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Artist Statement:
My creativity is driven by
what I feel passionate about,
namely human rights issues, my
family, art, music, and the
environment. I also draw
inspiration from personal
experiences, as in my painting
"Me after Brain Surgery", and
collage/painting "Menopausal
Me in a Saucepan Lid, Warts 'n
All, with Everything ...
Further Information
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Artist Exhibitions:
Solo Exhibitions
1998 New York (SoHo):
Montserrat (paintings,
sculptures, prints)
1991 Cologne: am Buttermarkt
(paintings, sculptures,
prints)
1990 Amsterdam: Art &
Architecture (paintings,
sculptures, prints)
1986 Sydney: Balmain
(paintings, sculptures,
prints, drawings)
1983 Sydney: Goethe Institute
(paintings, prints)
1982 Sydney: Women & Arts
Festival, Open Studio
1980 Sydney: Seymour Centre
(watercolours)
1980 ...
Further Information
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Artist Galleries:
Josef Lebovic Gallery
(http://www.joseflebovicgallery
.com/)
34 Paddington Street,
Paddington, Sydney (A).
Contact tel +61 2 9332 1840,
fax +61 2 9331 7431, email:
josef@joseflebovicgallery.com
...
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Collections:
The National Gallery of
Australia, Canberra
The Buhl Collection, New York,
USA
The Hechinger Collection,
Washington, DC, USA
Gallery of Modern Art
Majdanek State Museum
Lublin, Poland
Museum of International
Contemporary Graphic Art
Fredrikstad, Norway
Mornington Pensinsula Arts
Centre
Victoria, Australia
Westmead Centre
Sydney, Australia
...
Further Information
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Commissions:
Cassell London,UK, to write
and illustrate 'Draw Like Da
Vinci'
The Buhl Collection, New York,
USA...
Further Information
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Reviews for Susan Dorothea White:
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Qualité, beauté, originalité
Le symbole est son concept dans la réalisation de son œuvre, l'image de l'être se traduit en un masque de bronze s'étirant par des mains libératrices de la vision sur le monde ou une paire de ciseaux se transpose en une paire de bras. Objets - humains. Cette réalisation est personnelle liée à une esthétique de pensée jouxtant le sentiment intimiste. Qualité, beauté, originalité - Susan Dorothea White traduit ses compositions dans une lisibilité franche pour le comtemplateur. Arstances (Nice) Jan/Feb. 2000
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Strong social satirist
Susan Dorothea White, an internationally exhibited painter and sculptor from Australia whose work is in the National Gallery, among other prestigious public and private collections, explores the most intimate experiences of her life, as well as more topical subjects, in meticulously limned acrylic paintings on wood panels. Her ability to examine unflinchingly such personal milestones as her surgery for a benign brain tumor with a dazed self-portrait in a vertiginously askew hospital setting results in some of the most emotionally jarring narrative imagery in recent art. However, her work can also be informed by an appealing light-heartedness, as seen in her whimsical picture of her professorial husband suspended in mid-air with a book seeming to take flight, like a startled bird, from his hands.
She is also a strong social satirist, particularly in paintings such as "The Crowning with Sexism," which combines iconographic images of Marilyn Monroe and Joe DiMaggio with a composition borrowed from Hieronymus Bosch, as well as in other Boschian extravaganzas such as "The Seven Deadly Sins of Modern Times" and "The Seven Deadly Isms." The latter work is mounted on a circular table and comprised of several interconnecting compositions depicting such contemporary obsessions as "Materialism" and "Workaholism" in intricate figurative tableaux.
