Colette Whiten

Colette Whiten (born 1945, Birmingham, England) is a sculptor, and installation and performance artist who lives and works in Toronto, Canada. Whiten is a recipient of the Governor General's Medal.[1]

Colette Whiten
Born1945
Birmingham, England, United Kingdom
NationalityCanadian
Known forSculptor, conceptual artist
Awards2013 Governor General's Award in Visual and Media Arts

Early life and education

Colette Whiten was born in Birmingham, England.[2] and graduated from the Ontario College of Art in 1972, and was a recipient of the Governor General's Medal.[3]

Career

In contrast to the "Minimalism" of the 1960s and 1970s. Whiten's art included elements of performance in her sculptures by emphasizing the body processes involved in her work. She built stocks and scaffolding-like structures of wood, concrete blocks, and rope,[4] each of which she designed with a particular male model in mind.[5][6] The scaffolding would then hold the models' bodies in predetermined poses, while a team worked to cast them in plaster.[7] In order to cast the bodies, Whiten would first shave the men and coat the body in petroleum jelly.[8] The casts were then used to produce fiberglass body parts.

For her 1972 exhibition at the Ontario College of Art, Whiten exhibited her body-part sculptures, along with the scaffolds that she used to create them, and photographic silkscreens and slide projections that she had taken to document the process of their creation. The effect was that the stocks resembled severed limbs, and the scaffolds torture devices.[9] Until 1975 the performance of creating the work was often as important as the final cast.[10]

Although Whiten's work reversed the more common gender roles between artist and model,[11] she denied that her work had a feminist agenda. One of her fiberglass pieces is a bust of a man sucking his thumb."[8]

Whiten's People Sculpture(1983) is a work of self-rusting steel panels with cutouts of figures that commissioned by the Sudbury Chamber of Commerce and stands in a small park at the corner of Brady and Paris streets in downtown Sudbury, Ontario.[12]

In the mid-1980s, Whiten's work took a new course when she began making small-scale stitched works.[13] The cross-stitched needlework's imagery was sourced from daily newspapers. The first series focussed on the male newsmakers of the world, specifically political leaders, represented in a traditionally female craft. The second series of needlepoint works again used images from media as sources, but of women. The women represented by the media are typically in groups, either mourning or protesting.[14]

In 1992, she returned to making large-scale works, this time making beaded images sourced from mass media events. In these works Whiten considers how media shapes an individual's understanding of current events. Some of the beaded images represented actual headlines from the news, while others source news photos. A number of these works were in the exhibition, Colette Whiten: Seducing the Receiver at the Oakville Galleries in Ontario.[15]

Whiten's sculpture La Scala, created in collaboration with Paul Kipps, is on outdoor public display in downtown Toronto.[16]

Whiten has taught at the Ontario College of Art. since 1974. She has also taught at York University from 1975 to 1977.[17]

Colette Whiten is represented by Susan Hobbs Gallery in Toronto.[18]

Awards and achievements

Upon graduation from the Ontario College of Art in 1972, Whiten received the Governor General's Academic Medal for her first cast piece exhibition. She also received Toronto Arts Foundation's Visual Arts Award in 1991. Whiten received the Governor General's Award in 2013 in the Visual and Media Arts category.[3]

Exhibitions

Selected exhibitions
  • Agnes Etherinton Art Centre, Queen's University, Kinston, Ontario, 1973
  • "8e Biennale de Paris," Musée d'Art Moderne de la Ville de Paris, 1973
  • "Some Canadian Women Artists," National Gallery of Canada, Ottawa, 1975
  • "Colette Whiten: New Needleworks," The Power Plant, Toronto, 1992
  • "Seducing the Receiver," Oakville Galleries, Oakville, Ontario; Galeria Carles Poy, Barcelona, Spain; Susan Hobbes Gallery; Agnes Etherington Art Centre, Queen's University Kingston, Ontario; London Regional Art & Historical Museum, London, Ontario; and Dunlop Art Gallery, Regina, Saskatchewan, 1995–98
  • "Wack!: Art and the Feminist Revolution,"The Museum of Contemporary Art, Los Angeles, 2007

