Artlines | 1-2013 | Publisher: QAGOMA | Editor: Stephanie Kennard. Look more closely, however, you can see paintings by the 'real' Bennett displayed on the walls. The Estate of Gordon Bennett Galtung (2009) explains in the article Cultural Violence how historical systems of racial oppression exist permanently within contemporary social consciousness. The diversity of Bennetts work is another striking feature. I was drawn once again to the semiotic 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. "A Short Note to Basquiat" It is anything but. In the open letter to Jean-Michel Basquiat, Bennett continues: To some, writing a letter to a person post-humously may seem very tacky and an attempt to gain some kind of attention, even 'steal' your 'crown'. 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. 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. View Notes to Basquiat (1999) By Bennett Gordon; Synthetic polymer paint on linen; 182.5 x 182.5 cm. 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. ^ Terry Smith, "Australia's Anxiety," History and Memory in the Art of Gordon Bennett, Birmingham: Ikon Gallery, 1999, p. 17. Australian artist Gordon Bennett's exhibition, a powerful attack on systemic racism, is called Be Polite. 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. 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. Its vintage Bennett: taking no prisoners, refusing not to be furious, making viewers confront racism in all its sly expressions. A cause as worthy and challenging as anti-racism, on the other hand, can provide material for a lifetime. Provenance. (2014). Georges Petitjean, Kitty Zijlmans and Ian McLean, Outsider/insider: the art of Gordon Bennett, Ghent, 2012, 50 (colour illus.). Measurements. 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. Indeed, Bennetts extraordinary attention to visual languages, their meanings and implications, is the key revelation about his oeuvre I have taken away from the current exhibition. we give to the different ways we are positioned by, and position ourselves the 1980s. 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'. Gordon Bennett - Notes to Basquiat: 911 - Search the Collection, National Gallery of Australia 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. time, space and death. These works, like Basquiat's, use images of the of your drawing of the human figure. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. Looking through the exhibition, this internal language becomes insistently present as the resonances between works start to sound. 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. To learn more about Copies Direct watch this. Mclean, I. 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. Bennett, G., quoted in Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 212. ibid.3. GORDON BENNETT born 1955 Notes to Basquiat: Hand of God 1999 synthetic polymer paint on linen signe. Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. Bellas Gallery, Brisbane Acquired from the above by the present owner in 1999. secure our sense of ourselves into eternity, identities are the names Paul Matharan and Arnaud Morvan, Mmoires vives: une histoire de l'art aborigine, Bordeaux, 2013, 220, 221 (colour illus.). Gordon BennettNotes to Basquiat: Boogieman Blues 1999acrylic on linen182.5 x 182.5cmCollection: Private, Adelaide The Estate of Gordon Bennett. Gordon Bennett was one of the leading artists of his generation and received widespread recognition internationally for his striking . Explainer: what is postmodernism? For example, the small painting of a black angel in the installation in the first room of the exhibition titled Psycho(d)rama (1990) recurs in Notes to Basquiat (Jackson Pollock and his Other) (2001). 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. I already knew Bennett was in dialogue with other artists and their distinct painterly idioms: Mondrian, Margaret Preston, Thomas Bock, Jean-Michel Basquiat and Jackson Pollock to name just a few. 120 x 80cm 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. 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. The textured surface references the colonial footprint of global black slavery. 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. 120 x 80cm Perhaps McLean reads Bennetts work in this way because anger at injustice is the emotional tone critical postmodernism typically adopts. Bennett updates this image in Possession Island (Abstraction) by concealing the indigenous servant beneath the abstract and conceptual style of Kazimir Malevich. They often use the dots associated with Aboriginal Western Desert painting intertwined with western systems of realist depiction. )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. Please check your requests before visiting. Professor of Art Theory and Fine Art, Griffith University. 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. Gordon Bennett was a painter of history and histories. He first became aware of his dual heritage when he was a young teenager. . > Notes to Basquiat SAVE ARTWORK FOLLOW ARTIST. 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. 16, Paris, 08 Dec 2013, 16 (colour illus.). Can I get copies of items from the Library? Paul Guest OAM QC under the Cultural Gifts Program 2018. signed, dated and inscribed verso upper left: G.Bennett 9-6-2000 / Notes to Basquiat: Liberty / acrylic / 152 x 188cm. Bennetts painting Notes to Basquiat (2001) presents distinctly cultural conflict in contemporary Australian society. Gordon Bennett, "Notes to Basquiat: To Dance on a Tightrope," 1998. private collection, Brisbane. Yours Sincerely, 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. Susan Best receives funding from the Australia Council for the Arts and the Australian Research Council . His three paintings titled Possession Island are based on a 19th century etching by Samuel Calvert. by Greg Tate which reads: "To be a race-identified race-refugee is to 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). Bennetts series works across both Australian and American back the skin and flesh to reveal the innards, ribs and skeleton, the (1990). 1 / 1 - Notes to Basquiat - Big Shoes - 2002. 11, Paris, Nov 2013-Dec 2013, 11 (colour illus.). Queensland Art Gallery | Gallery of Modern Art. 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. 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. The persona of John Citizen partly represents 'the Australian Mr Average', but is also a kind of disguise for Bennett. 152.0 x 188.5 cm. within, the narratives of the past.". 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. Impossible aims, such as this one, often underpin and drive the work of major artists; an achievable aim after all would be quickly satisfied. some essentialised past, they are subject to the continuous "play" of 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. Synthetic polymer paint on paper Bennett's art practice is interdisciplinary and encompasses painting, photography, printmaking, video, performance and installation. and the histories of shared experience and levels we can relate to each Code #:14841 LOCATION: Redfern NSW . Access more artwork lots and estimated & realized auction prices on MutualArt. (LogOut/ Gordon Bennett 'Notes to Basquiat' (911) 2001 synthetic polymer paint on linen 182.5 x 304.0 cm. 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. Read more: 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'. 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. 1992 exhibition at the Whitney. Apologies -- Australia -- Pictorial works. Inscriptions: "G. Bennett Nov. 1999 / Notes to Basquiat: Untitled"--On verso. Read more: Get the best price for your artwork or collection. 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. I guess it spoke to me of the traces Sold for $44,400 (inc. BP) in Auction 3 - 29 November 2007, Melbourne. I was excited to find in the essay "Welcome to the Terrordome: Jean Gordon Bennett Australia 10 August 1955 - 3 June 2014 Notes to Basquiat (City) Ultimately betraying Bennetts highly idiosyncratic vision however, is his characteristic engagement of the viewer here through his thesaurus inspired word-play designed to activate the complex web connecting sight, speech and thought, and thus highlights the links between history and meaning established in his oeuvre. Anchoring the composition is a confronting tortured skeletal figure . 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 Possession Island (Abstraction) 1991 was purchased jointly by Tate and the Museum of Contemporary Art Australia with fund provided by the Qantas Foundation, 2016. signed, dated and inscribed verso: G Bennett 3-9-1999 / NOTES TO BASQUIAT: (ab) original / [], Sherman Galleries, SydneyGene and Brian Sherman collection, Sydney, Gordon Bennett Notes to Basquiat: One Tense Moment (episode two), Sherman Galleries, Sydney, 5 November 4 December 1999, cat. Est: AUD30 - AUD50. 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. 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. 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. Mayer, M. Inscription. Jean-Michel Basquiat I salute you. Change). Search the catalogue for collection items held by the National Library of Australia. Notes to Basquiat: Australia Day re-enactment 1998 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. His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles.

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