Susan Dorothea White's use of unusual materials such as endangered and recycled woods native to Australia contributes significantly to the effectiveness of her work, with the grain showing through her translucent glazes in her paintings and the surface skillfully carved in mixed media sculptures such as "It Cuts Both Ways." In the latter sculpture, black and white clasping hands morph into lethal-looking shears, while in White's bronze maquettes for monumental fountains, natural phenomena are imaginatively transformed through the artist's fluid handling of shapes in space. Gallery & Studio (New York) Nov/Dec. 1998
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Narrative paintings
Susan Dorothea White is an extraordinary artist and her exhibition at Montserrat is a truly magnificent show. I have not seen narrative paintings to compare with these in quite some time .... perhaps never in recent times. E. McCormack, critic (New York) Sept. 1998
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Me After Brain Surgery
... its complex intensity in using a delicate technique to deal with a difficult subject matter with clarity and psychological insight. Judges Report, Portia Geach Memorial Award (Sydney), 1997
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Book Review on about.com of ‘Draw Like Da Vinci’ by Susan Dorothea White
Review by Marion Boddy-Evans, August 2006
The Bottom Line
...The illustrations are a mixture of reproductions, which are of a quality and size that you can copy from them, and author originals (see these examples). If you've an interest in Leonardo's work but have found his writing heavy going, this is an ideal introduction.
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* Exercises and demonstrations to get your drawing in Leonardo da Vinci's style.
* Introduces you to Leonardo da Vinci's life and work in an easy-to-understand art history format.
* Describes Leonardo's materials, how he used them, and the modern alternatives.
* Reproductions of original drawings are clear enough to use them for copying.
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Description
* Paperback book, 144 pages, ISBN 1844034445, published by Cassell Illustrated.
* Author Susan Dorothea White is an artist based in Sydney who has exhibited since 1957.
* White's website describes her as "multifaceted artist, unrestricted in her use of media".
* Divided into five sections: Techniques and Materials, Skills, Universe, Human Nature, Conclusions
* Glossary explains terms you may not be familiar with, and who people mentioned are, such as Cennini
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The stated aim of the book is "to interpret da Vinci's vision, and to teach visual literacy under his guidance so that the reader gains know-how in artistic expression". It does this through the exercises, examples of Leonardo's work, and analysis of his skills and interests.
The first section of the book looks at the materials Leonardo used and modern equivalents, such as using a propelling pencil to hold silverwire for silverpoint drawing, and how to prepare a Renaissance recipe ground for drawing on. The second section "reveals" Leonardo's skills -- perspective, proportion, light and shade, and drawing from the imagination. It also looks at the type of line he used in his drawing. The third section discusses a selection of his drawings, e.g. animals, plants, and landscape, through reproductions and author interpretations.
Throughout practical drawing information and analysis is mixed with art history and techniques. Although Leonardo was left-handed, the book has been adapted to be suitable for both left- and right-handed drawing.
Leonardo himself recommended that students study and copy the works of the masters. With this book, you can do just that!
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Book Review on amazon.com of ‘Draw Like Da Vinci’ by Susan Dorothea White
Review by Woodie, May 2006
Excellent Perspective On Da Vinci
This book is fascinating material for just about any artist who draws or paints. The techniques and skills that Da Vinci practiced and taught are highlighted here in a format that is simple to read and digest. The artist/author shows examples of how Da Vinci drew, what materials he used, and his most important techniques. There are even exercises that allow you to experience the techniques gleaned from Da Vinci. I can't imagine an artist who would not enjoy this book.
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Editorial Review 'Draw Like Da Vinci' (Cassell Illustrated, Octopus Press, 2006): It’s a fantastic resource for any artist.
The first book in an exciting new series! Many would-be artists are inspired by the works of the great masters—and Leonardo Da Vinci’s drawings are among the most magnificent ever created. But how did he achieve his effects? Choose his materials? Define his approach? Susan Dorothea White, an internationally known artist and teacher, helps students gain an invaluable understanding of Da Vinci’s techniques for depicting the human form and dealing with perspective, line weight, light, shade, and character. With hundreds of images to illustrate her points, she discusses the tools he used; examines his creative techniques; analyzes some of his finest drawings in depth; and devises simple projects for practice. It’s a fantastic resource for any artist.
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Tool time sublime: A Washington exhibit turns tools into creative jewels...
