Head of Christie 1964

Editor: Here we have Brett Whiteley's "Head of Christie" from 1964, rendered in oil paint. The portrait is striking, almost unsettling, with its elongated features and the starkness of the ochre background. What catches your eye when you look at this work? Curator: I am immediately drawn to the physicality of the paint application itself. The thick impasto in areas, combined with the almost crude linework, reveals a fast, perhaps even desperate, process. It speaks to a specific moment of labor, the artist wrestling with the material. How does the apparent speed of execution inform your understanding? Editor: I hadn't considered the speed of the work directly. I was focused on the... imperfections, almost. But I see what you mean; it feels raw. Does that suggest a comment on the art world and its conventions at the time? Curator: Potentially. Consider the social context of art production. Is Whiteley challenging traditional notions of portraiture by embracing such a tactile, seemingly unfinished style? Is he commenting on the commodification of art by exposing the labor involved, disrupting the illusion of effortless genius? Also, notice the industrial nature of oil paint production, versus traditional "fine art" methods, and the commentary of choosing to portray this specific sitter with such accessible materials. Editor: That’s fascinating. Seeing it as a disruption of artistic conventions makes the "imperfections" and rough execution so much more meaningful. It highlights a conscious choice to defy expectation. Curator: Exactly. And the dialogue between high art and more ‘common’ approaches becomes central. Consider also the influence and labour required of the material suppliers! So what can we take from this discussion? Editor: That art doesn’t exist in a vacuum, and analyzing the materials and the making reveals layers of meaning we might otherwise miss. Thank you for highlighting materiality in it! Curator: Indeed, and the labor of creation! Focusing on materiality, process and historical contexts really provides new critical avenues for engaging artworks.