L120238 Gordon Bennett. In Possession Island, 1991, Bennett meticulously photocopies and enlarges Calverts image so that it can be projected, cropped and copied onto the canvas. The coming of the light refers ironically to a term used by Torres Strait Islanders to describe the arrival of the missionaries who brought Christianity to the Islands in 1871. Discuss with reference to Possession Island. With reference to at least two artworks, identify and explain some of the strategies and techniques you believe Bennett has used to engage the viewer. The circular forms in the sky are inspired by the brilliant bursts of light in van Goghs Starry night. Bennett also includes copies and samples of his own work, such as Possession Island and Big Romantic painting (The Apotheosis of Captain Cook) 1993, with other found images. The linear diagram that frames the kneeling figure of Bennetts mother in the central panel of Triptych: Requiem, Of grandeur, Empire, and the diagrams in the lower sections of the two side panels, are typical of illustrations that explain the principles of linear perspective. These images are fused and overlapped in a dynamic composition underpinned by Mondrian-style grids. The pale, marble- like sculpted heads on the bed remind us of the Classical art and learning that has been privileged in Western culture above other forms of art and learning, including those associated with Indigenous cultures. This was common practice among young Aboriginal girls and women. Dates/events to consider and research include the 1967 Australian Referendum, the 1992 Mabo and 1996 Wik Native Title court cases, Paul Keatings 1992 Redfern address. He can be anything the viewer wants him to be: white, black or any shade in between, as was true of Australian citizens in general in our multicultural country. I didnt go to art college to graduate as an Aboriginal Artist. Six years after his death at the age of 58, his Gordon Bennett, &The manifest toe, pp. Brainstorm ideas and meanings associated with these binary opposites and create a mindmap to show how they have influenced your perception and understanding of the world. Image credit: Gordon Bennett - Possession Island (1991). Home Dcor (Algebra) Ocean, 1998 synthesises the work of Piet Mondrian(18721944), Margaret Preston (18751963) and later in the series, JeanMichel Basquiat(19601988) among others. Within the Home dcor series Gordon Bennett escalates the sampling and quoting of other artists and works to develop a pastiche. As the foundation of a system of representation, perspective produces an illusion of depth on an essentially flat two dimensional surface by the use of invisible lines that converge to a vanishing point. Purchased with funds from the Foundation for the Historic Houses Trust, Museum of Sydney Appeal, 2007. Using a painting technique, create a finished artwork based on one or some of these experiments. Bennett layered these two distinctly different artists with his own work work previously appropriated from yet another context. Nearby Recently Sold Homes. It was no accident that Bennett used this event to question the way history is written and interpreted. In Outsider the energy and intensity associated with van Goghs expressive brushstrokes and brilliant colour contrasts are powerfully explosive . Like many of his own and earlier generations, Bennetts understanding of the nations history was partly shaped by the sort of images commonly found in history books. In Untitled, 1989 Bennett works with a selection of images associated with the familiar story of the discovery and settlement of Australia. Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall . Inspired, Pollock removed the canvas from the easel and worked with it flat on the floor, using movement and gesture to flick and drip paint onto the canvas. John Citizen is an artist for our times: he reflects back to us citizens the white Australia of the postKeating era. For example, placing the word DISPLACE under the image of Captain Cook coming ashore at Botany Bay focuses attention on the dispossession of Aboriginal people rather than on the discovery of Australia. What legal, moral and ethical rights does an artist have to control the way their work is seen and viewed in exhibitions, books or online. An understanding of self in the context of family is not enough. Queensland-born Gordon Bennett was an artist who loved collapsing 'high' and 'low' art boundaries. ), National Gallery of Victoria, Melbourne 2007, p. 97, Gordon Bennett, The manifest toe, pp. Symbols such as these highlight his awareness and use of visual images, forms and elements as signs. 22-24, Gordon Bennett, The manifest toe, in The Art of Gordon Bennett, p. 32, Gordon Bennett, The manifest toe in Ian McLean & Gordon Bennett, The Art of Gordon Bennett, Craftsman House, 1996, pp. In Possession Island No 2 this figure is concealed and transformed into an abstract totem or geometric monument coloured with the signature black, red and yellow of the Aboriginal flag. They absorb the flow of blood and recall the symbols often used in Aboriginal dot painting of the Western Desert to represent significant sites. The central figure is based on a monoprint made from the artists body. How ideas might be encountered from different places and events interest him. Australian politics is fraught yet the Australian public is disengaged. However, he offers more than one interpretation of the grids use, which is indicated by the sampling of works by Australian artist Margaret Preston . He depicts how pain transcends place and event to encompass a global consciousness. 