....Tools can also make a statement seemingly unrelated to work. Susan D. White uses two hedge clippers... at either end in "It Cuts Both Ways", a commentary on racial harmony." Alan J. Heavens, The Philadelphia Inquirer, 29 March 2002
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Homage à Susan Dorothea White
C'est en 1959 que Susan Dorothea White entreprend de se consacrer à son art, et c'est en 1957 que ses œuvres sont présentées pour la première fois au public. Des idées coulent continuellement dans son imagination, et elle choisis les meilleurs. Elle les note dans un cahier de croquis puis se resource dans ces notes afin de créer ses œuvres. Elle en développe plusiers simultanément. Les trois mots proposés par White pour situer son œuvre sont "Satirique", "Rêverie", "Ratio d'or". La couleur de la terre rouge du désert australien a sa préférence et elle se sent proche de Janet Frame, avec son roman "An Angel at My Table" et de Akira Kurosawa avec son film "Do-des-ka-dan". La dernière grande exposition dont elle aime à rappeler l'importance est Camille Claudel Rétrospective "Skulpturen-Gemälde-Zeichnungen" (Hamburg, 1990). Aux jeunes également tentés par l'aventure artistique, Susan Dorothea recommande surtout de la discipline pour créer tous les jours, quelques soient les circonstances, de ne pas rechercher la célébrité et la richesse et de laisser la vie inspirer l'œuvre. Who's Who in International Art (Lausanne) 1996/97
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Equally talented and skillful
Susan Dorothea White is an artist equally talented and skillful as a printmaker, a sculptor, and a painter. Her works were well received by the art community and critics when they were recently exhibited here in New York at the Montserrat Gallery, 584 Broadway (SoHo).
White's prints carry important sociological messages as exemplified by The Seven Deadly Sins, somber and serious, done entirely in black and white in a zodiac-like format. The center circle, "The Eye of Gaia Sees All", is the core of the message. The seven deadly sins are illustrated in sections around the outside edge of the circle: they are self-effacement, workaholism, sycophancy, squandering, indifference, celibacy, and dieting. Her wry humor shows a bit here.
Her rendering is simple and clear, readily interpreted; colors are clean and pure. Symbolism rather than situation portrayal typifies White's style. We are shown a man's bare feet on a tile floor beside a newspaper and milk bottles in The Front Verandah. To Let is similar. In it a man sits by an iron grillwork gate reading the paper. An ad torn from the classified section, a house number, and a page from the newspaper are composed behind and around him … here, too, the message is obvious. Blind is poignant with three blind figures making their way on what appears to be steps, possibly symbolic of cooperative attainment.
Humor, more pointed than funny, is the thread of continuity throughout Susan Dorothea White's art, regardless of medium. A case in point is The Long Arm of the Law. It is created with exactly what the title states … a very long black-robed arm extends out into the gallery room with a legal document in its hand! The table-top sculptures are sophisticated and titillating … Close-knit Family - family members' heads are "knitted" together … To Cut Both Ways - crossed scissor blades are sharpened on both edges … Shy Egg is attempting to conceal itself, and Stretching the Imagination depicts distorted features - stretched eye sockets.
Susan Dorothea White has exhibited her art consistently since studying at the South Australian School of Art. Her work has appeared in solo exhibitions, group exhibitions, and international biennales in Germany, Spain, Australia, Italy, China, Poland, Canada, Yugoslavia and France. Her work is in public, private and museum collections worldwide. She is cited in Who's Who in International Art. Dorothy Roatz Myers, Art Talk (New York) July 1994
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"Jüngerinnen" beim Abendmahl
Eine ungewöhnliche Interpretation der Abendmahlszene is zur Zeit in der Kölner Galerie am Buttermarkt zu sehen: Jesus ist in dieser Darstellung eine Frau, eine Ureinwohnerin Australiens. Links und rechts neben ihr sitzen ihre "Jüngerinnen": Frauen aus allen Erdteilen dieser Welt. An ihren Füßen erkennt man die soziale Stellung der Frauen. Manche tragen Schuhe, andere laufen barfuß. "The First Supper" nennt die australische Malerin Susan White ihr Bild and macht damit deutlich, daß
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