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. of history and culture - not an essence, but a positioning. 120 x 80cm 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. 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. View sold prices. Identities 38.0 x 53.5 cm . 1992 exhibition at the Whitney. BENNETT, Gordon; Notes to Basquiat: Perfect Teeth Gordon Bennett - Sutton Gallery Georges Petitjean, Kitty Zijlmans and Ian McLean, Outsider/insider: the art of Gordon Bennett, Ghent, 2012, 50 (colour illus.). (Ed.). Unfinished Business can be seen until 21 March 2021. 152.0 x 182.5 cm. Collection: The Estate of Gordon Bennett. 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". 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. Create a free website or blog at WordPress.com. NOTES TO BASQUIAT: MODERNITY, 1999 | Deutscher and Hackett 1999, Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett. . Search the catalogue for collection items held by the National Library of Australia. 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. 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. 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 . The Estate of Gordon Bennett, Collection: Queensland Art Gallery / Gallery of Modern Art. Measurements. 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. Mayer, M. Can I get copies of items from the Library? Michel Basquiat and the "Dark" side of Hybridity" by Dick Hebdige, in the points of identification, or suture, which are made within the discourses 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). Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. verso on canvas, pencil "G Bennett 31-8-1999/ ". 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. His artwork resist and debate racial stereotyping and is critical of Australias colonial history and postcolonial present. 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. 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 . 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? Open daily Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia Copyright 20102023, The Conversation US, Inc. 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 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. 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. Gordon Bennett Australia 1955-2014. ), 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. ), 210. NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN, 2001. synthetic polymer paint on linen. Gordon Bennett: Illuminations or a season in hell | Artlink Magazine and painterly fields of your work and particularly to the layered lines Gordon Bennett Australia 10 August 1955 - 3 June 2014 Notes to Basquiat (City) This conversation is manifest quite literally when Bennett drafts a letter to the - then already deceased - Basquiat, outlining his reasons for emulating his style. 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. Explainer: what is postmodernism? Synthetic polymer paint on paper Code #:14841 LOCATION: Redfern NSW . Access more artwork lots and estimated & realized auction prices on MutualArt. 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. 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. Ewen McDonald (Editor), Biennale of Sydney 2000, Sydney, 2000, 39 (colour illus. Works | NGV | View Work 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. Gordon Bennett, Retrieved August 24, 2014, from, http://www.ngv.vic.gov.au/gordonbennett/education/04.html. The work Notes to Basquiat: Female Pelvis by Gordon Bennett was auctioned at Christies in Melbourne in November 2003. Art, Australian -- 20th century -- Pictorial works. Fred Hoffman (2005) writes that, as an African American, Basquiat utilized political and social commentary in his artworks to reveal the racial and class systems of injustice in America (Mayer 2010). Gordon Bennett 'Notes to Basquiat' (911) 2001 synthetic polymer paint on linen 182.5 x 304.0 cm. 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. 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'. NOTES TO BASQUIAT: LIBERTY, 2000. synthetic polymer paint on linen. 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. Home Decor (After M Preston) No 3 2010 2010 Synthetic polymer paint on linen / 182.5 x 152cm The Estate of Gordon Bennett. 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. 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). Notes to Basquiat (City) - AGSA Collection come from somewhere, have histories, and like everything which is historical, Not only is art about political content, form is also at stake. Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. 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. Basquiat and Diaz used it as a tool for making social commentary with poetic statements throughout the urban environment. 152.0 x 188.5 cm. Selected new items on display in Main Reading Room. cultures, with wider historic references to the radical and the marginalised. Bennett's art practice is interdisciplinary and encompasses painting, photography, printmaking, video, performance and installation. 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). 03 Jun 2014. 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. synthetic polymer paint on canvas. Change). Gordon Bennett. 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). Signed and dated u.l. 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. 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. )Man + Space: Kwangju Biennale 2000, exhibition catalogue, Kwangju Biennale Foundation, South Korea, 2000, p. 273 (illus. His sophisticated mimicry becomes two-fold in his quotation of Margaret Prestons woodcut design of a fish. University of Wollongong Research Online 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. For example, expressionism features in the highly visceral Outsider (1988), which replays Van Goghs Starry Night. Synthetic polymer paint on paper 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.
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