ART SET BY: Ron Pratt, head teacher Wyndham College
ART-MAKING UNIT OF WORK
KICK STARTING AN UNDERSTANDING OF ARTIST PRACTICE
Figurative traditions
Context
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. 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. The final selection of artists by staff for this part of the Preliminary Program are determined in relation to the faculty learning plans for student differentiation
The following statements & questions are derived from this first Preliminary unit of work which encourages students to investigate, question and reflect on a range of artists whose practices exemplify distinctive approaches to the articulation and representation of the body. Investigating these artists will inform the student's judgements and decisions whilst also building skills within their own art-making.
The questions for each of the ten areas are the kick-starters that will generate possible discussions about representation, meanings and practice.
Artists
The artists currently considered within this unit of work currently include:
Ron Mueck
Jenny Saville
Daniel Crooks
Euan Macleod
Brook Andrew
Zhang Xiaogang
Antony Gormley
Patricia Piccinini
Takashi Murakami
Gregory Crewdson
Ghost Patrol & Miso
1 | Transparency, translucence & light
The surface of an artwork can disclose many techniques and approaches to the application of media. How does Whiteley achieve a variety of layered effects when applying paint to the surface of his work?
Describe what has been achieved by these techniques.
2 | Small details are important
A collection of many items/objects can provide the viewer with relevant and important visual information. What details has Whiteley represented within this work that invites the viewer to unpack possible meanings?
3 | Breathing space
Deliberate open spaces within paintings can add to the ebb and flow of an artwork's composition. What feelings can exude from larger spaces and expanses that are only punctuated by smaller, selective areas of subject matter?
4 | Positive & negative
Subject matter can be defined and even amplified in many different ways. How can we interpret and then discuss the way Whiteley applies and uses contrasting elements throughout his compositions?
5 | Framing > spaces & devices
Whiteley often employed particular framing devices throughout different aspects and focal points within his practice. Discuss this strategy in relation to a variety of his artworks.
6 | Being a bower bird
Whiteley’s practice could be seen as synonymous with that of a bower bird. Identify how this can be interpreted across a range of his artworks.
Explain the narratives Whiteley explores throughout his collections of ephemera. Can you elaborate on why these are important visual references?
7 | From real to the abstract
Whiteley demonstrated many unique ways in which he could reimagine reality throughout his body of work (as well as within particular artworks). Choose and then discuss an artwork that underlines his distinctive stylistic approaches to representation.
8 | Classic motifs
A motif is often viewed as a unique visual signature or symbol. It may also be a recurring theme or concept. Looking at his body of work what motifs are synonymous with Whiteley's practice?
Can you identify other artists who employ this approach?
9 | Deliberate distortion
Exaggeration, elongation, metamorphosis, motion and distorted perspectives are strategies used throughout Whiteley’s practice. Can you identify the areas within the artworks where these strategies have been applied?
Are you also able to see these strategies in the practice of other artists and/or periods of time? Refer specifically to these.
10 | The culture king
An artwork can inform the audience about society and even specific places and time. What unique cultural links reinforce and expose time and place throughout Whiteley’s art-making practice.
