Gordon Bennett, Notes to Basquiat: Facial Bones, 1999, acylic on canvas, 51 x 51 cm Courtesy Sherman Galleries, Sydney. )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. 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. A cause as worthy and challenging as anti-racism, on the other hand, can provide material for a lifetime. 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. and painterly fields of your work and particularly to the layered lines An Aboriginal man is inserted into the picture whose exploding head is turning into stars. Australian artist Gordon Bennett's exhibition, a powerful attack on systemic racism, is called Be Polite. Three parts: a: 182 x 182cm; b: 182 x 61cm; Notes: Title from inscription on verso. But is this the tone Bennett actually adopts? 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. 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. 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. 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). Copyright or permission restrictions may apply. Of course, this price has nothing to do with the top prices that other . Notes to Basquiat: Double vision2000Gordon BENNETT. Typically, this is the style of contemporary art associated with ideology critique, unveiling systems of discrimination and oppression like racism and sexism. Brnice Geoffroy Schneiter, Le Journal des Arts, 'Art premier: La cration aborigne repense', pg. "A Short Note to Basquiat" Est: AUD30 - AUD50. Basquiat and Diaz used it as a tool for making social commentary with poetic statements throughout the urban environment. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. 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). (2014). 120 x 80cm Write an article and join a growing community of more than 163,400 academics and researchers from 4,609 institutions. Gordon Bennett - Notes to Basquiat: 911 - Search the Collection, National Gallery of Australia signed, dated and inscribed verso upper left: G.Bennett 9-6-2000 / Notes to Basquiat: Liberty / acrylic / 152 x 188cm. 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. 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 . 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: 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. on exhibition catalogue front cover), Aulich, A., Visual Arts, The Melbourne Review, Melbourne, issue 21, July 2013, pp. your book, a reference to Stuart Hall which I have included in my own Outsider 1988 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. Both artists reveal the historically fueled racist elements of western culture through their paintings. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia Bennett's art practice is interdisciplinary and encompasses painting, photography, printmaking, video, performance and installation. 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. Change), You are commenting using your Facebook account. . 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. Forms and styles of representation recur, transmute and metamorphose across his oeuvre in a dizzying fashion. Possession Island 1991 Synthetic polymer paint on paper Closed Good Friday & Christmas day View upcoming auction estimates and receive personalized email alerts for the artists you follow. Notes to Basquiat, 1999 Synthetic polymer paint on linen . I was drawn once again to the semiotic By peeling Of the latter four, Bennett is most easily understood as a critical postmodernist. 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. Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall) Bennett updates this image in Possession Island (Abstraction) by concealing the indigenous servant beneath the abstract and conceptual style of Kazimir Malevich. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. Access more artwork lots and estimated & realized auction prices on MutualArt. On the opposite corner, however, a pair of heads labelled Caucasian and black/abo stare blankly into the void. View upcoming auction estimates and receive personalized email alerts for the artists you follow. Inscriptions: "G. Bennett Nov. 1999 / Notes to Basquiat: Untitled"--On verso. Gordon Bennett, Notes to Basquiat (The Death of Irony), 2002, National Gallery of Australia, . 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. View Notes to Basquiat (1999) By Bennett Gordon; Synthetic polymer paint on linen; 182.5 x 182.5 cm. 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: Kwijibo 1998 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. Bennett was born in Monto, Queensland, in 1955 to an indigenous Australian mother and an Anglo Celtic migrant father. 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. Looking through the exhibition, this internal language becomes insistently present as the resonances between works start to sound. Bennett, G., quoted in Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 212. ibid.3. To learn more about how to request items watch this short online video . I guess it spoke to me of the traces of different experience and layers Attending to form as much as content enables a different view of Bennetts oeuvre and critical purpose. 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. 