The Estate of Gordon Bennett, Collection: Queensland Art Gallery / Gallery of Modern Art. NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN, 2001. synthetic polymer paint on linen. Synthetic polymer paint on paper
Deliberately inconclusive original, archetype, manuscript, master, parent etc Notes to Basquiat: (Ab)original eloquently attests to the compelling possibilities offered by Bennetts art and its embodiment of a process being kept in play; and as he poignantly muses, Poetry doesnt seek closure on its meaning. Given that consistently expressed view, thinking about how his work addresses the cause of anti-racism is an apt prism through which to view the current exhibition. The textured surface references the colonial footprint of global black slavery. NOTES TO BASQUIAT: LIBERTY, 2000 | Deutscher and Hackett Notes: Title from inscription on verso. In Bennetts most anthologised article, acerbically titled The Manifest Toe, he describes his approach to art using an expression that is often used in critical rather than art theory: the politics of representation. Here we get to the crux of Bennetts contribution. In the wake of his untimely death less than two years ago, Gordon Bennett has been championed as a hero of Australian art who drew inspiration from Australias colonial past and postcolonial present to powerfully interrogate the role of language in structuring the ideologies that so determine our personal and cultural identities. cultures, with wider historic references to the radical and the marginalised. His sophisticated mimicry becomes two-fold in his quotation of Margaret Prestons woodcut design of a fish. Far from being eternally fixed in
(Ed.). Gordon Bennett explored indigenous past through his conceptual art, Retrieved August 24 2014, from, http://www.smh.com.au/comment/obituaries/gordon-bennett-explored-indigenous-past-through-his-conceptual-art-20140627-zsnql.htm. ), 210. Sold for $44,400 (inc. BP) in Auction 3 - 29 November 2007, Melbourne. Gordon BennettNotes to Basquiat: Boogieman Blues 1999acrylic on linen182.5 x 182.5cmCollection: Private, Adelaide The Estate of Gordon Bennett. Please check your requests before visiting. The work also relates to Basquiat's paintings, following the same principles as his graffiti, signifying the existence of a more basic truth hidden within a given event or thought"--Information from acquisitions documentation. Notes to Basquiat: Myth of The Western Man, 2001 Its NOTES TO BASQUIAT: MODERNITY, 1999 | Deutscher and Hackett Conceived as an open letter to Basquiat who died ten years earlier, the series appropriates the raw street style for which Basquiat became renowned in an attempt to communicate via the language of the New York context the similarities and crossconnections of our shared experience as human beings in separate worlds that each seek[s] to exclude, objectify and dehumanise the black body and person.1 Yet if Bennett borrows signature motifs from Basquiats oeuvre such as his use of lists and rap-like banter, he nevertheless imbues them with his own uniquely Australian symbolism. is inspired by the work of Jean-Michel Basquiat, the Haitian-American
The work also relates to Basquiat's paintings, following the same principles as his graffiti, signifying the existence of a more basic truth hidden within a given event or thought"--Information from acquisitions documentation. Gordon Bennett's artwork is on display at Tate Modern in Artist and Society: Citizens. A critically and politically engaged artist, Bennett presents alternative historical narratives of Australia and of contemporary world events, creating provocative works that place identity politics front and centre. Special Collections Reading Room - Item/s may be unavailable, Brolgas at twilight, 1999 / Pamela Griffith, [Australian diaries and desk calendars 1999]. The diversity of Bennetts work is another striking feature. The art and legacy of Gordon Bennett (1955-2014), one of Australia's most influential contemporary artists, will be on show at the Gallery of Modern Art (GOMA) from 7 November 2020 to 21 March 2021. Gordon Bennett's paintings in the late 1980s and early 90s were informed by theories about appropriation - the borrowing of images from other artists and visual sources - and by post-colonial theories about identity and history. Again echoing Benjamin, Bennett draws a direct link between civilisation and barbarism, or here Enlightenment and suicide. An Aboriginal man is inserted into the picture whose exploding head is turning into stars. His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles. that make us the individuals we are and the histories of shared experience
