gordon bennett notes to basquiat

152.3 182.7 cm. He first became aware of his dual heritage when he was a young teenager. 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. In his Welt series of paintings of the early 1990s, he painted over the created scarified surface of Jackson Pollock inspired drip paintings in matt black. Gordon Bennett. View upcoming auction estimates and receive personalized email alerts for the artists you follow. 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). Exhibited: "Treasures Gallery", National Library of Australia, 12 December 2012 - 7 July 2013. The work Notes to Basquiat: Female Pelvis by Gordon Bennett was auctioned at Christies in Melbourne in November 2003. 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. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia Georges Petitjean, Kitty Zijlmans and Ian McLean, Outsider/insider: the art of Gordon Bennett, Ghent, 2012, 50 (colour illus.). 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". Explainer: what is postmodernism? Michel Basquiat and the "Dark" side of Hybridity" by Dick Hebdige, in I guess it spoke to me of the traces of different experience and layers Paul Guest OAM QC under the Cultural Gifts Program 2018. The University of Queensland, Brisbane Acquired with the Assistance of the Visual Arts and Crafts Board of the Australia Council, 1989, The Estate of Gordon Bennett Collection: The University of Queensland. Estimate: $40,000 - 50,000. Inscription. His sophisticated mimicry becomes two-fold in his quotation of Margaret Prestons woodcut design of a fish. Attending to form as much as content enables a different view of Bennetts oeuvre and critical purpose. This citation of Basquiat's work acts for Bennett as a mode of communication with the American artist who died in 1988. Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett 1999, Bennett, Gordon. 152.0 x 188.5 cm. 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 . Notes to Basquiat - Big Shoes - 2002. Possession Island 1991 This major display, drawn from the National Gallery's collection, brings together works by First Nations and non-Indigenous artists from across Australia, including work by artists from Asia and the Pacific. 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'. Selected new items on display in Main Reading Room. 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. 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. time, space and death. These works, like Basquiat's, use images of the Notes to Basquiat: Famous boomerang 1998 Notes to Basquiat: Perfect Teeth comes from the important extended series, Notes to Basquiat, which was a major theme in Bennetts work throughout the 1990sa selection of works on paper from this series was included in The Third Asia Pacific Triennial of Contemporary Art (APT3) in 1999. Again echoing Benjamin, Bennett draws a direct link between civilisation and barbarism, or here Enlightenment and suicide. For example, expressionism features in the highly visceral Outsider (1988), which replays Van Goghs Starry Night. Copyright 20102023, The Conversation US, Inc. GORDON BENNETT born 1955 Notes to Basquiat: Hand of God 1999 synthetic polymer paint on linen signe. other as human beings in the world of material existence, even though Collection: The Estate of Gordon Bennett. Indeed, perhaps more directly and explicitly than any other Australian artist, he engaged in the debate on republicanism, sovereignty and citizenship in an effort to highlight the plight of indigenous people not just locally, but internationally, who have become estranged as a result of colonialism. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. Bennett, Gordon. By quoting from a range of cultures and artistic styles, he questions and undermines colonial history and racist stereotypes. Collection: Bendigo Art Gallery, Gordon Bennett Australia 1955-2014. Notes to Basquiat: one tense moment, Bellas Milani Gallery, Fortitude Valley, Jun1999Unknown, Biennale of Sydney 2000, Museum of Contemporary Art, Australia, 26May200030Jul2000, Outsider/ insider: the art of Gordon Bennett, AAMU, Museum of contemporary Aboriginal art, Utrecht, 21Jun201209Dec2012, Mmoires vives: une histoire de l'art aborigine, Muse dAquitaine, Bordeaux, 16Oct201330Mar2014, Australian art and the Russian avant-garde, Art Gallery of New South Wales, Sydney, 29Jul201729Oct2017, Carnivalesque, Art Gallery of New South Wales, Sydney, 23Jun201828Oct2018, Jrme Bellay (Editor), Le Journal du Dimanche, 'L'art aborigne, la croise des mondes', pg. View sold prices. signed, dated and inscribed verso upper left: G.Bennett 9-6-2000 / Notes to Basquiat: Liberty / acrylic / 152 x 188cm. 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. Provenance. 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. In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . The ideals of pure colour and form of early 20th century De Stjil abstraction appeared to Bennett as another form of exclusion. The Estate of Gordon Bennett, Collection: Queensland Art Gallery / Gallery of Modern Art. Bennett is not claiming a genealogy His artwork resist and debate racial stereotyping and is critical of Australias colonial history and postcolonial present. Aboriginal, Torres Strait Islander and other First Nations people are advised that this catalogue contains names, recordings and images of deceased people and other content that may be culturally sensitive. Apologies -- Australia -- Pictorial works. Ewen McDonald (Editor), Biennale of Sydney 2000, Sydney, 2000, 39 (colour illus. An artist who builds houses and swings and cares a lot about community, A discussion with Amandla Stenberg, Mars and Lorna Simpson about the youth-led movement #ArtHoe and how it relates to Simpsons work, Bennett was born in Monto, Queensland, in 1955 to an indigenous Australian mother and an Anglo Celtic migrant father. In Australia, he would be placed in dialogue with key postmodernist artists such as Imants Tillers, Tracey Moffatt, and Juan Davila. This is the third major survey show to consider the breadth of Bennetts work and should not be missed. The textured surface references the colonial footprint of global black slavery. 