your book, a reference to Stuart Hall which I have included in my own 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. But is this the tone Bennett actually adopts? In his artists statement, composed as a letter to Basquiat, Bennett says: Khaled Sabsabi, Look, 'The art that made me', pg. Susan Best receives funding from the Australia Council for the Arts and the Australian Research Council . Synthetic polymer paint on paper Notes: Title from inscription on verso. Learn more. cat., 2001, front cover View artist profile Add to wishlist. Notes to Basquiat: Myth of The Western Man, 2001 Provenance. Professor of Art Theory and Fine Art, Griffith University. 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. ibid., p. 22, Important Australian + International Fine Art. Bennett updates this image in Possession Island (Abstraction) by concealing the indigenous servant beneath the abstract and conceptual style of Kazimir Malevich. Gordon Bennett, Notes to Basquiat: Totem Lesson 2 - Annette Larkin I was excited to find in the essay "Welcome to the Terrordome: Jean 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. 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. Notes to Basquiat (City) - AGSA Collection We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands. At times it is as though we are looking at the work of more than one artist. signed, dated and inscribed verso upper left: G.Bennett 9-6-2000 / Notes to Basquiat: Liberty / acrylic / 152 x 188cm. 120 x 80cm we give to the different ways we are positioned by, and position ourselves Bennett, Gordon. Sold for $44,400 (inc. BP) in Auction 3 - 29 November 2007, Melbourne. 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. 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'. Get the best price for your artwork or collection. Bennett's art practice is interdisciplinary and encompasses painting, photography, printmaking, video, performance and installation. 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. Gordon Bennett: Illuminations or a season in hell | Artlink Magazine Gordon Bennett's artwork is on display at Tate Modern in Artist and Society: Citizens. Bennett's series works across both Australian and American cultures, with wider historic references to the radical and the marginalised. Gordon Bennett was one of the leading artists of his generation and received widespread recognition internationally for his striking . The ideals of pure colour and form of early 20th century De Stjil abstraction appeared to Bennett as another form of exclusion. 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. Notes to Basquiat: Australiana 1998 Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett | National By peeling 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. Gordon Bennett. This critical orientation is particularly evident in Bennetts history paintings, displayed in the third room of the exhibition. Due to major building activity, some collections are unavailable. The work Notes to Basquiat: Female Pelvis by Gordon Bennett was auctioned at Christies in Melbourne in November 2003. 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. Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall) His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles. Estimate: $80,000 - $100,000. 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. Typically, this is the style of contemporary art associated with ideology critique, unveiling systems of discrimination and oppression like racism and sexism. . 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. On the opposite corner, however, a pair of heads labelled Caucasian and black/abo stare blankly into the void. Sutton Galleries, Melbourne . signed and dated twice, and inscribed with title verso: 16-10-1999 / G Bennett / G Bennett 1610-1999 / NOTES TO BASQUIAT: MODERNITY / , Sutton Gallery, Melbourne (stamped on stretcher bar verso)pARTners Art Collective, Melbourne, acquired from the above in July 2007, Gordon Bennett Notes to Basquiat: One Tense Moment (episode two), Sherman Galleries, Sydney, 5 November 4 December 1999, cat. It is anything but. NOTES TO BASQUIAT: LIBERTY, 2000. synthetic polymer paint on linen. (2014). Synthetic polymer paint on paper Bennetts series works across both Australian and American Copyright 20102023, The Conversation US, Inc. GORDON BENNETT (b. 1955) Far from being eternally fixed in back the skin and flesh to reveal the innards, ribs and skeleton, the In Australia, he would be placed in dialogue with key postmodernist artists such as Imants Tillers, Tracey Moffatt, and Juan Davila. Of course, this price has nothing to do with the top prices that other . 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. of different experience and layers that make us the individuals we are In 1995 Bennett began making work under the name 'John Citizen'. Again echoing Benjamin, Bennett draws a direct link between civilisation and barbarism, or here Enlightenment and suicide. Outsider 1988 NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN, 2001. synthetic polymer paint on linen. 120 x 80cm past efforts to "explain" myself - it reads: "Cultural identities are The Estate of Gordon Bennett NOTES TO BASQUIAT: CUT THE CIRCLE II, 2001 - Deutscher and Hackett Copyright or permission restrictions may apply. 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. Synthetic polymer paint on canvas and rope on wood 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 Bennett claims his identity was, shaped by the historical narratives of colonialism with all its romantic illusions and factual deletions (SMH 2014). GORDON BENNETT (b. Of the latter four, Bennett is most easily understood as a critical postmodernist. Anchoring the composition is a confronting tortured skeletal figure . Synthetic polymer paint on paper 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. What I had not realised is that he is also in an intense dialogue with himself and his earlier work. 1999, Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett. Both artists reveal the historically fueled racist elements of western culture through their paintings. 152: GORDON BENNETT. Gordon Bennett | NGV Gordon Bennett, Retrieved August 24, 2014, from, http://www.ngv.vic.gov.au/gordonbennett/education/04.html. See opening hours Impossible aims, such as this one, often underpin and drive the work of major artists; an achievable aim after all would be quickly satisfied. In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . 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. 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. 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. Explainer: what is postmodernism? "A Short Note to Basquiat" 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. 