In, In 1995 Bennett began making work under the name 'John Citizen'. Gordon Bennett was a painter of history and histories. Selected new items on display in Main Reading Room. Bennetts Notes to Basquiat collectively have had an extensive exhibition history, with a selection exhibited in the Kwangju Biennale 2000: Man + Space, Korea and the 9th Asia Pacific Triennial in 2001. 120 x 80cm
Synthetic polymer paint on paper
Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. Basquiat and Diaz used it as a tool for making social commentary with poetic statements throughout the urban environment.
GORDON BENNETT (b. The former emerges from a Klansman conical shroud, the gears of his brain communicating directly with those of his subordinate comrade, like the mechanisms of a ventriloquists doll. We tend to think of him as a key figure in political or critical postmodernism. Bennett emerges as one of the most important Australian artists of the latter part of the 20th century and one we have certainly not finished interpreting. 5Unscripted: Language in Contemporary Australian Art, Art Gallery of New South Wales, Sydney, 20 May 24 July, 2005, The Galleries, Sydney Morning Herald, 9 November 1999, p. 17McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999, unpaginated (illus. By peeling
Gift of The Hon. Gordon Bennett Possession Island (Abstraction) 1991 was purchased jointly by Tate and the Museum of Contemporary Art Australia with fund provided by the Qantas Foundation, 2016. of different experience and layers that make us the individuals we are
Inscription. I guess it spoke to me of the traces of different experience and layers
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. We respectfully advise Aboriginal and Torres Strait Islander peoples that this site may include images, or intellectual property, that may be of a sensitive nature. Purchased with funds from the Foundation for the Historic Houses Trust, Museum of Sydney Appeal, 2007, Collection: Museum of Sydney, Sydney Living Museums, Gordon Bennett Australia 1955-2014. Please check your requests before visiting. Professor of Art Theory and Fine Art, Griffith University. Here's looking at: Blue poles by Jackson Pollock. past efforts to "explain" myself - it reads: "Cultural identities are
1955) Notes to Basquiat: Female Pelvis signed, dated and inscribed 'G Bennett April 1999 NOTES TO BASQUIAT FEMALE PELVIS' (on the reverse) acrylic on cotton duck 50.5 x 50.5 cm. This is the third major survey show to consider the breadth of Bennetts work and should not be missed. McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999 . Typically, this is the style of contemporary art associated with ideology critique, unveiling systems of discrimination and oppression like racism and sexism. Inscriptions: "G. Bennett Nov. 1999 / Notes to Basquiat: Untitled"--On verso. Bennett, G., quoted in Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 212. ibid.3. Gordon Bennett Australia 1955-2014 Notes to Basquiat (Jackson Pollock and His Other) 2001 Synthetic polymer paint on linen / 2 panels: 152 x 152 cm each, 152 x 304 cm (overall), Gordon Bennett Australia 1955-2014. Mclean, I. Possession Island 1991
Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia
In Abstraction (Native), from the Abstraction series of 20102013, Bennett imposes the face of Australian politician and social activist Peter Garrett (formerly the front man of Australian rock band, Midnight Oil) onto an abstracted human figure. It weaves . 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. 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. Far from being grounded in mere "recovery"
Gordon Bennett 'Notes to Basquiat' (911) 2001 synthetic polymer paint on linen 182.5 x 304.0 cm. At first glance, paintings from the Interior series appear similar to the work of Patrick Caulfield and look like a brightly coloured pull-out from a lifestyle magazine.
152.0 x 182.5 cm. 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. Synthetic polymer paint on linen / 183 x 152.3 x 3.2cm, The Estate of Gordon Bennett Private Collection, Adelaide, Gordon Bennett Australia 1955-2014. Add to favourites. By quoting from a range of cultures and artistic styles, he questions and undermines colonial history and racist stereotypes. Attending to form as much as content enables a different view of Bennetts oeuvre and critical purpose. ), Notes to Basquiat (In The Future Art Will Not Be Boring), 1999, collection of the Art Gallery of New South Wales, SydneyNotes to Basquiat (In the future everything will be as certain as it used to be) 1999, collection of The Wereldmuseum, RotterdamNotes to Basquiat: Double vision, 2000, collection of the National Gallery of Victoria, MelbourneNotes to Basquiat: Poet and muse, 2000, collection of the National Gallery of Victoria, Melbourne. On the opposite corner, however, a pair of heads labelled Caucasian and black/abo stare blankly into the void. You lost your balance. Estimate: $35,000 - $45,000. His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles. Writing in his Manifest Toe in 1996, Bennett said: If I were to choose a single word to describe my art practice it would be the word question. Change). Bloodlines 1993 Australian artist Gordon Bennett's exhibition, a powerful attack on systemic racism, is called Be Polite. In 1999, the year this artwork was created, John Howard issued a 'statement of sincere regret' over the forced removal of Aboriginal children from their families, failing to make an official apology. time, space and death. These works, like Basquiat's, use images of the
(2010). I was also aware of his concern with western systems of representation and their oppressive effects. Both artists reveal the historically fueled racist elements of western culture through their paintings. He also wrote an open letter to the dead artist celebrating their cultural and artistic similarities, as well as their shared love of jazz, rap and .
