gordon bennett notes to basquiat gordon bennett notes to basquiat

of different experience and layers that make us the individuals we are Copyright or permission restrictions may apply. back the skin and flesh to reveal the innards, ribs and skeleton, the 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. Bellas Gallery, Brisbane Acquired from the above by the present owner in 1999. 102: GORDON BENNETT born 1955 Notes to Basquiat. GORDON BENNETT born 1955 Notes to Basquiat: Hand of God 1999 synthetic polymer paint on linen signe. Basquiat and Diaz used it as a tool for making social commentary with poetic statements throughout the urban environment. View upcoming auction estimates and receive personalized email alerts for the artists you follow. the 1980s. 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. Synthetic polymer paint on paper 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. Inscriptions: "G. Bennett Nov. 1999 / Notes to Basquiat: Untitled"--On verso. 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. Digital master available National Library of Australia; Request this item to view in the Library's reading rooms using your library card. View Scale Rotate. These shapes are coloured red, yellow and black referencing the Aboriginal flag and loss of a culture. 120 x 80cm In Australia, he would be placed in dialogue with key postmodernist artists such as Imants Tillers, Tracey Moffatt, and Juan Davila. 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. NOTES TO BASQUIAT: LIBERTY, 2000. synthetic polymer paint on linen. Michel Basquiat and the "Dark" side of Hybridity" by Dick Hebdige, in come from somewhere, have histories, and like everything which is historical, Paul Guest OAM QC under the Cultural Gifts Program 2018. 1992 exhibition at the Whitney. (2010). The Estate of Gordon Bennett, Collection: Queensland Art Gallery / Gallery of Modern Art. ), 31, Gordon Bennett was a painter of history and histories. 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. (LogOut/ The Estate of Gordon Bennett 03 Jun 2014. Both artists reveal the historically fueled racist elements of western culture through their paintings. Notes to Basquiat: Double vision2000Gordon BENNETT. I guess it spoke to me of the traces Representation itself is political. Inscription. Susan Best receives funding from the Australia Council for the Arts and the Australian Research Council . Georges Petitjean, Kitty Zijlmans and Ian McLean, Outsider/insider: the art of Gordon Bennett, Ghent, 2012, 50 (colour illus.). cat., 2001, front cover View artist profile Add to wishlist. Estimate: $40,000 - 50,000. Synthetic polymer paint on paper Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. (2014). Notes to Basquiat was named for the American Jean-Michel Basquiat (196088), a precocious young artist of Puerto Rican and Haitian-American heritage, originally a graffiti artist, whose star flamed brightly in the energetic international art world of the 1980s; Perfect teeth riffs on Basquiats own paintings. Search the catalogue for collection items held by the National Library of Australia. A humanist at heart, Bennett created works which are grounded in personal experience and an authentic voice. . 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 . Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. Not only is art about political content, form is also at stake. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. Another quote in the Dick Hebdige essay I found I connected with was Impossible aims, such as this one, often underpin and drive the work of major artists; an achievable aim after all would be quickly satisfied. The visually complex and layered works challenge received accounts of Australian colonial history. It is anything but. synthetic polymer paint on canvas. Gordon Bennett Australia 1955-2014. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Preston, though well-meaning in her quest to create a truly national artistic style, produced works that corrupted sacred aboriginal motifs, and presented aboriginal people as little more than stylised caricatures of the noble savage.In addressing these notes, the paintings, to the departed American artist Jean-Michel Basquiat, Bennett expressed what he felt was histories of shared experience, an affinity felt through mutual exclusion from a euro-centric contemporary art world. Copyright 20102023, The Conversation US, Inc. His three paintings titled. View sold prices. within, the narratives of the past.". 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. 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. 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'. Certainly, the notebook quote reflects how Bennetts reputation has been cemented in Australian art history. Synthetic polymer paint on paper A cause as worthy and challenging as anti-racism, on the other hand, can provide material for a lifetime. Bennett claims his identity was, shaped by the historical narratives of colonialism with all its romantic illusions and factual deletions (SMH 2014). But is this the tone Bennett actually adopts? they undergo constant transformation. Code #:14841 LOCATION: Redfern NSW . 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. This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to . Closed Good Friday & Christmas day This is the third major survey show to consider the breadth of Bennetts work and should not be missed. we give to the different ways we are positioned by, and position ourselves Bennett is commenting on the devastating effects of colonialisation on Australias indigenous population. Change), You are commenting using your Facebook account. 152.0 x 188.5 cm. Levels 7-12. Its 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. They often use the dots associated with Aboriginal Western Desert painting intertwined with western systems of realist depiction. Notes to Basquiat Untitled, 1999. Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall) 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. 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. Bennett was born in Monto, Queensland, in 1955 to an indigenous Australian mother and an Anglo Celtic migrant father. > Notes to Basquiat SAVE ARTWORK FOLLOW ARTIST. 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'. 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. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia 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. In, In 1995 Bennett began making work under the name 'John Citizen'. 23-25, Sydney, May 2017-Jun 2017, 24 (colour illus.). ; Signed; . Access more artwork lots and estimated & realized auction prices on MutualArt. He did not discover his Aboriginal heritage until around age 11 and always resisted being pigeonholed as an Aboriginal artist. I confess I used to think so, but seeing this exhibition has made me reconsider. Bennett updates this image in Possession Island (Abstraction) by concealing the indigenous servant beneath the abstract and conceptual style of Kazimir Malevich. "A Short Note to Basquiat" Bennett, Gordon. For example, expressionism features in the highly visceral Outsider (1988), which replays Van Goghs Starry Night. We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands. 