5. The headless figure of the Aboriginal man has an animated, spectre- like presence that haunts the scene. Bennetts portrait of himself as a four- year old boy dressed as a cowboy as the I is juxtaposed with images of Aborigines as the AM. The reality is, however, that I have never really had much choice; and I have been faced with my work not entering some collections on the grounds of it being not Aboriginal enough, to being asked to sell my work through stalls at cultural festivalsGordon Bennett 2. In Unassailable heroes (Sweet Damper) Famous since Captain Cook, 1996 the motifs and symbols suggest issues and questions related to history and representation that concern Bennett. Underlying Bennetts admiration for Basquiat was the need to re- contextualise the issues that he had explored throughout his career as an artist. Include reference to specific examples in your discussion. Gordon Bennett born Australia 1955 Possession Island 1991 oil and synthetic polymer paint on canvas (a-b) 162.0 x 260.0 cm (overall) Museum of Sydney on the site of first Government House, Historic Houses Trust of New South Wales. ). Bennett depicts self as a black empty vessel, coffin- like with lash markings almost disguised by a thick layer of black paint. Linear perspective is a system for organising visual information. Gordon Bennett (1955-2014) is one of Australia's most important contemporary artists, and his works have received increasing critical acclaim over the past years - culminating with his retrospective exhibition at the QAGOMA in Brisbane, 'Unfinished Business: The Art of Gordon Bennett'. It recalls the way stereotypes, labels, identities and systems of thought are fixed. For many Aboriginal Australians, these celebrations were instead received as a period of mourning and a time to remember the devastating consequences of colonisation on Aboriginal people. How does this interpretation and analysis compare to your own? (Supplied: CGM Communications) In 1989, Bennett, Mr Lai and five other executives started Phosphate Resources Limited and got the locals to invest, raising about $3.4 million. The facial features reflected in the mirror are blurred and distorted by roughly painted words typical racist remarks about Aboriginal people. Eventually Bennetts mother earned an official exemption that allowed her to leave the Mission. Investigate the theories and ideas associated with anthropology, ethnography and phrenology. Bennett also had ongoing concerns about how his Aboriginal identity and his interest in subjects related to Aboriginality were framing and hence limiting the way his artistic identity and his work were perceived. 2 All that he had understood about himself and taken for granted as an Australian had ruptured. He holds a large whip with which he regularly lashes out at a black, coffin- like box. These binary opposites insider/outsider, black/white, primitive/civilised have had a powerful influence on perceptions of European and Indigenous people and culture. Gordon Bennett, Possession Island, 1991, oil and synthetic polymer paint on canvas, Museum of Sydney, Sydney Living Museums; Daniel Boyd, We Call Them . Perhaps a re-writing of history? While some people may argue this has been a quick road to success, and that my work is authorised by my Aboriginality, I maintain that I dont have to be an Aborigine to do what I do, and that quick success is not an inherent attribute of an Aboriginal heritage, as history has shown, nor is it that unusual for college graduates who have something relevant to say. The titles of Bennetts artworks reflect the artists awareness of the power of words/language to suggest meaning. Acutely aware of the frame, I graduated as a straight honours student of fine art to find myself positioned and contained by the language of primitivism as an Urban Aboriginal Artist. After 2003 he moved away from figurative language to work in an abstract idiom (see Number Nine 2008, Tate T15515). This approach to his work resists any classification or confinement according to style. Lindt created many photographic portraits of Aboriginal subjects. 3 Beds. Art can encourage people to rethink personal beliefs and positions. Gordon Bennett rapidly established himself in the Australian art world. In a conceptual sense I was liberated from the binary prison of self and other; the wall had disintegrated but where was I? From early on in his successful career, curtailed by his death in 2014 at age 58, he was well-known for disrupting the status quo with his unique visual language. Ft. 2707 Coral Shores Dr, Fort Lauderdale, FL 33306. It is a monument that also unintentionally signals the subsequent dispossession of Aboriginal people from their homeland. Bellas Gallery. Further reading Comparisons between Basquiat and Bennett often focus on the artists similar backgrounds and experiences. Bennett continued to work in new ways with materials, techniques and images throughout his career. The early 'Possession Island' (Abstraction))' 1991 was one choice. 