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. The visually complex and layered works challenge received accounts of Australian colonial history. 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. 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. On the opposite corner, however, a pair of heads labelled Caucasian and black/abo stare blankly into the void. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. In the late 1990s, he embarked on two consecutive series of paintings, the Home Dcor series, and Notes to Basquiat. Bennett updates this image in Possession Island (Abstraction) by concealing the indigenous servant beneath the abstract and conceptual style of Kazimir Malevich. tap-dance on a tightrope". Synthetic polymer paint on paper signed, dated and inscribed with title verso: G Bennett 15-03-2001/ "NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN". I am trying to paint the one painting that will change the world before which even the most rabid racists will fall to their knees of course this is in itself stupid and I am a fool but I think to myself what have I got to lose by trying? verso on canvas, pencil "G Bennett 31-8-1999/ ". Cultural Violence, Journal of Peace Research, vol.27 (3), 291-305. 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. Identities Dear Jean-Michel Basquiat, NOTES TO BASQUIAT: LIBERTY, 2000. synthetic polymer paint on linen. I feel I can understand Special Collections Reading Room - Item/s may be unavailable, Brolgas at twilight, 1999 / Pamela Griffith, [Australian diaries and desk calendars 1999]. Susan Best receives funding from the Australia Council for the Arts and the Australian Research Council . "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. Its Unfinished Business can be seen until 21 March 2021. You need Flash player 8+ and JavaScript enabled to view this video embedded. Gordon Bennett Australia 10 August 1955 - 3 June 2014 Notes to Basquiat (City) 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. 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. Synthetic polymer paint on paper 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. A cause as worthy and challenging as anti-racism, on the other hand, can provide material for a lifetime. Pollocks action painting is presented as a form of cultural appropriation of First Nations sand painting in Notes to Basquiat: Bird (2001), and those same active lines form the veins of Bloodlines (1993). Bennett not only borrows images from the work of American artist Jean-Michel Basquiat, but also begins to mimic Basquiat's spontaneous and gestural urban style of painting, reflecting his involvement in the graffiti culture of the United States. Copyright or permission restrictions may apply. Haptic Painting (Explorer: The Inland Sea) 1993 Synthetic polymer paint on canvas / 177 x 265cm The Estate of Gordon Bennett, Collection: Commonwealth Bank of Australia, Gordon Bennett Australia 1955-2014. What I had not realised is that he is also in an intense dialogue with himself and his earlier work. 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. Notes to Basquiat: Double vision2000Gordon BENNETT. 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. To learn more about how to request items watch this short online video . GORDON BENNETT (b. . Bennett directly referenced the work of many other artists throughout his career, including Jackson Pollock, Bennett makes art that questions accepted versions of history, often taking historical artworks as his starting point. Art, Australian -- 20th century -- Pictorial works. Bloodlines 1993 they undergo constant transformation. 16, Paris, 08 Dec 2013, 16 (colour illus.). Australian artist Gordon Bennett's exhibition, a powerful attack on systemic racism, is called Be Polite. Its vintage Bennett: taking no prisoners, refusing not to be furious, making viewers confront racism in all its sly expressions. In 1998, ten years after his death, Bennett wrote an open letter to Basquiat that explained his motivations: To some, writing a letter to a person posthumously may seem very tacky and an attempt to gain some kind of attention, even steal your crown. Anchoring the composition is a confronting tortured skeletal figure . You lost your balance. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia Born in 1955 in Monto, Queensland, Bennett was unaware of his mother's . document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); Gordon Bennett Notes to Basquiat (911) 2001 synthetic polymer paint on linen 182.5 x 304.0 cm, http://www.abc.net.au/arts/blog/arts-desk/Gordon-Bennett-artist-who-scaled-heights-of-artworld/default.htm, Psycho-social and psychological perspectives on religious violence (week4). Representation itself is political. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. 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. 