made a work as rich and subtle as it is spectacular. Whatever else it is, Embankment is generous and brave, a statement of intent."[17]
— Adrian Searle, The Guardian, October 11, 2005.
"Everything feels surprisingly domestic in scale, the intimidating vistas of the Turbine Hall shrunk down to irregular paths and byways. From atop the walkway, it looks like a storage depot that is steadily losing the plot; from inside, as you thread your way between the mounds of blocks, it feels more like an icy maze."[18]
— Andrew Dickson, The Guardian, October 10, 2005.
"This is another example of meritless gigantism that could be anywhere, and is the least successful of the gallery's six attempts to exploit its most unsympathetic space,"[19]
— Brian Sewell, London Evening Standard, October 2005.
"[looks] like a random pile of giant sugar cubes [...] Luckily, the £400,000 sponsored work is recyclable."[20]
— Stephen Moyes, Daily Mirror, October 11, 2005.

TATE:
http://www.tate.org.uk/modern/exhibitions/whiteread/

unileverseries:
http://www.tate.org.uk/modern/unileverseries/interactives/index2.html

Polyethylene
http://en.wikipedia.org/wiki/Polyethylene