Selected bibliography
  • Agnes Etherington Art Centre. Colette Whiten. Kingston: Agnes Etherington Art Centre, 1973
  • Borsa, Julianna. "Colette Whiten and Carmen Lamanna Gallery." Artmagazine (Toronto) 8, no. 34 (August–September 1977): 40-41.
  • Burnett, David. "Some Canadian Women Artists." Artscanada (Toronto) 32, no. 4 (winter 1975-76): 54-58.
  • Colette Whiten. Exh. cat. London, Ontario: London Regional Art Gallery, 1978. Text by Philip Monk.
  • Fleming, Marnie, Colette Whiten, and Oakville Galleries. Colette Whiten: Seducing the Receiver. Oakville, Ont.: Oakville Galleries, 1995
  • Towne, Elke. "Prince Charming and the Associated Press: The Needlepoint Work of Colette Whiten" (1987). Reprinted in Jessica Bradley and Lesley Johnston, eds. Sightlines: Reading Contemporary Canadian Art. Montréal: Artext, 1994.
  • Whiten, Colette, Paul Kipps, et al. Colette Whiten and Paul Kipps: Over Taking over. Lethbridge: Southern Alberta Art Gallery, 2002
  • Whiten, Colette, Alain Reinaudo, et al. Colette Whiten: coproduction W 139 Amsterdam Hollande, Centre d'art d'Herblay France, Carles Poy Galeria Barcelone Espagne, Décembre 92 - Mai 1993. [France]: Cahiers des Regards, 1992
  • Whiten, Colette, Richard Rhodes, and Power Plant (Art gallery). Colette Whiten: New Needleworks. Toronto: Power Plant, 1992
  • Whiten, Colette, and Mirjam Westen. Colette Whiten. Herblay: Centre d'art d'Herblay, 1993
  • Zemans, Joyce. "The Sculpture of Colette Whiten." Art Magazine (Toronto) 6, no. 19 (fall 1974): 16-18.

References
  1. "Colette Whiten". The Canadian Encyclopedia.
  2. Jules Heller; Nancy G. Heller (19 December 2013). North American Women Artists of the Twentieth Century: A Biographical Dictionary. Routledge. pp. 576–. ISBN 978-1-135-63882-5.
  3. Zemans, Joyce. "Colette Whiten". The Canadian Encyclopedia. Retrieved 2016-03-05.
  4. Alex Mogelon; Norman Laliberté (December 1974). Art in boxes. Van Nostrand Reinhold. ISBN 978-0-442-24609-9.
  5. Liz Dawtrey (1996). Investigating Modern Art. Yale University Press. pp. 151–. ISBN 978-0-300-06797-2.
  6. Arts Canada. Society for Art Publications. 1978.
  7. Gunda Lambton (1994). Stealing the Show: Seven Women Artists in Canadian Public Art. McGill-Queen's Press - MQUP. pp. 112–. ISBN 978-0-7735-1189-7.
  8. Chandler, John Noel (Spring 1972). "Colette Whiten: Her working and work". Artscanada: 44–45.
  9. Mark, Lisa Gabrielle (2007). Colette Whiten. Cambridge, MA: MIT Press. p. 315. ISBN 978-0-914357-99-5.
  10. Burnett, Schiff., David G, Marilyn (183). Contemporary Canadian Art. , 1983. Print. Edmonton, Alta.: Hurtig in co-operation with the Art Gallery of Ontario. pp. 234. ISBN 978-0-88830-242-7.{{cite book}}: CS1 maint: multiple names: authors list (link)
  11. Fischer, Barbara (1996). "Wounded and Marked". Love Gasoline. Toronto: Mercer Union.
  12. Lambton, G. (1994). Stealing the show : seven women artists in Canadian public art. p. 113. OCLC 180704169.
  13. Robert James Belton (January 2001). Sights of Resistance: Approaches to Canadian Visual Culture. University of Calgary Press. pp. 360–. ISBN 978-1-55238-011-6.
  14. Rhodes, Richard (1992). Colette Whiten: New Needleworks. Toronto: Power Plant. p. 5. ISBN 978-0-921047-88-9.
  15. Fleming, Marnie (1995). Colette Whiten: Seducing the Receiver. Oakville, Ont.: Oakville Galleries. ISBN 978-0-921027-59-1.
  16. John Warkentin (2010). Creating Memory: A Guide to Outdoor Public Sculpture in Toronto. Becker Associates. pp. 192–. ISBN 978-0-919387-60-7.
  17. "Colete Whiten". Canadian Council for the Arts. Archived from the original on 2014-11-26.
  18. Logograph. "ARTISTS". Susan Hobbs. Retrieved 2016-03-05.
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