152.3 182.7 cm. Perhaps McLean reads Bennetts work in this way because anger at injustice is the emotional tone critical postmodernism typically adopts. author unknown. Synthetic polymer paint on paper 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. Georges Petitjean, Kitty Zijlmans and Ian McLean, Outsider/insider: the art of Gordon Bennett, Ghent, 2012, 50 (colour illus.). why. Exhibited: "Treasures Gallery", National Library of Australia, 12 December 2012 - 7 July 2013. 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. some essentialised past, they are subject to the continuous "play" of Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia Get the best price for your artwork or collection. The textured surface references the colonial footprint of global black slavery. In 1994 I purchased a book on your work published as a catalogue to a 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. In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. 152.0 x 182.5 cm. Read more: 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 They often use the dots associated with Aboriginal Western Desert painting intertwined with western systems of realist depiction. GORDON BENNETT (b. Read more: 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. Look more closely, however, you can see paintings by the 'real' Bennett displayed on the walls. Open daily Far from being grounded in mere "recovery" His paintings are not expressionist. The Estate of Gordon Bennett, Collection: Queensland Art Gallery / Gallery of Modern Art. 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. The visually complex and layered works challenge received accounts of Australian colonial history. This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to . This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to a new level within his practice. 16, Paris, 08 Dec 2013, 16 (colour illus.). Galtung (2009) explains in the article Cultural Violence how historical systems of racial oppression exist permanently within contemporary social consciousness. In other words, such discrimination and historic prejudice directly relate to the current cultural conflict and ongoing search for identity for Indigenous Australians (NGV 2014). 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. 03 Jun 2014. 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 (1955 - 2014) NOTES TO BASQUIAT: CUT THE CIRCLE II, 2001 synthetic polymer paint on . the points of identification, or suture, which are made within the discourses (Ed.). Sold for $44,400 (inc. BP) in Auction 3 - 29 November 2007, Melbourne. Unfinished Business can be seen until 21 March 2021. Tate, The Museum of Contemporary Art Australia (MCA) and Qantas are partners in an International Joint Acquisition Programme for contemporary Australian art. Notes to Basquiat: Unreasonable facsimile 1998 Yours Sincerely, I was excited to find in the essay "Welcome to the Terrordome: Jean Notes to Basquiat: Australiana 1998 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. 'Unfinished Business: The Art of Gordon Bennett' celebrates the Queensland-based artist's globally recognised contribution to . 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'. reality embodied in the idea "that we are all alike underneath" is also John Saxby (Editor), Look, 'The art that made me: Reg Mombassa', Sydney, Nov 2015, 13. 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 Again echoing Benjamin, Bennett draws a direct link between civilisation and barbarism, or here Enlightenment and suicide. Inscriptions: "G. Bennett Nov. 1999 / Notes to Basquiat: Untitled"--On verso. 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. It is anything but. By quoting from a range of cultures and artistic styles, he questions and undermines colonial history and racist stereotypes. 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. Synthetic polymer paint on paper 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. 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. 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 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. Sold for $98,182 (inc. BP) in Auction 65 - 10 November 2021, Melbourne. body to expose both pain and anguish and a common humanity. Identities 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. 1 / 1 - Notes to Basquiat - Big Shoes - 2002. I feel I can understand Professor of Art Theory and Fine Art, Griffith University. Paul Matharan and Arnaud Morvan, Mmoires vives: une histoire de l'art aborigine, Bordeaux, 2013, 220, 221 (colour illus.). (LogOut/ material existence, even though we may be separated by cultural context, 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. Search the catalogue for collection items held by the National Library of Australia. 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. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. (LogOut/ 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. revealed. Michel Basquiat and the "Dark" side of Hybridity" by Dick Hebdige, in > Notes to Basquiat SAVE ARTWORK FOLLOW ARTIST. and the histories of shared experience and levels we can relate to each 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). Copyright 20102023, The Conversation US, Inc. Access more artwork lots and estimated & realized auction prices on MutualArt. 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 . )Man + Space: Kwangju Biennale 2000, exhibition catalogue, Kwangju Biennale Foundation, South Korea, 2000, p. 273 (illus. Bennett's painting Notes to Basquiat (2001) presents . ), 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.
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