gordon bennett notes to basquiat

Medium. Bloodlines 1993 This citation of Basquiat's work acts for Bennett as a mode of communication with the American artist who died in 1988. The art and legacy of Gordon Bennett (1955-2014), one of Australia's most influential contemporary artists, will be on show at the Gallery of Modern Art (GOMA) from 7 November 2020 to 21 March 2021. Looking through the exhibition, this internal language becomes insistently present as the resonances between works start to sound. At the entrance to this exhibition, there is an excerpt from the artists notebook from December 1991. 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). 120 x 80cm 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. This task is the unfinished business referenced in the title of the show. 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. synthetic polymer paint on linen. View NOTES TO BASQUIAT (2001) By Bennett Gordon; synthetic polymer paint on linen; 152.0 x 182.5 cm ; Signed; . 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? ibid., p. 22, Important Australian + International Fine Art. cultures, with wider historic references to the radical and the marginalised. past efforts to "explain" myself - it reads: "Cultural identities are Bennetts series works across both Australian and American Learn more. Code #:14841 LOCATION: Redfern NSW . Jean-Michel Basquiat I salute you. ), 31, Gordon Bennett was a painter of history and histories. Get the best price for your artwork or collection. Notes to Basquiat: Kwijibo 1998 Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. 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. On the opposite corner, however, a pair of heads labelled Caucasian and black/abo stare blankly into the void. 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. I was drawn once again to the semiotic Art challenges and influences public opinion on conflict, yet more importantly it identifies injustices inherent to the cultural relationships and identities within a society. If I were to choose a single word to describe my underlying drive it would be freedom To be free we must be able to question the ways our own history defines us. GORDON BENNETT (1955 - 2014) NOTES TO BASQUIAT: CUT THE CIRCLE II, 2001 synthetic polymer paint on . McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999 . Gordon Bennett, Notes to Basquiat: Facial Bones, 1999, acylic on canvas, 51 x 51 cm Courtesy Sherman Galleries, Sydney. 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 . 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. Look more closely, however, you can see paintings by the 'real' Bennett displayed on the walls. and painterly fields of your work and particularly to the layered lines 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. (1999). 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. 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. Written just three years after Bennett graduated from art school as a mature aged student, it gives a very clear sense of his early ambition and political purpose. 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'. Gordon BennettNotes to Basquiat: Boogieman Blues 1999acrylic on linen182.5 x 182.5cmCollection: Private, Adelaide The Estate of Gordon Bennett. )Israel, G., Senior Artwise 2: Visual Arts 11-12, Jacaranda Press, Milton, Queensland, 2003, (illus., front cover and p. 163)Murray Cree, L., Twenty: Sherman Galleries 1986-2006, Craftsman House / Thames and Hudson, Melbourne, 2006, p. 123 (illus. 23-25, Sydney, May 2017-Jun 2017, 24 (colour illus.). 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. 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. 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. Bennett died in 2014, aged 58. Synthetic polymer paint on canvas and rope on wood It is anything but. See opening hours 152.3 182.7 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. 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). 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. Georges Petitjean, Kitty Zijlmans and Ian McLean, Outsider/insider: the art of Gordon Bennett, Ghent, 2012, 50 (colour illus.). 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. Of course, this price has nothing to do with the top prices that other . 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. 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. 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'. 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 Bennett's highly sophisticated mimicry of Basquiat's spontaneous urban style. Bennetts painting Notes to Basquiat (2001) presents distinctly cultural conflict in contemporary Australian society. Please check your requests before visiting. I guess it spoke to me of the traces They often use the dots associated with Aboriginal Western Desert painting intertwined with western systems of realist depiction. Appropriation allowed Bennett to refer to both Aboriginal and non-Aboriginal art, and situate his painting in a fluid area between these two overlapping forms of contemporary art. 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. born 1955. This critical orientation is particularly evident in Bennetts history paintings, displayed in the third room of the exhibition. Gordon Bennett. This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to . This conversation is manifest quite literally when Bennett drafts a letter to the - then already deceased - Basquiat, outlining his reasons for emulating his style. 152: GORDON BENNETT. Synthetic polymer paint on paper His sophisticated mimicry becomes two-fold in his quotation of Margaret Prestons woodcut design of a fish. Cultural Violence, Journal of Peace Research, vol.27 (3), 291-305. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia Susan Best receives funding from the Australia Council for the Arts and the Australian Research Council . Gordon Bennett, Retrieved August 24, 2014, from, http://www.ngv.vic.gov.au/gordonbennett/education/04.html. 152.0 x 188.5 cm. Gordon Bennetts series Notes to Basquiat 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. 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. verso on canvas, pencil "G Bennett 31-8-1999/ ". 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. 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. (2014). You need Flash player 8+ and JavaScript enabled to view this video embedded. Paul Matharan and Arnaud Morvan, Mmoires vives: une histoire de l'art aborigine, Bordeaux, 2013, 220, 221 (colour illus.). Far from being eternally fixed in Provenance. Bennett claims his identity was, shaped by the historical narratives of colonialism with all its romantic illusions and factual deletions (SMH 2014). (2014). 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. I confess I used to think so, but seeing this exhibition has made me reconsider. within, the narratives of the past.". Tate, The Museum of Contemporary Art Australia (MCA) and Qantas are partners in an International Joint Acquisition Programme for contemporary Australian art. Bennett directly referenced the work of many other artists throughout his career, including Jackson Pollock, Piet Mondrian, Kazimir Malevich and Vincent Van Gogh. 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. . 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. Notes to Basquiat Untitled, 1999. In, In 1995 Bennett began making work under the name 'John Citizen'. I already knew Bennett was in dialogue with other artists and their distinct painterly idioms: Mondrian, Margaret Preston, Thomas Bock, Jean-Michel Basquiat and Jackson Pollock to name just a few. A humanist at heart, Bennett created works which are grounded in personal experience and an authentic voice. At times it is as though we are looking at the work of more than one artist. 11, Paris, Nov 2013-Dec 2013, 11 (colour illus.). By Julie Ewington 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. 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. Notes to Basquiat - Big Shoes - 2002. 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. Possession Island 1991 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. Ewen McDonald (Editor), Biennale of Sydney 2000, Sydney, 2000, 39 (colour illus. Create a free website or blog at WordPress.com. 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. Synthetic polymer paint on paper ), 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. on exhibition catalogue front cover), Aulich, A., Visual Arts, The Melbourne Review, Melbourne, issue 21, July 2013, pp. 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. 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. I feel I can understand 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. 120 x 80cm Galtung, J. To learn more about Copies Direct watch this. Queensland Art Gallery | Gallery of Modern Art. 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. 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. Of the latter four, Bennett is most easily understood as a critical postmodernist. Notes to Basquiat: Australia Day re-enactment 1998 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. 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. body to expose both pain and anguish and a common humanity. 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 . We tend to think of him as a key figure in political or critical postmodernism. 'Unfinished Business: The Art of Gordon Bennett' celebrates the Queensland-based artist's globally recognised contribution to . Far from being grounded in mere "recovery" Change). 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.

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