Possession Island 1991 McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999 . 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? In its wake the pile of rubble grows skyward. reality embodied in the idea "that we are all alike underneath" is also Synthetic polymer paint on paper What I had not realised is that he is also in an intense dialogue with himself and his earlier work. NOTES TO BASQUIAT: (AB) ORIGINAL, 1999 | Deutscher and Hackett Sutton Galleries, Melbourne . synthetic polymer paint on canvas. 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. 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. GORDON BENNETT (b. is inspired by the work of Jean-Michel Basquiat, the Haitian-American 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. the points of identification, or suture, which are made within the discourses 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). Bennett is commenting on the devastating effects of colonialisation on Australias indigenous population. Read more: "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. signed and dated verso: G. Bennett 8 -03-2001. title, medium and dimensions inscribed verso: NOTES TO BASQUIAT: CUT THE CIRCLE II / Acrylic on linen / 5 x 6, 152 x 182.5 cm. Gordon Bennett, Notes to Basquiat (The Death of Irony), 2002, National Gallery of Australia, . 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 Unfinished Business: The Art of Gordon Bennett - Art Almanac Gordon Bennett Neo-Expressionism | by Exposition Art Blog | Medium . 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. 03 Jun 2014. Far from being eternally fixed in To learn more about Copies Direct watch this. 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 | NGV Eccles, J. Basquiat and Diaz used it as a tool for making social commentary with poetic statements throughout the urban environment. Apologies -- Australia -- Pictorial works. 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. 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. 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. Open daily NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN, 2001. synthetic polymer paint on linen. Provenance. 120 x 80cm Paul Guest OAM QC under the Cultural Gifts Program 2018. Gordon Bennett: Be Polite - Galleries West 38.0 x 53.5 cm . 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. Synthetic polymer paint on canvas and rope on wood 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 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. Digital master available National Library of Australia; Request this item to view in the Library's reading rooms using your library card. 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. 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. Bennett updates this image in Possession Island (Abstraction) by concealing the indigenous servant beneath the abstract and conceptual style of Kazimir Malevich. 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. His sophisticated mimicry becomes two-fold in his quotation of Margaret Prestons woodcut design of a fish. by Greg Tate which reads: "To be a race-identified race-refugee is to we give to the different ways we are positioned by, and position ourselves Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia Of course, this price has nothing to do with the top prices that other . Unfinished Business: The Art of Gordon Bennett This task is the unfinished business referenced in the title of the show. 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. The Estate of Gordon Bennett > Notes to Basquiat SAVE ARTWORK FOLLOW ARTIST. 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). 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. 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. 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 the entrance to this exhibition, there is an excerpt from the artists notebook from December 1991. 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. Bennetts series works across both Australian and American Gordon Bennett 'Notes to Basquiat' (911) 2001 synthetic polymer paint on linen 182.5 x 304.0 cm. Inscription. 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'. 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. Synthetic polymer paint on paper Gordon Bennett. Notes to Basquiat, 1999 Synthetic polymer paint on linen . we may be separated by cultural context, time, space and death. 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. 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. history, culture and power. His intention in the Notes to Basquiat series is to 'highlight the similarities and cross-connections of our shared experience as human beings living in separate worlds that each seek to exclude, objectify and dehumanise the black body and person'. 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. GORDON BENNETT born 1955 Notes to Basquiat: Hand of God 1999 synthetic polymer paint on linen signe. They often use the dots associated with Aboriginal Western Desert painting intertwined with western systems of realist depiction. Probability, Rap and coincidence of history and culture - not an essence, but a positioning. "A Short Note to Basquiat" Gordon Bennett Australia 1955-2014. 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. Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. Notes to Basquiat: Double vision2000Gordon BENNETT. This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to a new level within his practice. Forms and styles of representation recur, transmute and metamorphose across his oeuvre in a dizzying fashion. By Julie Ewington Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. For example, expressionism features in the highly visceral Outsider (1988), which replays Van Goghs Starry Night. material existence, even though we may be separated by cultural context, NOTES TO BASQUIAT: LIBERTY, 2000 | Deutscher and Hackett We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands. Another quote in the Dick Hebdige essay I found I connected with was 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'. 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.
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