gordon bennett notes to basquiat

Forms and styles of representation recur, transmute and metamorphose across his oeuvre in a dizzying fashion. 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. 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). 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 The pop art inspired paintings of the Coloured People and Interiors series seem glossier and less political than Bennetts other work, but this is not the case. Read more: 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. Bennetts painting Notes to Basquiat (2001) presents distinctly cultural conflict in contemporary Australian society. the points of identification, or suture, which are made within the discourses Attending to form as much as content enables a different view of Bennetts oeuvre and critical purpose. In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . Far from being eternally fixed in Bennett is commenting on the devastating effects of colonialisation on Australias indigenous population. Add to favourites. GORDON BENNETT born 1955 Notes to Basquiat: Hand of God 1999 synthetic polymer paint on linen signe. For example, expressionism features in the highly visceral Outsider (1988), which replays Van Goghs Starry Night. GORDON BENNETT, (1955 - 2014) - NOTES TO BASQUIAT: (AB) ORIGINAL, 1999, synthetic polymer paint on linen DIMENSIONS: 182.5 - 182.5 cm SIGNED: signed, dated and inscribed v . . Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Bennett is not claiming a genealogy This conversation is manifest quite literally when Bennett drafts a letter to the - then already deceased - Basquiat, outlining his reasons for emulating his style. Art challenges and influences public opinion on conflict, yet more importantly it identifies injustices inherent to the cultural relationships and identities within a society. 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. Bennett makes art that questions accepted versions of history, often taking historical artworks as his starting point. Synthetic polymer paint on paper Arguing that the codes of Western art, literature, law and science introduced with European settlement have become a prison from which indigenous people cannot escape but rather, only appropriate Bennett sought to picture such manifold conspiracies, employing the deconstructivist aesthetic of postmodernism to re-present the histories and politics underlying the Australian social landscape. A cause as worthy and challenging as anti-racism, on the other hand, can provide material for a lifetime. body to expose both pain and anguish and a common humanity. Read more: In his artists statement, composed as a letter to Basquiat, Bennett says: Write an article and join a growing community of more than 163,400 academics and researchers from 4,609 institutions. Copyright or permission restrictions may apply. Notes: Title from inscription on verso. 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 . Estimate: $35,000 - $45,000. 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. your book, a reference to Stuart Hall which I have included in my own 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. His three paintings titled Possession Island are based on a 19th century etching by Samuel Calvert. A humanist at heart, Bennett created works which are grounded in personal experience and an authentic voice. Gordon Bennett. revealed. Oil and synthetic polymer paint on canvas / 290.5 x 179.5cm (2010). ^ Gordon Bennett in Gordon Bennett: Selected Writings, Power Publications and Griffith University Art Museum, 2020, p. 132. Synthetic polymer paint on paper See opening hours The Estate of Gordon Bennett Galtung, J. 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. In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . on exhibition catalogue front cover), Aulich, A., Visual Arts, The Melbourne Review, Melbourne, issue 21, July 2013, pp. reality embodied in the idea "that we are all alike underneath" is also His artwork resist and debate racial stereotyping and is critical of Australias colonial history and postcolonial present. 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. We will contact you if necessary. of history and culture - not an essence, but a positioning. 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. secure our sense of ourselves into eternity, identities are the names Possession Island 1991 Closed Good Friday & Christmas day (LogOut/ ^ Terry Smith, "Australia's Anxiety," History and Memory in the Art of Gordon Bennett, Birmingham: Ikon Gallery, 1999, p. 17. Bennett was born in Monto, Queensland, in 1955 to an indigenous Australian mother and an Anglo Celtic migrant father. cat., 2001, front cover View artist profile Add to wishlist. 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. Synthetic polymer paint on paper Bennett updates this image in Possession Island (Abstraction) by concealing the indigenous servant beneath the abstract and conceptual style of Kazimir Malevich. 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. Georges Petitjean, Kitty Zijlmans and Ian McLean, Outsider/insider: the art of Gordon Bennett, Ghent, 2012, 50 (colour illus.). View NOTES TO BASQUIAT (2001) By Bennett Gordon; synthetic polymer paint on linen; 152.0 x 182.5 cm ; Signed; . 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. Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. Fred Hoffman (2005) writes that, as an African American, Basquiat utilized political and social commentary in his artworks to reveal the racial and class systems of injustice in America (Mayer 2010). Access more artwork lots and estimated & realized auction prices on MutualArt. 03 Jun 2014. 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. verso on canvas, pencil "G Bennett 31-8-1999/ ". 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. 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. Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. You need Flash player 8+ and JavaScript enabled to view this video embedded. I guess it spoke to me of the traces 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. Notes to Basquiat: Unreasonable facsimile 1998 within, the narratives of the past.". Sold for $44,400 (inc. BP) in Auction 3 - 29 November 2007, Melbourne. This is the third major survey show to consider the breadth of Bennetts work and should not be missed. Perhaps McLean reads Bennetts work in this way because anger at injustice is the emotional tone critical postmodernism typically adopts. Bennett's series works across both Australian and American cultures, with wider historic references to the radical and the marginalised. 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. Looking through the exhibition, this internal language becomes insistently present as the resonances between works start to sound. Gordon Bennett was one of the leading artists of his generation and received widespread recognition internationally for his striking . 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. Far from being grounded in mere "recovery" signed, dated and inscribed with title verso: G Bennett 15-03-2001/ "NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN". 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. 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. 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. Identities These large scale history paintings of the 1990s are perhaps his best known works. I think it seeks to go beyond the words on the paper into a world of metaphor, allegory, images and ideas in order to say something that may not be said with just words.3, 1. cultures, with wider historic references to the radical and the marginalised. Synthetic polymer paint on paper 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. 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. His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles. 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. 152.0 x 182.5 cm. 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. Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall) 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. "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. (2014). This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to . 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. 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. 109 Bennett's mimicry of Basquiat's style is not an attempt to be like Basquiat or to get an authentic street beat into his life. In Australia, he would be placed in dialogue with key postmodernist artists such as Imants Tillers, Tracey Moffatt, and Juan Davila. Gordon Bennett. 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. come from somewhere, have histories, and like everything which is historical, (Ed.). Read more: 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. 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. 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. Inscription. Gordon Bennett, Notes to Basquiat (The Death of Irony), 2002, National Gallery of Australia, . In 1994 I purchased a book on your work published as a catalogue to a 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. What I had not realised is that he is also in an intense dialogue with himself and his earlier work. Bennett, Gordon. Bennett directly referenced the work of many other artists throughout his career, including Jackson Pollock, Piet Mondrian, Kazimir Malevich and Vincent Van Gogh. Review: Unfinished Business: The art of Gordon Bennett, QAGOMA, Brisbane. Abstraction (Citizen) 2011 Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia. View sold prices. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. Gordon Bennett. Gordon BennettAbstraction (Native) 2013acrylic on linen183 x 152.3cmCollection: Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2013 The Estate of Gordon Bennett. Due to major building activity, some collections are unavailable. Bennett's art practice is interdisciplinary and encompasses painting, photography, printmaking, video, performance and installation. 152: GORDON BENNETT. 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. Born in 1955 in Monto, Queensland, Bennett was unaware of his mother's . 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: Kwijibo 1998 He is understood alongside politically inclined American artists from the so-called Pictures generation of the 1970s and 80s (Barbara Kruger, Cindy Sherman, Sherrie Levin). 'Nothing quite prepares you for the impact of this exhibition': Haring Basquiat at the NGV. His three paintings titled. Moreover, Bennetts work is aesthetically similar to American artist Jean-Michel Basquiat. Gordon BennettNotes to Basquiat: Boogieman Blues 1999acrylic on linen182.5 x 182.5cmCollection: Private, Adelaide The Estate of Gordon Bennett. Again echoing Benjamin, Bennett draws a direct link between civilisation and barbarism, or here Enlightenment and suicide. Can I get copies of items from the Library? Selected new items on display in Main Reading Room. Gordon Bennett, Retrieved August 24, 2014, from, http://www.ngv.vic.gov.au/gordonbennett/education/04.html. of the past, which is waiting to be found, and which, when found, will Est: AUD30 - AUD50. that make us the individuals we are and the histories of shared experience Here's looking at: Blue poles by Jackson Pollock. 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. To learn more about how to request items watch this short online video . Paul Matharan and Arnaud Morvan, Mmoires vives: une histoire de l'art aborigine, Bordeaux, 2013, 220, 221 (colour illus.). some essentialised past, they are subject to the continuous "play" of Impossible aims, such as this one, often underpin and drive the work of major artists; an achievable aim after all would be quickly satisfied. Basquiat, New York: Merrell Publishers. In the late 1990s, he embarked on two consecutive series of paintings, the Home Dcor series, and Notes to Basquiat. Griffith University provides funding as a member of The Conversation AU. We tend to think of him as a key figure in political or critical postmodernism. 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. 6 (stamped on stretcher bar verso)Kwangju Biennale 2000: Man + Space,Kwangju Biennale Exhibition Hall - Gallery 4, Korea, 29 March 7 June 2000Midwinter Masters: (Whats so funny bout) peace, love and understanding?, The Gallery, Bayside Arts and Cultural Centre, Melbourne, 22 June 18 August 2013 (illus.

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