Open from 12 noon Anzac Day Closed Good Friday, Christmas Day and Boxing Day, Queensland Art Gallery Board of Trustees 2023, See Kelly Gellatly, Citizen in the making: The art of Gordon Bennett, in, Stanley Place, South Brisbane, Queensland 4101 Australia. The Estate of Gordon Bennett 03 Jun 2014. Learn more. These large scale history paintings of the 1990s are perhaps his best known works. . . Aboriginal Australians -- Politics and government. Tate, The Museum of Contemporary Art Australia (MCA) and Qantas are partners in an International Joint Acquisition Programme for contemporary Australian art. "A Short Note to Basquiat"
Representation itself is political. Gordon Bennett, "Notes to Basquiat: To Dance on a Tightrope," 1998. private collection, Brisbane. 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. Bennett's series works across both Australian and American cultures, with wider historic references to the radical and the marginalised. The Estate of Gordon Bennett, Collection: Queensland Art Gallery / Gallery of Modern Art. 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. Underlying this dialogue with Basquiat Bennett's need to re-contextualise the issues that he has explored throughout his artistic career, confronting them within a global context. Estimate: $40,000 - 50,000. (LogOut/ In the upper left-hand corner, a Margaret Preston stylised female figure tumbles, caught in a modernist lattice reminiscent of the work of Dutch artist Piet Mondrian. 120 x 80cm
The, In the late 1990s Bennett responded to the personal experiences and practice of Puerto-Rican Haitian-American artist Jean-Michael Basquiat by producing a series of paintings that referenced the style and. verso on canvas, pencil "G Bennett 31-8-1999/ ". His sophisticated mimicry becomes two-fold in his quotation of Margaret Prestons woodcut design of a fish. Again echoing Benjamin, Bennett draws a direct link between civilisation and barbarism, or here Enlightenment and suicide. We notify you each time your favorite artists feature in an exhibition, auction or the press, Access detailed sales records for over 657,106 artists, and more than two decades of past auction results, Buy unsold paintings, prints and more for the best price, Notes to Basquiat: Myth of The Western Man ,2001, Notes to Basquiat: Cut the Circle II ,2001, Home Decor (After Margaret Presont) ; Preston+DeStijl = Citizen (My Boomerang Won't Come Back) 1996 - Gordon Bennett, Home Decor (Counter Composition) Black Swan, 1999 - Gordon Bennett. Sonia Boyce explores her own sense of self in relation to media images of blackness and whiteness in the work From Tarzan to Rambo Get to know Theaster Gates. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. The price achieved of AUD 4,700 ( 2,835) was within expectations - the estimate range had previously been given by the auction house as AUD 4,000 - 5,000. By Julie Ewington Copyright 20102023, The Conversation US, Inc. He also wrote an open letter to the dead artist celebrating their cultural and artistic similarities, as well as their shared love of jazz, rap and hip-hop. the points of identification, or suture, which are made within the discourses
This echo is surely intended as Butler claims that Bennett's last decade of work (post-Notes to Basquiat, [after 2002]) resorted 'to an easy irony' - a 'cynical postmodernism' - as if he 'may be running out of inspiration.' However, farce does have its [2] lessons and perhaps speaks more truthfully to our age. within, the narratives of the past.". Unfinished Business can be seen until 21 March 2021. Paul Matharan and Arnaud Morvan, Mmoires vives: une histoire de l'art aborigine, Bordeaux, 2013, 220, 221 (colour illus.). His intention in the Notes to Basquiat series is to 'highlight the similarities and cross-connections of our shared experience as human beings living in separate worlds that each seek to exclude, objectify and dehumanise the black body and person'. Bennett conversed about his conceptual painting practice as 'based on the semiotics of style and paint application, images and text, historical and contemporary juxta-position'. Jean-Michel Basquiat I salute you. Bennett died in 2014, aged 58. NOTES TO BASQUIAT: LIBERTY, 2000. synthetic polymer paint on linen. signed, dated and inscribed verso upper left: G.Bennett 9-6-2000 / Notes to Basquiat: Liberty / acrylic / 152 x 188cm. Three parts: a: 182 x 182cm; b: 182 x 61cm; They reference the massacres of Aboriginal people in Myth of the Western man (White mans burden) (1992) and The nine ricochets (Fall down black fella, Jump up white fella (1990) and question the valorising of Captain Cook in Big Romantic Painting (Apotheosis of Captain Cook) (1993) and Possession Island (1991). Free entry, Find out what you need to know before visiting, Untitled (reference to Colin McCahon's 'Valley of the dry bones'), Myth of the Western man (White man's burden), Outsider/ insider: the art of Gordon Bennett, Mmoires vives: une histoire de l'art aborigine, Australian art and the Russian avant-garde. At the entrance to this exhibition, there is an excerpt from the artists notebook from December 1991. Impossible aims, such as this one, often underpin and drive the work of major artists; an achievable aim after all would be quickly satisfied. Art, Australian -- 20th century -- Pictorial works. c: 182 x 182cm; 182 x 425cm (overall) Purchased 2019 with funds from the Neilson Foundation through the Queensland Art Gallery | Gallery of Modern Art Foundation In 1994 I purchased a book on your work published as a catalogue to a
