To learn more about Copies Direct watch this. I guess it spoke to me of the traces Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. What I had not realised is that he is also in an intense dialogue with himself and his earlier work. 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 - Notes to Basquiat: 911 - Search the Collection, National Gallery of Australia 16, Paris, 08 Dec 2013, 16 (colour illus.). Griffith University provides funding as a member of The Conversation AU. 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. Anchoring the composition is a confronting tortured skeletal figure . About; About. 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. Artlines | 1-2013 | Publisher: QAGOMA | Editor: Stephanie Kennard. Bennett, G., quoted in Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 212. ibid.3. 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". Its vintage Bennett: taking no prisoners, refusing not to be furious, making viewers confront racism in all its sly expressions. 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. )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. born 1955. But is this the tone Bennett actually adopts? Bennett's art practice is interdisciplinary and encompasses painting, photography, printmaking, video, performance and installation. Review: Unfinished Business: The art of Gordon Bennett, QAGOMA, Brisbane. 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. 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. Typically, this is the style of contemporary art associated with ideology critique, unveiling systems of discrimination and oppression like racism and sexism. 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'. 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. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. At times it is as though we are looking at the work of more than one artist. and the histories of shared experience and levels we can relate to each Gordon Bennetts series Notes to Basquiat 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. Impossible aims, such as this one, often underpin and drive the work of major artists; an achievable aim after all would be quickly satisfied. (Ed.). "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. An Aboriginal man is inserted into the picture whose exploding head is turning into stars. Gordon Bennett (1955 -2014) was an Australian artist of Aboriginal and Anglo-Celtic descent. NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN, 2001. synthetic polymer paint on linen. Bennett makes art that questions accepted versions of history, often taking historical artworks as his starting point. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. 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. revealed. Bennett, Gordon. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia 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. Special Collections Reading Room - Item/s may be unavailable, Brolgas at twilight, 1999 / Pamela Griffith, [Australian diaries and desk calendars 1999]. Medium. signed, dated and inscribed verso upper left: G.Bennett 9-6-2000 / Notes to Basquiat: Liberty / acrylic / 152 x 188cm. Learn more. 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. You lost your balance. Access more artwork lots and estimated & realized auction prices on MutualArt. (2014). 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). Bennett is commenting on the devastating effects of colonialisation on Australias indigenous population. He first became aware of his dual heritage when he was a young teenager. Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. 120 x 80cm 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. signed, dated and inscribed with title verso: G Bennett 15-03-2001/ "NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN". Bennett's series works across both Australian and American cultures, with wider historic references to the radical and the marginalised. McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999 . Notes to Basquiat Untitled, 1999. author unknown. I was excited to find in the essay "Welcome to the Terrordome: Jean (LogOut/ Cultural Violence, Journal of Peace Research, vol.27 (3), 291-305. This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to . cat., 2001, front cover View artist profile Add to wishlist. back the skin and flesh to reveal the innards, ribs and skeleton, the 152.0 x 182.5 cm. Copyright 20102023, The Conversation US, Inc. Professor of Art Theory and Fine Art, Griffith University. Notes to Basquiat:(ab)Original 1998 11, Paris, Nov 2013-Dec 2013, 11 (colour illus.). Notes to Basquiat, 1999 Synthetic polymer paint on linen . 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. verso on canvas, pencil "G Bennett 31-8-1999/ ". (2010). This is the third major survey show to consider the breadth of Bennetts work and should not be missed. Look more closely, however, you can see paintings by the 'real' Bennett displayed on the walls. cultures, with wider historic references to the radical and the marginalised. Gordon Bennett. Attending to form as much as content enables a different view of Bennetts oeuvre and critical purpose. . come from somewhere, have histories, and like everything which is historical, In Australia, he would be placed in dialogue with key postmodernist artists such as Imants Tillers, Tracey Moffatt, and Juan Davila. 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. Moreover, Bennetts work is aesthetically similar to American artist Jean-Michel Basquiat. Home Decor (After M Preston) No 3 2010 2010 Synthetic polymer paint on linen / 182.5 x 152cm The Estate of Gordon Bennett. )Man + Space: Kwangju Biennale 2000, exhibition catalogue, Kwangju Biennale Foundation, South Korea, 2000, p. 273 (illus. 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. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia 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. Read more: His paintings are not expressionist. The main reference for Notes to Basquiat (The Coming of the Light) is not Basquiat's imagery, but one of Bennett's early paintings, The Coming of the Light (1987). Open daily Write an article and join a growing community of more than 163,400 academics and researchers from 4,609 institutions. This critical orientation is particularly evident in Bennetts history paintings, displayed in the third room of the exhibition. In its wake the pile of rubble grows skyward. is inspired by the work of Jean-Michel Basquiat, the Haitian-American Notes to Basquiat - Big Shoes - 2002. 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. of history and culture - not an essence, but a positioning. 1955 Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia past efforts to "explain" myself - it reads: "Cultural identities are The Estate of Gordon Bennett This conversation is manifest quite literally when Bennett drafts a letter to the - then already deceased - Basquiat, outlining his reasons for emulating his style. 152.0 x 182.5 cm. on exhibition catalogue front cover), Aulich, A., Visual Arts, The Melbourne Review, Melbourne, issue 21, July 2013, pp. 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. we may be separated by cultural context, time, space and death. 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. See opening hours history, culture and power. secure our sense of ourselves into eternity, identities are the names Estimate: $80,000 - $100,000. 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. We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands. 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. 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. I was drawn once again to the semiotic the points of identification, or suture, which are made within the discourses 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. 