2014. Strange to think of Gordon Bennett as an almost classical figure in contemporary Australian art. The work is a copy of a copy of a copy. After years of critiquing art-historical standards, Bennett has himself become the standard bearer. Early life [ edit] Bennett used 9/11 and its global impact three months after the event as the stage for his discourse on cultural identity. Often the basic alphabet letters ABC also appear with Bennetts perspective diagrams, highlighting the learned and culturally specific nature of the alphabet and linear perspective. This includes a focus on the role and power of language, including visual representations, in shaping identity, culture and history. The figure is dressed in tattered western clothing. It demonstrates Bennetts understanding of the power of this image. There are a number of reasons why I began painting abstract paintings that focused on overt visual phenomena, as opposed to explicit visual content. The juxtaposition and sequencing of words and images in Untitled is unsettling. The grotesque also interested Bennett as a means of disrupting conventional ways of seeing and understanding. Opens in a new window or tab. James Gordon Bennett Many a good newspaper story has been ruined by over verification. In Altered body print (Shadow figure howling at the moon) Bennett focuses more explicitly on binary opposites and the associations they trigger. His work also includes performance art, video, photography and printmaking. Gordon Bennett This world is not my home 1988 Not Currently on Display Artwork Artist As a teenager, Gordon Bennett became aware of his Indigenous heritage, and art became the tool through which he could examine his identity as an Australian of both Aboriginal and Anglo-Celtic descent. Gordon Bennett, an Australian Aboriginal artist, demonstrates this theory through his work. Bennett compels the viewer to engage with and question the values and ideas of the artists he appropriated. This is a Tate Images licensable image titled 'Possession Island (Abstraction)' by Tate Images. Picassos sizable oeuvre grew to include over 20,000 paintings, prints, drawings, sculptures,ceramics, theater sets, and costume designs. Gordon Bennett explores these ideas in Self portrait: Interior/ Exterior , 1992. McCahon uses I AM to question notions of faith. Gordon Bennett Possession Island (Abstraction), 1991 Kevin Gilbert Christmas Eve in the Land of the Dispossessed, 1968; 1992 KEY ARTIST ONE- VERNON AH KEE Born 1967, Innisfail, Queensland. Samuel Calverts engraving, Captain Cook taking possession of the Australian continent on behalf of the British Crown AD 1770, became the starting point for Bennetts exploration. As one of the dispossessed within this biased history, he claims that his only tool to combat this bias was the art of mimicry. Viewed in this context, the black square in Untitled could be seen as a resilient black presence, asserting itself in the settlement narrative that Bennett deconstructed. For given the artists own history of engagement, these works are not considered simple abstract paintings, but abstract paintings by Gordon Bennett; coloured or even tainted by, the history, concerns and associations of the artists earlier work. Although there are many forms of Aboriginal art, dot painting is widely seen as synonymous with Aboriginal art since the late 1970s, when the dot painting of the Western Desert attracted unprecedented national and international interest in Aboriginal art. Why do artists such as Gordon Bennett and Tracey Moffatt (b.1960) systematically decline to participate in exhibitions of Aboriginal art? Is this response informed by Bennetts work? Bennett indicates the need to be reconciled within the context of culture and history to develop a full sense of identity. For many Aboriginal and Torres Strait Islander Australians, this was a time to mourn the devastating consequences of 200 years of colonisation. Often describing his own practice of borrowing images as quoting, Bennett re-contextualised existing images to challenge the viewer to question and see alternative perspectives. James Gordon Bennett Gordon Bennett, Possession Island, 1991, oil and synthetic polymer paint on canvas in two parts. In Interior (Tribal rug), 2007 the sleek modern design of the furniture is complemented by a Margaret Preston inspired tribal rug and an abstract painting by Gordon Bennett. Even when the starting point for a work is an emotive one, I believe I conceptually examine the ideas behind the emotion and extrapolate from there Gordon Bennett1. I was certainly aware of it by the time I was sixteen years old after having been in the workforce for twelve months. Our understanding of the meanings associated with visual signs is linked to cultural codes, conventions and experience. Bennett was in possession of all four, all of which will become evident upon a glance at a summary of his life. Gordon Bennett 1. For example, at the time Gordon was born she still had to carry her official exemption certificate with her, and she lived in fear of her son being taken from her . These joint acquisitions by MCA and Tate include two large video installations, one by Susan Norrie (Transit 2011) and another by Vernon Ah Kee (tall man 2010), two paintings by Gordon Bennett (Possession Island (Abstraction) 1991 and Number Nine 2008) and an artist book by Judy Watson consisting of sixteen etchings with chine coll (a . Gordon Bennett (1955-2014) voraciously consumed art history, current affairs, rap music and fiction, and processed it all into an unflinching critique of how identities are constituted and how history shapes individual and shared cultural conditions. Gordon Bennett 3. Like words, visual images, forms and elements are powerful signifiers of meaning. These qualities expose some of the complications that arise from understandings built on binary opposites. all