gordon bennett notes to basquiat

Provenance. Bennett, Gordon. Gordon Bennett, Notes to Basquiat: Facial Bones, 1999, acylic on canvas, 51 x 51 cm Courtesy Sherman Galleries, Sydney. Bennett died in 2014, aged 58. Synthetic polymer paint on paper Closed Good Friday & Christmas day 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. "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. Sold for $98,182 (inc. BP) in Auction 65 - 10 November 2021, Melbourne. 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. 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. Notes to Basquiat: Kwijibo 1998 revealed. 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. 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'. On the opposite corner, however, a pair of heads labelled Caucasian and black/abo stare blankly into the void. Bennett updates this image in Possession Island (Abstraction) by concealing the indigenous servant beneath the abstract and conceptual style of Kazimir Malevich. These large scale history paintings of the 1990s are perhaps his best known works. 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). Est: AUD30 - AUD50. 03 Jun 2014. Both artists reveal the historically fueled racist elements of western culture through their paintings. 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. secure our sense of ourselves into eternity, identities are the names 152.0 x 188.5 cm. ), 210. Mayer, M. Synthetic polymer paint on linen / 183 x 152.3 x 3.2cm, The Estate of Gordon Bennett Private Collection, Adelaide, Gordon Bennett Australia 1955-2014. )Man + Space: Kwangju Biennale 2000, exhibition catalogue, Kwangju Biennale Foundation, South Korea, 2000, p. 273 (illus. 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. Art, Australian -- 20th century -- Pictorial works. Yours Sincerely, View upcoming auction estimates and receive personalized email alerts for the artists you follow. (1999). Unfinished Business can be seen until 21 March 2021. ^ Terry Smith, "Australia's Anxiety," History and Memory in the Art of Gordon Bennett, Birmingham: Ikon Gallery, 1999, p. 17. Dear Jean-Michel Basquiat, He did not discover his Aboriginal heritage until around age 11 and always resisted being pigeonholed as an Aboriginal artist. Gordon Bennett's artwork is on display at Tate Modern in Artist and Society: Citizens. Get the best price for your artwork or collection. by Greg Tate which reads: "To be a race-identified race-refugee is to Get the best price for your artwork or collection. In its wake the pile of rubble grows skyward. Apologies -- Australia -- Pictorial works. Moreover, Bennetts work is aesthetically similar to American artist Jean-Michel Basquiat. For example, expressionism features in the highly visceral Outsider (1988), which replays Van Goghs Starry Night. Estimate: $80,000 - $100,000. born 1955. "A Short Note to Basquiat" Mclean, I. 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. ), 31, Gordon Bennett was a painter of history and histories. 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. Notes to Basquiat:(ab)Original 1998 Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia 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. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia In 1995 Bennett began making work under the name 'John Citizen'. Identities 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. 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. Eccles, J. )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. we give to the different ways we are positioned by, and position ourselves Perhaps McLean reads Bennetts work in this way because anger at injustice is the emotional tone critical postmodernism typically adopts. Galtung (2009) explains in the article Cultural Violence how historical systems of racial oppression exist permanently within contemporary social consciousness. Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. His three paintings titled. . signed, dated and inscribed with title verso: G Bennett 15-03-2001/ "NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN". "Notes to Basquiat: Untitled, 1999 appears to be referencing Basquiat's 'Samo', with the simple and strong text 'Sorry' recreated in a similar style with the familiar ironic copyright symbol. Born in 1955 in Monto, Queensland, Bennett was unaware of his mother's . Notes: Title from inscription on verso. In the wake of his untimely death less than two years ago, Gordon Bennett has been championed as a hero of Australian art who drew inspiration from Australias colonial past and postcolonial present to powerfully interrogate the role of language in structuring the ideologies that so determine our personal and cultural identities. Gordon Bennetts series Notes to Basquiat body to expose both pain and anguish and a common humanity. Griffith University provides funding as a member of The Conversation AU. (LogOut/ 120 x 80cm 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. 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. artist with Puerto-Rican heritage who came to prominence in the USA in 152.0 x 182.5 cm. cultures, with wider historic references to the radical and the marginalised. 120 x 80cm Inscription. why. 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. 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. 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. (Ed.). Bennetts series works across both Australian and American Read more: 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. 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. 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. Access more artwork lots and estimated & realized auction prices on MutualArt. 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. Open daily Indeed, Bennetts extraordinary attention to visual languages, their meanings and implications, is the key revelation about his oeuvre I have taken away from the current exhibition. Please check your requests before visiting. I was drawn once again to the semiotic Haptic Painting (Explorer: The Inland Sea) 1993 Synthetic polymer paint on canvas / 177 x 265cm The Estate of Gordon Bennett, Collection: Commonwealth Bank of Australia, Gordon Bennett Australia 1955-2014. tap-dance on a tightrope". 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. Provenance. Bennett was born in Monto, Queensland, in 1955 to an indigenous Australian mother and an Anglo Celtic migrant father. Bloodlines 1993 See opening hours His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. Change), You are commenting using your Facebook account. Create a free website or blog at WordPress.com. cat., 2001, front cover View artist profile Add to wishlist. Bennett is commenting on the devastating effects of colonialisation on Australias indigenous population. Paul Matharan and Arnaud Morvan, Mmoires vives: une histoire de l'art aborigine, Bordeaux, 2013, 220, 221 (colour illus.). Certainly, the notebook quote reflects how Bennetts reputation has been cemented in Australian art history. 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. Its . Due to major building activity, some collections are unavailable. McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999 . 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. Typically, this is the style of contemporary art associated with ideology critique, unveiling systems of discrimination and oppression like racism and sexism. of history and culture - not an essence, but a positioning. He first became aware of his dual heritage when he was a young teenager. Indeed, perhaps more directly and explicitly than any other Australian artist, he engaged in the debate on republicanism, sovereignty and citizenship in an effort to highlight the plight of indigenous people not just locally, but internationally, who have become estranged as a result of colonialism. signed, dated and inscribed verso upper left: G.Bennett 9-6-2000 / Notes to Basquiat: Liberty / acrylic / 152 x 188cm. 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". 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. Looking through the exhibition, this internal language becomes insistently present as the resonances between works start to sound. other as human beings in the world of material existence, even though author unknown. Bennett directly referenced the work of many other artists throughout his career, including Jackson Pollock, Piet Mondrian, Kazimir Malevich and Vincent Van Gogh. 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. 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. Can I get copies of items from the Library? I was also aware of his concern with western systems of representation and their oppressive effects. Ultimately betraying Bennetts highly idiosyncratic vision however, is his characteristic engagement of the viewer here through his thesaurus inspired word-play designed to activate the complex web connecting sight, speech and thought, and thus highlights the links between history and meaning established in his oeuvre. Khaled Sabsabi, Look, 'The art that made me', pg. In 1994 I purchased a book on your work published as a catalogue to a This task is the unfinished business referenced in the title of the show. Bennett's painting Notes to Basquiat (2001) presents . Representation itself is political. 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. 23-25, Sydney, May 2017-Jun 2017, 24 (colour illus.). 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. View sold prices. 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.

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