Whiteley painted “Christie” which presented cultural themes of sexual desire, violence and gender roles. There is a second, unnoticed area of negative space which is the area above the panel of the wild beast. Whiteley does hint aspects of the story within the work, such as; the newspaper articles, the well known portrait of Christie and the images of the victims.
“Portrait of Wendy” presents Whiteley’s view on gender, particularly women. His premise is straightforward: that Whiteley was essentially a draughtsman and drawing is at the core of his work as a painter, printmaker and sculptor.
1 1965, AGNSW collection Brett Whiteley Woman under the shower 1976. .
AGNSW collection Brett Whiteley Alchemy 1972-1973, Update from the Gallery regarding COVID-19. AGNSW collection Brett Whiteley Alchemy 1972-1973. The image of the wild wolf represents the out of control nature of the drug addiction that influenced Whiteley’s life and art making practice. There is a flow of the viewer’s eyes, which beings in the smallest image of the photographic portrait and moves down the arm of the persona in the middle panel, which leads to the wild beast, The eyes wander when it comes to the image of Dobell’s portrait due to the dark tones and stark contrast.
The world was experiencing the postmodern movement where artists were experimenting with pushing boundaries. Each persona has been painted with similar colours which it represents a wholesome view of himself by binding each persona as one. Commissioned by CHG and sold privately 1988. To revolve a series of works around a figure such as Christie is not traditional. One of his most famous oeuvres, Alchemy (1973) is Whiteley’s most ambitious work, a gigantic two-by-sixteen metre abstract piece composed of eighteen wooden panels, featuring feathers, a bird’s nest and part of a glass eye. The immediate effect was a heightening of reality in that everything I looked at took on an intensity . The way the women become captured by Christie is displayed through the line work and fragmentation of the work. Whiteley’s practice could be seen as synonymous with that of a bower bird. The piece symbolises life from birth to death, read right to left, and is punctuated towards the centre by the blunt, two-lettered statement, “IT”, a simplistic summary of the human condition in stark contrast with the complicated themes of animalism, spiritualism and enlightenment contained within. Whiteley’s practice could be seen as synonymous with that of a bower bird.
“Christie”, Whiteley uses collage technique by using a range of mediums in the work “Christie”. Sorry, you have Javascript Disabled! Whiteley had an obvious appreciation for art history as he referenced aspects of the art world in his paintings. Relationships between himself and his subjects were revealed to the audience through the way he painted which took viewing his work to a new level. At the age of sixteen, Whiteley’s passion and appreciation of art was firmly established. The audience does have a role in deducing the full meaning of the work. Investigating these artists will inform the student's judgements and decisions whilst also building skills within their own art-making.
This is evident in “Art, Life and the Other Thing” and “Christie”. AGNSW collection Brett Whiteley Self portrait in the studio 1976.
Deliberate open spaces within paintings can add to the ebb and flow of an artwork's composition. Naked bodies of the women are subtlety included throughout the work that reference the rape and murder of the women. This is a form of a direct link to the culture of the time as it has been drawn directly from the media. Read the latest visit information, including hours, ART SET BY: Ron Pratt, head teacher Wyndham College, ART-MAKING UNIT OF WORK
AGNSW collection Brett Whiteley Sigean drawing IV 1962. He was considered one of the leading artists of this movement due to his lyrical expressionism in the abstract style of painting. Looking at his body of work what motifs are synonymous with Whiteley's practice? Ron Mueck This is evident in “Art, Life and the Other Thing” with his appropriation of Dobell’s portrait of Joshua Smith. It is the way that he painted her with such a level of beauty that suggests his intentions were to display his passion for her. This is evident in particular the Christie series which displayed Whiteley’s common motifs of violence and imagery of sex. Whiteley’s explosion onto the London art scene gained him almost cult-like fame in Australia where he became enormously popular in the 1970s as a leader of the avant-garde movement. Whiteley acknowledged this in his work by painting the objects themselves. Whiteley became the youngest artist to be purchased by the Tate Gallery when it acquired his only two works at the time, Red Painting and White Painting. KICK STARTING AN UNDERSTANDING OF ARTIST PRACTICE, Ten things we can see and learn from Whiteley’s art practice, For Preliminary students, the intention of this unit of work is to unpack the making of figurative representation across a range of inspirational practitioners. With a vibrant background of ultra-marine blue, this work offers a unique take on the self-portrait genre with the artist shown painting his own reflection from a small hand-held mirror in only one corner of the canvas, the rest of the piece being a view into Whiteley’s Lavender Bay studio, furnishings shown in minute detail, complete with a nude female figure prostrate on a day bed. Whiteley achieved this through the portrayal of Christie in the series. Dobell’s portrait was very similar to this idea which added meaning to Whiteley’s choice of recontextualisation. Whilst the unit is more focused on modernism & the contemporary, a deeper reflection of art practice is undertaken in the related student research task: Body parts. For Christie to be a subject of many of Whiteley’s works was considered very odd as it was such a brutal story and was an odd choice of misleading idealisation. If that space were to be filled it would seem claustrophobic and would lose the flow. Dobell’s portrait was a finalist in the 1944 Archibald and was considered a risk within the art world and was a turning point in traditional art making. Whiteley has used fragmenting in the work which roughly divides the piece into eight outlined rectangles of different sizes that include the subjects.
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