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. Notes to Basquiat: Double vision2000Gordon BENNETT. Gordon Bennett. His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles. 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. tap-dance on a tightrope". Bennett, Gordon. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. 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. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia 38.0 x 53.5 cm . By quoting from a range of cultures and artistic styles, he questions and undermines colonial history and racist stereotypes. The first African American artist to be internationally acclaimed, he was in many ways a model of the exotic success favoured in the rapacious celebrity stakes of the New York art world as much for his ethnic origins and youthful beauty as for his undoubted talent. Closed Good Friday & Christmas day Copyright or permission restrictions may apply. 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. 120 x 80cm (1999). Sold for $44,400 (inc. BP) in Auction 3 - 29 November 2007, Melbourne. Collection: Bendigo Art Gallery, Gordon Bennett Australia 1955-2014. . 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. synthetic polymer paint on linen. 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. they undergo constant transformation. 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. 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'. Basquiat, New York: Merrell Publishers. 102: GORDON BENNETT born 1955 Notes to Basquiat. your book, a reference to Stuart Hall which I have included in my own 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. . 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 Notes to Basquiat: Australia Day Re-enactment, 1999 Acrylic on linen 182.5 x 182.5cm + Gordon Bennett Home dcor (Preston + de Stijl = Citizen) Panorama, 1997 Acrylic on canvas 182.7 x 365.3cm National Gallery of Victoria + Gordon Bennett Possession Island . These large scale history paintings of the 1990s are perhaps his best known works. We tend to think of him as a key figure in political or critical postmodernism. 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. Create a free website or blog at WordPress.com. Outsider 1988 Bennett directly referenced the work of many other artists throughout his career, including Jackson Pollock, Piet Mondrian, Kazimir Malevich and Vincent Van Gogh. 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. 120 x 80cm . Yours Sincerely, In 1994 I purchased a book on your work published as a catalogue to a (2014). Born in 1955 in Monto, Queensland, Bennett was unaware of his mother's . Such is reiterated by the works unfolding lines of text the same but different / different but the same a notion which not only reverberates throughout the entire series, but is similarly reflected in Bennetts knowing relationship to Basquiat and his practice. 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. 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. Read more: 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. of your drawing of the human figure. Abstraction (Citizen) 2011 Paul Guest OAM QC under the Cultural Gifts Program 2018. The visually complex and layered works challenge received accounts of Australian colonial history. 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'. Forms and styles of representation recur, transmute and metamorphose across his oeuvre in a dizzying fashion. Khaled Sabsabi, Look, 'The art that made me', pg. Jean-Michel Basquiat I salute you. 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). 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. "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. ), 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. 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. 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. ^ Terry Smith, "Australia's Anxiety," History and Memory in the Art of Gordon Bennett, Birmingham: Ikon Gallery, 1999, p. 17. View Notes to Basquiat (1999) By Bennett Gordon; Synthetic polymer paint on linen; 182.5 x 182.5 cm. 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. Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall) Synthetic polymer paint on canvas and rope on wood Access more artwork lots and estimated & realized auction prices on MutualArt. We will contact you if necessary. > Notes to Basquiat SAVE ARTWORK FOLLOW ARTIST. and levels we can relate to each other as human beings in the world of . In, In 1995 Bennett began making work under the name 'John Citizen'. 120 x 80cm Provenance. Gordon Bennett, Notes to Basquiat: Facial Bones, 1999, acylic on canvas, 51 x 51 cm Courtesy Sherman Galleries, Sydney. Can I get copies of items from the Library? ibid., p. 22, Important Australian + International Fine Art. The persona of John Citizen partly represents 'the Australian Mr Average', but is also a kind of disguise for Bennett. His three paintings titled. I feel I can understand 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. Possession Island 1991 Please check your requests before visiting. 03 Jun 2014. Quoting the raw graffiti expressionism of Philip Guston and Jean-Michel Basquiat, Bennett identifies a more authentic form of modernist painting, intimately connected to notions of race, ancestry and nation scrawled in lists close-by.Playing with the flatness of the picture plane so exalted by Modernist theory, Bennetts layers of text and appropriated images jostle for prominence. 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. Change), You are commenting using your Facebook account. (LogOut/ 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. Mclean, I. 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. Digital master available National Library of Australia; Request this item to view in the Library's reading rooms using your library card. 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. In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . To learn more about how to request items watch this short online video . 1999, Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett. Another quote in the Dick Hebdige essay I found I connected with was His sophisticated mimicry becomes two-fold in his quotation of Margaret Prestons woodcut design of a fish. Representation itself is political. Get the best price for your artwork or collection. 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. Galtung, J. 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. Thus, the oppressive ideologies and events surrounding colonization have been detrimental to the cultural identity of Aboriginal people and has consequently affected their social wellbeing today. For example, expressionism features in the highly visceral Outsider (1988), which replays Van Goghs Starry Night. Bellas Gallery, Brisbane Acquired from the above by the present owner in 1999. Of the latter four, Bennett is most easily understood as a critical postmodernist. Synthetic polymer paint on paper Unfinished Business can be seen until 21 March 2021. His three paintings titled Possession Island are based on a 19th century etching by Samuel Calvert. of the past, which is waiting to be found, and which, when found, will Gordon Bennett. In the late 1990s, he embarked on two consecutive series of paintings, the Home Dcor series, and Notes to Basquiat. 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). 120 x 80cm Change). Gordon Bennett. Ewen McDonald (Editor), Biennale of Sydney 2000, Sydney, 2000, 39 (colour illus. He writes of Bennett: The anger is never far from the surface of his work, though he was perplexed by the common perception of it as angry.. 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. (1990). Due to major building activity, some collections are unavailable. This citation of Basquiat's work acts for Bennett as a mode of communication with the American artist who died in 1988. 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.
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