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of different experience and layers that make us the individuals we are 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. Notes to Basquiat: Australia Day re-enactment 1998 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. ), 210. 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. ; Signed; . NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN, 2001. synthetic polymer paint on linen. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia. At times it is as though we are looking at the work of more than one artist. 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. Bennett, G., quoted in Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 212. ibid.3. Gordon Bennett | NOTES TO BASQUIAT (2001) | MutualArt of history and culture - not an essence, but a positioning. NOTES TO BASQUIAT: CUT THE CIRCLE II, 2001 - Deutscher and Hackett At first glance, paintings from the Interior series appear similar to the work of Patrick Caulfield and look like a brightly coloured pull-out from a lifestyle magazine. Get the best price for your artwork or collection. 152.3 182.7 cm. Estimate: $40,000 - 50,000. 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'. View NOTES TO BASQUIAT (2001) By Bennett Gordon; synthetic polymer paint on linen; 152.0 x 182.5 cm ; Signed; . 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. His artwork resist and debate racial stereotyping and is critical of Australias colonial history and postcolonial present. Read more: 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 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). Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. we give to the different ways we are positioned by, and position ourselves 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 directly referenced the work of many other artists throughout his career, including Jackson Pollock, Piet Mondrian, Kazimir Malevich and Vincent Van Gogh. Gordon Bennett, "Notes to Basquiat: To Dance on a Tightrope," 1998. private collection, Brisbane. 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. Gordon Bennett's artwork is on display at Tate Modern in Artist and Society: Citizens. the 1980s. Another quote in the Dick Hebdige essay I found I connected with was signed, dated and inscribed with title verso: G Bennett 15-03-2001/ "NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN". 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, Retrieved August 24, 2014, from, http://www.ngv.vic.gov.au/gordonbennett/education/04.html. We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands. Notes to Basquiat: Unreasonable facsimile 1998 Gordon Bennett was one of the leading artists of his generation and received widespread recognition internationally for his striking . time, space and death. These works, like Basquiat's, use images of the 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. By quoting from a range of cultures and artistic styles, he questions and undermines colonial history and racist stereotypes. Notes to Basquiat: Female Pelvis by Gordon Bennett | Art.Salon 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. 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. I guess it spoke to me of the traces of different experience and layers 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 canvas and rope on wood 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 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. Inscriptions: "G. Bennett Nov. 1999 / Notes to Basquiat: Untitled"--On verso. In his artists statement, composed as a letter to Basquiat, Bennett says: 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". 'One of the most important Australian artists of the late 20th century In 1995 Bennett began making work under the name 'John Citizen'. Artlines | 1-2013 | Publisher: QAGOMA | Editor: Stephanie Kennard. University of Wollongong Research Online Abstraction (Citizen) 2011 Gordon Bennett | NGV 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. 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). Gordon Bennett Australia 1955-2014. Gift of The Hon. Griffith University provides funding as a member of The Conversation AU. Tate, The Museum of Contemporary Art Australia (MCA) and Qantas are partners in an International Joint Acquisition Programme for contemporary Australian art. 152.0 x 188.5 cm. 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 . Notes to Basquiat: Famous boomerang 1998 Of course, this price has nothing to do with the top prices that other . It weaves . Michel Basquiat and the "Dark" side of Hybridity" by Dick Hebdige, in A cause as worthy and challenging as anti-racism, on the other hand, can provide material for a lifetime. 'Nothing quite prepares you for the impact of this exhibition': Haring Basquiat at the NGV. Sold for $44,400 (inc. BP) in Auction 3 - 29 November 2007, Melbourne. 16, Paris, 08 Dec 2013, 16 (colour illus.). Gordon Bennett (1955 -2014) was an Australian artist of Aboriginal and Anglo-Celtic descent. Forms and styles of representation recur, transmute and metamorphose across his oeuvre in a dizzying fashion. Bennetts painting Notes to Basquiat (2001) presents distinctly cultural conflict in contemporary Australian society. We will contact you if necessary. I confess I used to think so, but seeing this exhibition has made me reconsider. 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 hip-hop. come from somewhere, have histories, and like everything which is historical, 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. BENNETT, Gordon; Notes to Basquiat: Perfect Teeth 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. (1999). 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. 23-25, Sydney, May 2017-Jun 2017, 24 (colour illus.). Copyright or permission restrictions may apply. of the past, which is waiting to be found, and which, when found, will 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. 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. Outsider 1988 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. Queensland Art Gallery | Gallery of Modern Art. A humanist at heart, Bennett created works which are grounded in personal experience and an authentic voice. 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. tap-dance on a tightrope". Gordon Bennett - Art - LibGuides at Melbourne High School You lost your balance. He first became aware of his dual heritage when he was a young teenager. Bennetts series works across both Australian and American Sold for $98,182 (inc. BP) in Auction 65 - 10 November 2021, Melbourne. 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. Add to favourites. 30 (illus. Gordon Bennett, Notes to Basquiat: Facial Bones, 1999, acylic on canvas, 51 x 51 cm Courtesy Sherman Galleries, Sydney. 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. Oil and synthetic polymer paint on canvas / 290.5 x 179.5cm Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. ^ Terry Smith, "Australia's Anxiety," History and Memory in the Art of Gordon Bennett, Birmingham: Ikon Gallery, 1999, p. 17. Notes to Basquiat: Double vision2000Gordon BENNETT. 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. Cultural Violence, Journal of Peace Research, vol.27 (3), 291-305. 120 x 80cm 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. . 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.