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 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. come from somewhere, have histories, and like everything which is historical, This is the third major survey show to consider the breadth of Bennetts work and should not be missed. This conversation is manifest quite literally when Bennett drafts a letter to the - then already deceased - Basquiat, outlining his reasons for emulating his style. (LogOut/ Galtung, J. Bennett is not claiming a genealogy In Abstraction (Native), from the Abstraction series of 20102013, Bennett imposes the face of Australian politician and social activist Peter Garrett (formerly the front man of Australian rock band, Midnight Oil) onto an abstracted human figure. I feel I can understand The strange row of heads depicted in the very early work, The Coming of the Light (1987) forms part of the background of this same image. 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. Add to favourites. 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. NOTES TO BASQUIAT: LIBERTY, 2000 | Deutscher and Hackett Looking through the exhibition, this internal language becomes insistently present as the resonances between works start to sound. Closed Good Friday & Christmas day The persona of John Citizen partly represents 'the Australian Mr Average', but is also a kind of disguise for Bennett. Gordon Bennett. 'One of the most important Australian artists of the late 20th century 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). "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. John CitizenInterior (Tribal Rug) 2007acrylic on linen152 x 152cmCollection: Private, Brisbane The Estate of Gordon Bennett. of your drawing of the human figure. 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. Gordon Bennett, Notes to Basquiat (The Death of Irony), 2002, National Gallery of Australia, . Notes to Basquiat: Australia Day re-enactment 1998 Sold at Auction: Gordon Bennett - Invaluable 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 directly referenced the work of many other artists throughout his career, including Jackson Pollock, Piet Mondrian, Kazimir Malevich and Vincent Van Gogh. . body to expose both pain and anguish and a common humanity. Artlines | 1-2013 | Publisher: QAGOMA | Editor: Stephanie Kennard. 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). on exhibition catalogue front cover), Aulich, A., Visual Arts, The Melbourne Review, Melbourne, issue 21, July 2013, pp. 152.0 x 182.5 cm. This included abstract expressionism and a dot aesthetic inspired by the Papunya Tula art movement of the Australian Western Desert. Paul Matharan and Arnaud Morvan, Mmoires vives: une histoire de l'art aborigine, Bordeaux, 2013, 220, 221 (colour illus.). View upcoming auction estimates and receive personalized email alerts for the artists you follow. 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. (2014). In its wake the pile of rubble grows skyward. Read more: Three parts: a: 182 x 182cm; b: 182 x 61cm; Gordon Bennett - Notes to Basquiat: 911 - Search the Collection, National Gallery of Australia Here's looking at: Blue poles by Jackson Pollock. Bloodlines 1993 . 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. Synthetic polymer paint on paper 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). 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. 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. Signed and dated u.l. NOTES TO BASQUIAT: MODERNITY, 1999 | Deutscher and Hackett Yours Sincerely, Underlying this dialogue with Basquiat Bennett's need to re-contextualise the issues that he has explored throughout his artistic career, confronting them within a global context. You lost your balance. Medium. Perhaps McLean reads Bennetts work in this way because anger at injustice is the emotional tone critical postmodernism typically adopts. 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'. Inscription. Dear Jean-Michel Basquiat, secure our sense of ourselves into eternity, identities are the names To learn more about Copies Direct watch this. 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. 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). 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. 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. 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. View Scale Rotate. 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. Gordon Bennett. Mclean, I. 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. McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999 . Forms and styles of representation recur, transmute and metamorphose across his oeuvre in a dizzying fashion. Mayer, M. BENNETT, Gordon; Notes to Basquiat: Perfect Teeth 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". Home Decor (After M Preston) No 3 2010 2010 Synthetic polymer paint on linen / 182.5 x 152cm The Estate of Gordon Bennett. 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. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. 5Unscripted: Language in Contemporary Australian Art, Art Gallery of New South Wales, Sydney, 20 May 24 July, 2005, The Galleries, Sydney Morning Herald, 9 November 1999, p. 17McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999, unpaginated (illus. Bennett is commenting on the devastating effects of colonialisation on Australias indigenous population. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. Code #:14841 LOCATION: Redfern NSW . 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). 152.0 x 188.5 cm. Synthetic polymer paint on paper John Saxby (Editor), Look, 'The art that made me: Reg Mombassa', Sydney, Nov 2015, 13. Gordon BennettAbstraction (Native) 2013acrylic on linen183 x 152.3cmCollection: Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2013 The Estate of Gordon Bennett. 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. With the invitation to exhibit in a contemporary art fair at New Yorks Gramercy Hotel as catalyst, in 1998 Bennett embarked upon his celebrated Notes to Basquiat series paying homage to the work of Neo-Expressionist painter Jean-Michel Basquiat the first African American to receive international art world acclaim who also shared a similar preoccupation with semiotics and visual language as instruments of marginalisation. Limited Edition Digital Works on Paper . 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. Bennett, Gordon. 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? Australian artist Gordon Bennett's exhibition, a powerful attack on systemic racism, is called Be Polite. Five things to know about Gordon Bennett | Tate Identities 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.
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