^ Gordon Bennett in Gordon Bennett: Selected Writings, Power Publications and Griffith University Art Museum, 2020, p. 132. This education resource accompanies the retrospective exhibition Gordon Bennett (2008) which showcased 85 works by this internationally acclaimed Australian artist.Bennett's art engages with historical and contemporary questions of cultural and personal identity, with a specific focus on Australia's colonial past and its postcolonial present. Preston, though well-meaning in her quest to create a truly national artistic style, produced works that corrupted sacred aboriginal motifs, and presented aboriginal people as little more than stylised caricatures of the noble savage.In addressing these notes, the paintings, to the departed American artist Jean-Michel Basquiat, Bennett expressed what he felt was histories of shared experience, an affinity felt through mutual exclusion from a euro-centric contemporary art world. 1999, Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett. In other words, such discrimination and historic prejudice directly relate to the current cultural conflict and ongoing search for identity for Indigenous Australians (NGV 2014). In its wake the pile of rubble grows skyward. Limited Edition Digital Works on Paper . Change). Pollocks vibrant skeins of paint can be tracked across a range of works: a section of Blue Poles as a background image in Notes to Basquiat (Jackson Pollock and his Other) (2001). 38.0 x 53.5 cm . Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. Born in 1955 in Monto, Queensland, Bennett was unaware of his mother's . This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to a new level within his practice. As Jill Bennett elucidates, Bennett does not simply imitate or act as Basquiat [Rather] he is interested in how Basquiats work might be encountered from a different place, and what happens when different accounts of history and experience are registered simultaneously within a given frame2, Accordingly, in the present Notes to Basquiat: (Ab)original, 1999, the experience of race and life generally in the northern and southern hemispheres is both differentiated and conflated through Bennetts highly sophisticated mimicry of Basquiats spontaneous urban style. Bennett's series works across both Australian and American cultures, with wider historic references to the radical and the marginalised. Australian art: Storylines - National Gallery of Australia Bloodlines 1993 Unfinished Business: The Art of Gordon Bennett - QAGOMA Blog signed and dated verso: G. Bennett 8 -03-2001. title, medium and dimensions inscribed verso: NOTES TO BASQUIAT: CUT THE CIRCLE II / Acrylic on linen / 5 x 6, 152 x 182.5 cm. He felt alienated by his Australian education and the representation of Aboriginal people in Western culture and as a result, began confronting the idea of identity in his own work. John CitizenInterior (Tribal Rug) 2007acrylic on linen152 x 152cmCollection: Private, Brisbane The Estate of Gordon Bennett. > Notes to Basquiat SAVE ARTWORK FOLLOW ARTIST. Notes to Basquiat, 1999 Synthetic polymer paint on linen . Notes to Basquiat (City) - AGSA Collection
If I were to choose a single word to describe my underlying drive it would be freedom To be free we must be able to question the ways our own history defines us. Selected new items on display in Main Reading Room. Code #:14841 LOCATION: Redfern NSW . of history and culture - not an essence, but a positioning. They often use the dots associated with Aboriginal Western Desert painting intertwined with western systems of realist depiction. Artists suggestions based on your preferences, Filter by media, style, movement, nationality and activity period, Overall performance of recent notable sales, Upcoming exhibitions at your preferred locations, Global snapshot, top performers and top lots, Charts on artist trends and performance over time, ready to export, Get your artworks appraised online in 72 hours or less by experienced IFAA accredited professionals. NOTES TO BASQUIAT: (AB) ORIGINAL, 1999 | Deutscher and Hackett Probability, Rap and coincidence Gordon Bennett: Illuminations or a season in hell | Artlink Magazine Notes to Basquiat: Kwijibo 1998
In 1994 I purchased a book on your work published as a catalogue to a
This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to . Review: Unfinished Business: The art of Gordon Bennett, QAGOMA, Brisbane. Read more: In Australia, he would be placed in dialogue with key postmodernist artists such as Imants Tillers, Tracey Moffatt, and Juan Davila. . Conflict, Violence, Peace & Art: Notes to Basquiat (2001) by Gordon of the past, which is waiting to be found, and which, when found, will
Estimate: $40,000 - 50,000. View sold prices. A cause as worthy and challenging as anti-racism, on the other hand, can provide material for a lifetime.