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. Oil and synthetic polymer paint on canvas / 290.5 x 179.5cm 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. "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. Sonia Boyce explores her own sense of self in relation to media images of blackness and whiteness in the work From Tarzan to Rambo Get to know Theaster Gates. Collection: Bendigo Art Gallery, Gordon Bennett Australia 1955-2014. 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. Anchoring the composition is a confronting tortured skeletal figure . 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. Thus, the oppressive ideologies and events surrounding colonization have been detrimental to the cultural identity of Aboriginal people and has consequently affected their social wellbeing today. Exhibited: "Treasures Gallery", National Library of Australia, 12 December 2012 - 7 July 2013. Anchoring the composition is a confronting tortured skeletal figure, that embodies a shared stereotyping of blackness, yet more universally suggests a common humanity that beneath ones skin we are all alike underneath. Home Decor (After M Preston) No 3 2010 2010 Synthetic polymer paint on linen / 182.5 x 152cm The Estate of Gordon Bennett. reality embodied in the idea "that we are all alike underneath" is also signed, dated and inscribed with title verso: G Bennett 15-03-2001/ "NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN". 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? 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. Collection: The Estate of Gordon Bennett. )Man + Space: Kwangju Biennale 2000, exhibition catalogue, Kwangju Biennale Foundation, South Korea, 2000, p. 273 (illus. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia 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. Selected new items on display in Main Reading Room. 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. Provenance. What I had not realised is that he is also in an intense dialogue with himself and his earlier work. 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. 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). By peeling Sold for $98,182 (inc. BP) in Auction 65 - 10 November 2021, Melbourne. history, culture and power. Australian artist Gordon Bennett's exhibition, a powerful attack on systemic racism, is called Be Polite. 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. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. 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. Bennett directly referenced the work of many other artists throughout his career, including Jackson Pollock, Bennett makes art that questions accepted versions of history, often taking historical artworks as his starting point. Mclean, I. Gordon BennettNotes to Basquiat: Boogieman Blues 1999acrylic on linen182.5 x 182.5cmCollection: Private, Adelaide The Estate of Gordon Bennett. Galtung, J. past efforts to "explain" myself - it reads: "Cultural identities are Can I get copies of items from the Library? 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 is not claiming a genealogy Deliberately inconclusive original, archetype, manuscript, master, parent etc Notes to Basquiat: (Ab)original eloquently attests to the compelling possibilities offered by Bennetts art and its embodiment of a process being kept in play; and as he poignantly muses, Poetry doesnt seek closure on its meaning. Gordon Bennett, an artist who scaled the heights of the art world, Retrieved from http://www.abc.net.au/arts/blog/arts-desk/Gordon-Bennett-artist-who-scaled-heights-of-artworld/default.htm, National Gallery of Victoria. 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). In its wake the pile of rubble grows skyward. Gift of The Hon. Due to major building activity, some collections are unavailable. of your drawing of the human figure. artist with Puerto-Rican heritage who came to prominence in the USA in Notes to Basquiat: Kwijibo 1998 Read more: 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. Notes to Basquiat:(ab)Original 1998 Measurements. 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. The persona of John Citizen partly represents 'the Australian Mr Average', but is also a kind of disguise for Bennett. His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles. Mayer, M. 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). Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett 1999, Bennett, Gordon. For example, the small painting of a black angel in the installation in the first room of the exhibition titled Psycho(d)rama (1990) recurs in Notes to Basquiat (Jackson Pollock and his Other) (2001). 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. born 1955. 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. 152.0 x 182.5 cm. revealed. Looking through the exhibition, this internal language becomes insistently present as the resonances between works start to sound. Bennetts series works across both Australian and American 1999, Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett. 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. 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. Learn more. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. Three parts: a: 182 x 182cm; b: 182 x 61cm; Brnice Geoffroy Schneiter, Le Journal des Arts, 'Art premier: La cration aborigne repense', pg. The ideals of pure colour and form of early 20th century De Stjil abstraction appeared to Bennett as another form of exclusion. In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . is inspired by the work of Jean-Michel Basquiat, the Haitian-American Estimate: $35,000 - $45,000. Provenance. Gordon Bennett was a painter of history and histories. In Bennetts most anthologised article, acerbically titled The Manifest Toe, he describes his approach to art using an expression that is often used in critical rather than art theory: the politics of representation. Here we get to the crux of Bennetts contribution. These large scale history paintings of the 1990s are perhaps his best known works. 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. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia This citation of Basquiat's work acts for Bennett as a mode of communication with the American artist who died in 1988. 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. Gordon BennettPossession Island (Abstraction) 1991oil and acrylic on canvas182 x 182cmCollection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016 The Estate of Gordon Bennett. cultures, with wider historic references to the radical and the marginalised. Gordon Bennett (1955 -2014) was an Australian artist of Aboriginal and Anglo-Celtic descent. Its vintage Bennett: taking no prisoners, refusing not to be furious, making viewers confront racism in all its sly expressions.