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. 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. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. the points of identification, or suture, which are made within the discourses 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. Inscriptions: "G. Bennett Nov. 1999 / Notes to Basquiat: Untitled"--On verso. Limited Edition Digital Works on Paper . By Julie Ewington . This conversation is manifest quite literally when Bennett drafts a letter to the - then already deceased - Basquiat, outlining his reasons for emulating his style. Khaled Sabsabi, Look, 'The art that made me', pg. 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. 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. 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 . Bennett, Gordon. 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. Synthetic polymer paint on paper Collection: Bendigo Art Gallery, Gordon Bennett Australia 1955-2014. I guess it spoke to me of the traces Gordon BennettNotes to Basquiat: Boogieman Blues 1999acrylic on linen182.5 x 182.5cmCollection: Private, Adelaide The Estate of Gordon Bennett. 152.3 182.7 cm. Get the best price for your artwork or collection. 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. NOTES TO BASQUIAT: LIBERTY, 2000. synthetic polymer paint on linen. they undergo constant transformation. 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. 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. Selected new items on display in Main Reading Room. 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. Bennett claims his identity was, shaped by the historical narratives of colonialism with all its romantic illusions and factual deletions (SMH 2014). Certainly, the notebook quote reflects how Bennetts reputation has been cemented in Australian art history. Bennett, Gordon. 152.0 x 182.5 cm. ), 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. . ^ Terry Smith, "Australia's Anxiety," History and Memory in the Art of Gordon Bennett, Birmingham: Ikon Gallery, 1999, p. 17. Here's looking at: Blue poles by Jackson Pollock. What I had not realised is that he is also in an intense dialogue with himself and his earlier work. 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. Read more: They often use the dots associated with Aboriginal Western Desert painting intertwined with western systems of realist depiction. 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 work Notes to Basquiat: Female Pelvis by Gordon Bennett was auctioned at Christies in Melbourne in November 2003. 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.. NOTES TO BASQUIAT: LIBERTY, 2000 | Deutscher and Hackett Bennett died in 2014, aged 58. Its back the skin and flesh to reveal the innards, ribs and skeleton, the (Ed.). Copyright or permission restrictions may apply. Notes to Basquiat: Kwijibo 1998 ), 210. ^ Gordon Bennett in Gordon Bennett: Selected Writings, Power Publications and Griffith University Art Museum, 2020, p. 132. Brnice Geoffroy Schneiter, Le Journal des Arts, 'Art premier: La cration aborigne repense', pg. Read more: Open daily 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. Far from being eternally fixed in But is this the tone Bennett actually adopts? Galtung (2009) explains in the article Cultural Violence how historical systems of racial oppression exist permanently within contemporary social consciousness. Possession Island 1991 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. Paul Matharan and Arnaud Morvan, Mmoires vives: une histoire de l'art aborigine, Bordeaux, 2013, 220, 221 (colour illus.). 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). 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. 152.0 x 188.5 cm. 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. 11, Paris, Nov 2013-Dec 2013, 11 (colour illus.). John Saxby (Editor), Look, 'The art that made me: Reg Mombassa', Sydney, Nov 2015, 13. They reference the massacres of Aboriginal people in Myth of the Western man (White mans burden) (1992) and The nine ricochets (Fall down black fella, Jump up white fella (1990) and question the valorising of Captain Cook in Big Romantic Painting (Apotheosis of Captain Cook) (1993) and Possession Island (1991). Basquiat, New York: Merrell Publishers. Gordon Bennett Australia 10 August 1955 - 3 June 2014 Notes to Basquiat (City) by Greg Tate which reads: "To be a race-identified race-refugee is to An Aboriginal man is inserted into the picture whose exploding head is turning into stars. View Notes to Basquiat (1999) By Bennett Gordon; Synthetic polymer paint on linen; 182.5 x 182.5 cm. His three paintings titled. These shapes are coloured red, yellow and black referencing the Aboriginal flag and loss of a culture. This citation of Basquiat's work acts for Bennett as a mode of communication with the American artist who died in 1988. The persona of John Citizen partly represents 'the Australian Mr Average', but is also a kind of disguise for Bennett. Bennett's painting Notes to Basquiat (2001) presents . In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . Home Decor (After M Preston) No 3 2010 2010 Synthetic polymer paint on linen / 182.5 x 152cm The Estate of Gordon Bennett. This task is the unfinished business referenced in the title of the show. Notes to Basquiat (in the future art will not be boring) Abstraction (Citizen) 2011 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. Code #:14841 LOCATION: Redfern NSW . 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. Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett 1999, Bennett, Gordon. that make us the individuals we are and the histories of shared experience 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. 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 . A cause as worthy and challenging as anti-racism, on the other hand, can provide material for a lifetime. on exhibition catalogue front cover), Aulich, A., Visual Arts, The Melbourne Review, Melbourne, issue 21, July 2013, pp. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia APT3 - Artist's Work - Gallery of Modern Art, Brisbane author unknown. His three paintings titled Possession Island are based on a 19th century etching by Samuel Calvert. Estimate: $80,000 - $100,000. In 1995 Bennett began making work under the name 'John Citizen'. Gordon Bennett explored indigenous past through his conceptual art, Retrieved August 24 2014, from, http://www.smh.com.au/comment/obituaries/gordon-bennett-explored-indigenous-past-through-his-conceptual-art-20140627-zsnql.htm. Please also be aware that you may see certain words or descriptions in this catalogue which reflect the authors attitude or that of the period in which the item was created and may now be considered offensive. of different experience and layers that make us the individuals we are 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. Notes to Basquiat:(ab)Original 1998 . The textured surface references the colonial footprint of global black slavery. 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. I guess it spoke to me of the traces of different experience and layers 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'. I confess I used to think so, but seeing this exhibition has made me reconsider. Professor of Art Theory and Fine Art, Griffith University. 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. (2014). On the opposite corner, however, a pair of heads labelled Caucasian and black/abo stare blankly into the void. 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 . body to expose both pain and anguish and a common humanity. In its wake the pile of rubble grows skyward. 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. 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). 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. Gordon Bennett was a painter of history and histories. Estimate: $35,000 - $45,000. 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). 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. Gordon Bennett: Illuminations or a season in hell | Artlink Magazine Notes to Basquiat - Big Shoes - Cooee Art 'One of the most important Australian artists of the late 20th century In Australia, he would be placed in dialogue with key postmodernist artists such as Imants Tillers, Tracey Moffatt, and Juan Davila. 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. ibid., p. 22, Important Australian + International Fine Art. Special Collections Reading Room - Item/s may be unavailable, Brolgas at twilight, 1999 / Pamela Griffith, [Australian diaries and desk calendars 1999]. 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. 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. His artwork resist and debate racial stereotyping and is critical of Australias colonial history and postcolonial present. 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. 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. Bennett is not claiming a genealogy Gordon Bennett Australia 1955-2014. artist with Puerto-Rican heritage who came to prominence in the USA in We will contact you if necessary. of the past, which is waiting to be found, and which, when found, will 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. Medium. "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.

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