Gordon Bennett was a painter of history and histories. Medium. 152.0 x 182.5 cm. By peeling
Notes to Basquiat was named for the American Jean-Michel Basquiat (196088), a precocious young artist of Puerto Rican and Haitian-American heritage, originally a graffiti artist, whose star flamed brightly in the energetic international art world of the 1980s; Perfect teeth riffs on Basquiats own paintings. To learn more about how to request items watch this short online video . We are developing and evolving the new Collection Online and would love to hear what you would like to see developed next by answering these questions after you've finished using the website. Tate, The Museum of Contemporary Art Australia (MCA) and Qantas are partners in an International Joint Acquisition Programme for contemporary Australian art. University of Wollongong Research Online Get the best price for your artwork or collection. Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall) Gordon Bennett (19552014) worked for Telecom Australia before quitting his job at the age of thirty and enrolling in a fine arts degree at Queensland College of Art. Notes to Basquiat Untitled, 1999. Closed Good Friday & Christmas day Synthetic polymer paint on canvas and rope on wood Mayer, M. With the invitation to exhibit in a contemporary art fair at New Yorks Gramercy Hotel as catalyst, in 1998 Bennett embarked upon his celebrated Notes to Basquiat series paying homage to the work of Neo-Expressionist painter Jean-Michel Basquiat the first African American to receive international art world acclaim who also shared a similar preoccupation with semiotics and visual language as instruments of marginalisation. 120 x 80cm
Gordon Bennett | NGV APT3 - Artist's Work - Gallery of Modern Art, Brisbane I was excited to find in the essay "Welcome to the Terrordome: Jean
history, culture and power. Rattling Spears: A History of Indigenous Australian Art, 'Nothing quite prepares you for the impact of this exhibition': Haring Basquiat at the NGV, Here's looking at: Blue poles by Jackson Pollock. Synthetic polymer paint on paper
Open daily body to expose both pain and anguish and a common humanity. That is not my intention, I have had my own experiences of being crowned in Australia, as an Urban Aboriginal artist - underscored as that title is by racism and primitivism - and I do not wear it well . Paul Matharan and Arnaud Morvan, Mmoires vives: une histoire de l'art aborigine, Bordeaux, 2013, 220, 221 (colour illus.). In 1995 Bennett began making work under the name 'John Citizen'. Bennett is not claiming a genealogy ), 31, Gordon Bennett was a painter of history and histories. In his recent book Rattling Spears: A History of Indigenous Australian Art (2016), art historian Ian McLean argues that anger is the consistent emotion expressed by Bennetts work. we give to the different ways we are positioned by, and position ourselves
other as human beings in the world of material existence, even though
That is not my intention, I have had my own experiences of being crowned in Australia, as an 'Urban Aboriginal' artist underscored as that title is by racism and 'primitivism' - and I do not wear it well. 23-25, Sydney, May 2017-Jun 2017, 24 (colour illus.). Notes to Basquiat:(ab)Original 1998
This included abstract expressionism and a dot aesthetic inspired by the Papunya Tula art movement of the Australian Western Desert. Gordon Bennett Australia 1955-2014 Notes to Basquiat (Death of Irony) 2002 Synthetic polymer paint on linen / 152 x 304cm The Estate of Gordon Bennett. Gordon Bennett, Notes to Basquiat (The Death of Irony), 2002, National Gallery of Australia, . I was also aware of his concern with western systems of representation and their oppressive effects. In Bennetts painting, the imagery of 9/11, for instance, illustrates metaphorically the ongoing religious/cultural conflict deeply embedded within Australian society that is comparable to an event like 9/11 where cultural/religious difference is perceived to instigate violence.
Gordon Bennett's paintings in the late 1980s and early 90s were informed by theories about appropriation - the borrowing of images from other artists and visual sources - and by post-colonial theories about identity and history. Gift of The Hon. Synthetic polymer paint on paper
My intention is in keeping with the integrity of my work in which appropriation and citation, sampling and remixing are an integral part, as are attempts to communicate a basic underlying humanity to the perception of 'blackness' in its philosophical and historical production within western cultural contexts. Others are held in regional, state and national collections (National Gallery of Australia, Queensland Art Gallery and Gallery of Modern Art, National Gallery of Victoria and the Art Gallery of New South Wales) as well as international collections including Wereldmuseum, Rotterdam.LUCIE REEVES-SMITH, Important Australian + International Fine Art, Gordon Bennett, managed by John Citizen Arts Pty Ltd. Notes to Basquiat: Unreasonable facsimile 1998
Another quote in the Dick Hebdige essay I found I connected with was
Bennett, G., quoted in Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 212. ibid.3. . View upcoming auction estimates and receive personalized email alerts for the artists you follow. within, the narratives of the past.". Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. Notes to Basquiat: Modernity, 1999 is a bridge between these two series, synthesising the main motifs of each into a tightly articulated composition exposing how words and images shape our cultural identity.The array of appropriated motifs within Notes to Basquiat: Modernity tesselate to create a dynamic composition, their collaged intuitive arrangement providing a decidedly contemporary aesthetic. The visually complex and layered works challenge received accounts of Australian colonial history. Gordon Bennett, Notes to Basquiat: Facial Bones, 1999, acylic on canvas, 51 x 51 cm Courtesy Sherman Galleries, Sydney. Notes to Basquiat: Female Pelvis by Gordon Bennett | Art.Salon and painterly fields of your work and particularly to the layered lines
Sutton Galleries, Melbourne .
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