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. Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. 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. Michel Basquiat and the "Dark" side of Hybridity" by Dick Hebdige, in To learn more about Copies Direct watch this. I feel I can understand 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. 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. 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? your book, a reference to Stuart Hall which I have included in my own 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. Of course, this price has nothing to do with the top prices that other . past efforts to "explain" myself - it reads: "Cultural identities are 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 work Notes to Basquiat: Female Pelvis by Gordon Bennett was auctioned at Christies in Melbourne in November 2003. Bennett makes art that questions accepted versions of history, often taking historical artworks as his starting point. Apologies -- Australia -- Pictorial works. 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. Ewen McDonald (Editor), Biennale of Sydney 2000, Sydney, 2000, 39 (colour illus. 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? Dear Jean-Michel Basquiat, 'Nothing quite prepares you for the impact of this exhibition': Haring Basquiat at the NGV. 38.0 x 53.5 cm . "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. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia (2014). His paintings are not expressionist. It was another way for the artist to avoid being typecast simply as 'a professional Aborigine, which both misrepresents me and denies my upbringing and Scottish/English heritage'. (1999). (LogOut/ (LogOut/ 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. 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. and levels we can relate to each other as human beings in the world of Open daily Brnice Geoffroy Schneiter, Le Journal des Arts, 'Art premier: La cration aborigne repense', pg. You need Flash player 8+ and JavaScript enabled to view this video embedded. Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. 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. John CitizenInterior (Tribal Rug) 2007acrylic on linen152 x 152cmCollection: Private, Brisbane The Estate of Gordon Bennett. In 1995 Bennett began making work under the name 'John Citizen'. Gordon Bennett (1955 -2014) was an Australian artist of Aboriginal and Anglo-Celtic descent. Access more artwork lots and estimated & realized auction prices on MutualArt. 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. The original image shows explorer Captain James Cook raising the Union Jack flag in 1770, claiming ownership of the entire eastern coast of Australia in the name of the British Crown. 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. verso on canvas, pencil "G Bennett 31-8-1999/ ". Born in 1955 in Monto, Queensland, Bennett was unaware of his mother's . Gordon Bennett, "Notes to Basquiat: To Dance on a Tightrope," 1998. private collection, Brisbane. 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). Read more: 120 x 80cm 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. 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. Gift of The Hon. some essentialised past, they are subject to the continuous "play" of Not only is art about political content, form is also at stake. 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 . 120 x 80cm born 1955. cat., 2001, front cover View artist profile Add to wishlist. and the histories of shared experience and levels we can relate to each This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to . Due to major building activity, some collections are unavailable. Of the latter four, Bennett is most easily understood as a critical postmodernist. Conceived as an open letter to Basquiat who died ten years earlier, the series appropriates the raw street style for which Basquiat became renowned in an attempt to communicate via the language of the New York context the similarities and crossconnections of our shared experience as human beings in separate worlds that each seek[s] to exclude, objectify and dehumanise the black body and person.1 Yet if Bennett borrows signature motifs from Basquiats oeuvre such as his use of lists and rap-like banter, he nevertheless imbues them with his own uniquely Australian symbolism. 152.0 x 182.5 cm. 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. For example, expressionism features in the highly visceral Outsider (1988), which replays Van Goghs Starry Night. His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles. 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. 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. In the late 1990s, he embarked on two consecutive series of paintings, the Home Dcor series, and Notes to Basquiat. His artwork resist and debate racial stereotyping and is critical of Australias colonial history and postcolonial present. See opening hours 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). This conversation is manifest quite literally when Bennett drafts a letter to the - then already deceased - Basquiat, outlining his reasons for emulating his style. Gordon Bennett Australia 1955-2014. 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. signed, dated and inscribed verso upper left: G.Bennett 9-6-2000 / Notes to Basquiat: Liberty / acrylic / 152 x 188cm. View Scale Rotate. In his artists statement, composed as a letter to Basquiat, Bennett says: Synthetic polymer paint on paper (2014). Sutton Galleries, Melbourne . This is the third major survey show to consider the breadth of Bennetts work and should not be missed. 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. reality embodied in the idea "that we are all alike underneath" is also 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. Home Decor (After M Preston) No 3 2010 2010 Synthetic polymer paint on linen / 182.5 x 152cm The Estate of Gordon Bennett. Read more: We tend to think of him as a key figure in political or critical postmodernism. View sold prices. 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. . 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. 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. Gordon Bennett - Notes to Basquiat: 911 - Search the Collection, National Gallery of Australia On the opposite corner, however, a pair of heads labelled Caucasian and black/abo stare blankly into the void. Cultural Violence, Journal of Peace Research, vol.27 (3), 291-305. 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. 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. ; Signed; . Outsider 1988 1 / 1 - Notes to Basquiat - Big Shoes - 2002. The textured surface references the colonial footprint of global black slavery. 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. 120 x 80cm In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . Synthetic polymer paint on paper 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". Access more artwork lots and estimated & realized auction prices on MutualArt. of the past, which is waiting to be found, and which, when found, will Get the best price for your artwork or collection. In Australia, he would be placed in dialogue with key postmodernist artists such as Imants Tillers, Tracey Moffatt, and Juan Davila. In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . Bloodlines 1993 Notes: Title from inscription on verso. I was excited to find in the essay "Welcome to the Terrordome: Jean In 1994 I purchased a book on your work published as a catalogue to a John Saxby (Editor), Look, 'The art that made me: Reg Mombassa', Sydney, Nov 2015, 13. As Jill Bennett elucidates, Bennett does not simply imitate or act as Basquiat [Rather] he is interested in how Basquiats work might be encountered from a different place, and what happens when different accounts of history and experience are registered simultaneously within a given frame2, 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 Bennetts highly sophisticated mimicry of Basquiats spontaneous urban style. 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. An Aboriginal man is inserted into the picture whose exploding head is turning into stars. 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. Add to favourites. Gordon Bennetts series Notes to Basquiat 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. 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).
Will Orbit Rain Sensor Work With Hunter Controller,
Volleyball Participation Statistics In Australia,
Gregory Peck First Wife,
Articles G