Transcript Episode 7 (96.3
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NAVA: in conversation, Episode Seven [Introduction music] Voiceover: The National Association for the Visual Arts is the peak body protecting and promoting the professional interests of the Australian visual arts. NAVA: in conversation is a series exploring the issues and challenges of working in the sector. We speak with artists, curators and administrators to gain insight into the experiences of contemporary practice and seek to propose ideas for change, progress and resilience in both local and global contexts. [Music] Penelope Benton: First I’d like to acknowledge the Guringai peoples of the land of where we are meeting and pay my respects to the Aboriginal people who are listening and to elders past, present and emerging. The new documentary feature Whiteley, is a visual journey into the private life and creative legacy of Australia’s most iconic artist Brett Whiteley, told in his own words using personal letters, notebooks and photographs interwoven with reconstructions, animations, archival interviews and rare footage. I’m here with Wendy Whiteley to discuss the film and the impact of this story on the dialogue around the value of visual artists in Australia, thanks for joining us Wendy. Wendy Whiteley: Nice for me to be here. Penelope Benton: This documentary is so important in showing that being an artist can be a legitimate full time career, a real job, as they say, what made Brett to decide to peruse art full- time? Wendy Whiteley: Well he always drew, as a kid he drew, and he got positive attention for that, it was treated as a good thing to do, his parents kind of encouraged him and his father kind of put it together for him, a little note book of his drawings. Later on, in life I met people who used to give their children great big canvases to paint on and things when their whole idea of children’s art was being something almost as good as adult art, and that whole theory that all kids can draw but then it kind of gets wound out of them and things. So he always got good attention, as did I, so he had a kind of curiosity that went with that and then he was quite good at most things, Brett, for a while, because he looked so odd. Then there’s the famous story he was sitting in church on Sunday chapel at the boarding school which he loathed in Bathurst and he found a Vincent book on the floor and it hit a nerve, basically he knew nothing about him, I didn’t know much at that age either about Vincent but that was all kind of patched up after Lust For Life came out, the big film, on Vincent at the time with the paintings blown up on such a huge scale. I think Vincent Van Gogh entered so many people’s consciousness through that, you know, it’s amazing because they’re so packed with energy and things, it just stayed in people’s mind. Both Brett and I had kind of honed out skills with our visual intelligence because we considered the visual arts as another form of language really, and communication and a lot of people don’t get that, or they don’t have, I’m not sure whether it’s that they don’t educate themselves visually, or they don’t have that kind of a brain, I’m not quite sure what the answer to that is. Brett had that kind of a brain and kind of curiosity and that kind of ambition. I had all of those things except the ambition, you know really, I didn’t have that huge ambition to make a profession and make it my career. So, I married an artist instead and went with an artist and lived the life without having to, and I’ve been trying to make up for it ever since a bit, but you know. I think partly the thing of being a professional artist is that you have to earn a living. And of course, when we, Brett’s father was horrified at the idea as was my mother at the idea, because of the myth you had to starve in a garret, which was a bit of a hangover from Vincent of course, that you were just going to live a life of abject poverty as an artist, well that’s not really been true for a very long time. The balance here is such a small market that it can only support enough people and there’s still that slight thing that in order to either get an international career or, be accredited with being great, is that you have to go away first and then come back. Well we went away, because Brett won the scholarship very young which you know the Whiteley Scholarship tries to replace to some degree, but we didn’t come back for 10 years. So we had an extraordinary education in the visual arts at a time when Australia wasn’t providing one at all and nor were there blockbuster shows that we have here now, so it felt very isolating in Australia but I still think it’s the best education you can have, is actually go there and just spend a lot of time in museums and seeing how it’s done. Technique you can learn in art school but none of the other stuff, they can tell you how to pay your taxes, or how to have a career it’s the minute you walk out of school, but I think that’s all a bit of bullshit really. I think there has to be a period where, unless you’re super talented, and also quite charismatic, you’re going to have a hard time getting good shows and establishing a buying public, you know. Enough to make your living but there a lot of people in this country that actually live quite good lives out of being visual artists. I’m not talking about the rest of the Arts (capital A) being actors and musicians and things like that, I think there is always a bit of struggle but it’s nothing like the great myth. Penelope Benton: That brings me to what I was going to ask you next which is the perception that being an artist is easy, but you did mention this a little bit, but professional artists are swamped with the administrative demands that are required by anyone running their own business. And in the documentary, we get a sense that you play such as pivotal role throughout Brett’s career, not only as inspiration for much of his work, but really in managing, I guess, the practice and the business of Brett Whiteley. Wendy Whiteley: I wasn’t conscious of being an admin person. All the day to day stuff, Brett wasn’t going to do that. And if I’d said I’m not doing it either, I want to paint, the relationship would have gone out the window in two seconds. I never thought about it, I just did whatever needed doing. And we lived, until we bought this house, we more or less lived in one room wherever we were. The studio, so the painting and the living and everything was going on in one space. People paint for the size of the house they’re in, the building or the space they’re in, so Brett’s pictures really didn’t start expanding to big sizes until he started getting big studio spaces to work in and make a hell of a mess while he was doing it. Which is different to try and all live in one room. In London I used draw a line across the floor and say don’t cross it, which of course got totally ignored, but it was an attempt to just have a space where you could sit without getting covered in paint and having somewhere that you just felt was your space. A room of one’s own, like Virginia Woolf said we should all have, and I think everyone should have, a space of their own. But when we got this house, I mean apart from that it was what, paying taxes, you get a tax accountant and you take in a box of stuff and you give it to him and say sort it out, you know. I mean now people have to deal with the media much more, and obviously it helps to be articulate and to have a bit of charisma. Brett’s a character, you know, he didn’t like some of the judgements put on him, he was born that kind of character, an outsider kind of character, and that can get you into deep water, always identifying with the outside. I did also because of my background and my father more than anything else. I was rebellious and, you know, I didn’t mind being, in fact I hated being ignored much more than I liked being noticed. Now that can or can’t help you. It can get you into deep water in other ways, but it also be quite useful. When we came back here, we came back here with a reputation which we didn’t deserve at the time. Penelope Benton: Do you think so? Why would you say that? Wendy Whiteley: No we’d lived in New York for a couple of years, Brett had had major success in London and Europe and New York.