Access more artwork lots and estimated & realized auction prices on MutualArt. by Greg Tate which reads: "To be a race-identified race-refugee is to
Explainer: what is postmodernism? Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall) This citation of Basquiat's work acts for Bennett as a mode of communication with the American artist who died in 1988. Change), You are commenting using your Facebook account. artist with Puerto-Rican heritage who came to prominence in the USA in
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 Bennett's highly sophisticated mimicry of Basquiat's spontaneous urban style. Gordon Bennett, Notes to Basquiat: Facial Bones, 1999, acylic on canvas, 51 x 51 cm Courtesy Sherman Galleries, Sydney. I feel I can understand
Khaled Sabsabi, Look, 'The art that made me', pg. Provenance. The persona of John Citizen partly represents 'the Australian Mr Average', but is also a kind of disguise for Bennett. Of course, this price has nothing to do with the top prices that other . Griffith University provides funding as a member of The Conversation AU. In his artists statement, composed as a letter to Basquiat, Bennett says:
View sold prices. Bennett is not claiming a genealogy 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. The works I have produced are notes, nothing more, to you and your works, posthumously yes, but importantly for me - living in the suburbs of Brisbane in the context of Australia and its colonial history, about as far away from New York as you can get - these are also notes to the people who knew you and your works, those who carry you with them in their memories and perhaps in their hearts.1. 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. Bennett's view of a shared cultural and lived-experiences led to his 'Notes to Basquiat' series (1998-2002), inspired by the work of American artist Jean-Michel Basquiat (1960-88). The textured surface references the colonial footprint of global black slavery. In the late 1990s Bennett responded to the personal experiences and practice of Puerto-Rican Haitian-American artist Jean-Michael Basquiat by producing a series of paintings that referenced the style and appropriated motifs of Basquiat's own art. Gordon Bennett. Bennett is commenting on the devastating effects of colonialisation on Australias indigenous population. Written just three years after Bennett graduated from art school as a mature aged student, it gives a very clear sense of his early ambition and political purpose. Artlines | 1-2013 | Publisher: QAGOMA | Editor: Stephanie Kennard. In Gordon Bennett's splendidly savage painting Notes to Basquiat: Perfect teeth 2000, his bright, biting satire sets white teeth against black skin in a retro pop-culture parody; the word 'mono' in the centre of the canvas suggests the dominance of one colour in art and life, as well as implying what we might think of monotones (wherever found) and the assertion of a 'monoculture'. View Scale Rotate. Major retrospectives of his work toured Icon and Arnolfini galleries and Heine Onstad Kunstsenter in Europe during 19992000, Australian State galleries between 20072009 and The Netherlands in 2012. the 1980s. Galtung (2009) explains in the article Cultural Violence how historical systems of racial oppression exist permanently within contemporary social consciousness. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. inscribed in pencil on reverse : G Bennett 19-5-2000 / "NOTES TO BASQUIAT : DOUBLE VISION" / Acrylic on Linen 152 x 182.5 cms / Jean Cocteau "orpheus" / MIRRORS WOULD DO WELL / TO REFLECT MORE". Home Decor (After M Preston) No 3 2010 2010 Synthetic polymer paint on linen / 182.5 x 152cm The Estate of Gordon Bennett. Gordon Bennetts series Notes to Basquiat
Anchoring the composition is a confronting tortured skeletal figure, that embodies a shared stereotyping of blackness, yet more universally suggests a common humanity that beneath ones skin we are all alike underneath. Notes to Basquiat, 1999 Synthetic polymer paint on linen . Gordon BennettPossession Island (Abstraction) 1991oil and acrylic on canvas182 x 182cmCollection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016 The Estate of Gordon Bennett.
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