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. the points of identification, or suture, which are made within the discourses "Notes to Basquiat: Untitled, 1999 appears to be referencing Basquiat's 'Samo', with the simple and strong text 'Sorry' recreated in a similar style with the familiar ironic copyright symbol. 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. Bennett makes art that questions accepted versions of history, often taking historical artworks as his starting point. By Julie Ewington Gordon Bennett's series Notes to Basquiat is inspired by the work of Jean-Michel Basquiat, the Haitian-American artist with Puerto-Rican heritage who came to prominence in the USA in the 1980s. Gordon Bennett's artwork is on display at Tate Modern in Artist and Society: Citizens. I was drawn once again to the semiotic Gordon Bennett. Medium. Estimate: $35,000 - $45,000. )Israel, G., Senior Artwise 2: Visual Arts 11-12, Jacaranda Press, Milton, Queensland, 2003, (illus., front cover and p. 163)Murray Cree, L., Twenty: Sherman Galleries 1986-2006, Craftsman House / Thames and Hudson, Melbourne, 2006, p. 123 (illus. 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. Aboriginal Australians -- Politics and government. 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. 1 / 1 - Notes to Basquiat - Big Shoes - 2002. ), 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. Estimate: $80,000 - $100,000. Appropriation allowed Bennett to refer to both Aboriginal and non-Aboriginal art, and situate his painting in a fluid area between these two overlapping forms of contemporary art. signed and dated twice, and inscribed with title verso: 16-10-1999 / G Bennett / G Bennett 1610-1999 / NOTES TO BASQUIAT: MODERNITY / , Sutton Gallery, Melbourne (stamped on stretcher bar verso)pARTners Art Collective, Melbourne, acquired from the above in July 2007, Gordon Bennett Notes to Basquiat: One Tense Moment (episode two), Sherman Galleries, Sydney, 5 November 4 December 1999, cat. by Greg Tate which reads: "To be a race-identified race-refugee is to Access more artwork lots and estimated & realized auction prices on MutualArt. John Saxby (Editor), Look, 'The art that made me: Reg Mombassa', Sydney, Nov 2015, 13. 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. and the histories of shared experience and levels we can relate to each View NOTES TO BASQUIAT (2001) By Bennett Gordon; synthetic polymer paint on linen; 152.0 x 182.5 cm ; Signed; . In, In 1995 Bennett began making work under the name 'John Citizen'. Artlines | 1-2013 | Publisher: QAGOMA | Editor: Stephanie Kennard. Notes to Basquiat Untitled, 1999. 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 Basquiats own art. Notes to Basquiat: Australia Day re-enactment 1998 In Gordon Bennetts 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. The Notes to Basquiat: 911 series and the Camouflage series, which reflect on the terrorist attacks of September 11, 2001 and the war in Iraq respectively, highlight Bennett's global perspective. 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. Read more: Gordon Bennett (1955 -2014) was an Australian artist of Aboriginal and Anglo-Celtic descent. His three paintings titled Possession Island are based on a 19th century etching by Samuel Calvert. View Scale Rotate. But is this the tone Bennett actually adopts? 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. Levels 7-12. Sutton Galleries, Melbourne . 1955 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. See opening hours 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. Learn more. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia. Gordon Bennett, Retrieved August 24, 2014, from, http://www.ngv.vic.gov.au/gordonbennett/education/04.html. We will contact you if necessary. He did not discover his Aboriginal heritage until around age 11 and always resisted being pigeonholed as an Aboriginal artist. past efforts to "explain" myself - it reads: "Cultural identities are Meet one of Australias most important contemporary artists, whose bold and playful works explore the politics of identity, Gordon BennettHome Dcor (Relative/Absolute) Flowers for Mathinna #2 1999acrylic on linen182.5 x 182.5cmCollection: Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2012 The Estate of Gordon Bennett. Bennetts painting Notes to Basquiat (2001) presents distinctly cultural conflict in contemporary Australian society. (2014). Impossible aims, such as this one, often underpin and drive the work of major artists; an achievable aim after all would be quickly satisfied. Galtung, J. 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 Mclean, I. 152: GORDON BENNETT. View Notes to Basquiat (1999) By Bennett Gordon; Synthetic polymer paint on linen; 182.5 x 182.5 cm. I was also aware of his concern with western systems of representation and their oppressive effects. 120 x 80cm Brnice Geoffroy Schneiter, Le Journal des Arts, 'Art premier: La cration aborigne repense', pg. Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. It is anything but. Both series used a conspicuous sampling of other artists work, re-contextualising these images into symbols of the wider exclusion and disenfranchisement of indigenous peoples. John CitizenInterior (Tribal Rug) 2007acrylic on linen152 x 152cmCollection: Private, Brisbane The Estate of Gordon Bennett. on exhibition catalogue front cover), Aulich, A., Visual Arts, The Melbourne Review, Melbourne, issue 21, July 2013, pp. 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.

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