the education and socialization upon which my identity and self worth as a person, indeed my sense of Australianness, and that of my peers, had as its foundation the narratives of colonialism. Gordon Bennett: Selected Writings $45.00 Quantity Edited by Angela Goddard and Tim Riley Walsh A co-publication from Power Publications and Griffith University Art Museum Paperback with dust jacket RRP $45.00 AUD ISBN 978--909952-01-3 66 images, including colour plates 216 pp 297 x 210 mm 890 gms As an Australian of both Aboriginal and Anglo Celtic descent, Bennett felt he had no access to his indigenous heritage. Discuss in relation to selected artworks by Bennett that you believe reveal questions and complexities, rather than answers and simplicities. Issues ly explored in an Australian context are now examined in an international context. cat. The powerful image/word I AM, while central, is accompanied by statements of opposite, I am light I am dark. ), National Gallery of Victoria, Melbourne 2007, p. 101, Gordon Bennett, Conversation Bill Wright talks to Gordon Bennett, p. 97, the visual qualities and symbolism of art elements such as colour and shape, the symbolism and representation of subject matter/content (including text), the appropriation of the work of other artists, the presentation of the artwork (ie. Bennett has included the framed photograph in the panel, to the right of the painted figure. Possession Island (1991), for example, presents shadowy renditions of Captain Cook and his party against a watery blue ground, overlayed with . [Bennett] seeks to expose the shadows of official history, to track its doubles and contradictions, not in order to repudiate the European vision but to map a postcolonial future Ian McLean 2. The final panel in the sequence of six images in Untitled is a black square. Gordon Bennett 1. Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Traditional ideas about an artists individual or signature style are further confounded in Bennetts art practice by the his appropriation or sampling of the distinctive styles of other artists, including Jackson Pollock (191256), Margaret Preston ( 18751963) and Piet Mondrian (18721944). 1 0-5-30 j RED STAR Now 35 oft on all RED STARRED SIWFMIMUIS IliMMS . This approach involved a flattening of the picture surface and often the use of disparate visual elements or styles borrowed or copied from different sources. What evidence can you find of Bennett conceptually examining the ideas behind the emotion, and extrapolating from there? An orphan from a very young age, she was raised on Cherbourg Aboriginal Mission in Queensland, and later trained as a domestic at Singleton. Gordon Bennett 1, For an artist whose practice was concerned with how labels and systems define and confine knowledge and perception, labels and categorisations such as aboriginal artist, or urban aboriginal artist that were often applied to his work through exhibitions, books and other commentaries presented many practical as well as philosophical issues, I am very aware of the boundaries of critical containment within the parameters of Urban Aboriginal Art, and have so far worked within these boundaries to try and broaden, extend and subvert them. I am purposely not defining him only as Aboriginal because he himself does not want to be defined only as such. By overlaying perspective diagrams on images constructed according to the conventions of perspective, such as the landscape in Requiem, Bennett reminds us of the learned and culturally specific systems that influence knowledge and perception. Touch device users, explore by touch or with swipe gestures. In European tradition these are seen as a means of mapping and defining space. 148339 AK Gordon-Bennett-Rennen 1904 Cup Motorsport Usingen Weilburg Limburg. Landing of Captain Cook at Botany Bay 1770 by E. Phillips Fox, for example, depicts Captain James Cook ceremoniously coming ashore at Botany Bay to claim the land for Britain. Against the background of the illusionistic representation of the landscape they capture our attention, alerting us to the fact that there are other ways of representing and understanding the landscape not just the European perspectives that have dominated our cultural history. He probed ideas about identity, fuelled partly by his own . Australian politics is fraught yet the Australian public is disengaged. Possession Island 1991 was recently purchased by the Historic Houses Trust of NSW. John Citizen had his first exhibition in 1995 at Sutton Gallery, Melbourne 2 As an alternative artistic identity, John Citizen not only alerts us to how artistic identity is constructed, it gave Bennett great freedom to be someone other than Gordon Bennett. * *Collection: Museum of Sydney on the site of the first Government House, Historic Houses Trust of New South Wales. In the first painting by Bennett, Possession Island 1991 (Museum of Sydney on the site of first Government House, Historic Houses Trust of New South Wales), the only figure painted in full vibrant colour is an isolated Aboriginal servant holding a drinks tray. 'Bloodlines' Bennett confronts and questions the appropriateness of this borrowing. Lichtenstein 19231987). Gordon Bennett Number Nine, 2008 Acrylic paint on linen 71 9/10 119 7/10 in | 182.5 304 cm Museum of Contemporary Art Australia (MCA) The Rocks Get notifications for similar works Create Alert Want to sell a work by this artist? For more information, visit: www.qagoma.qld.gov.au for details. In Calverts etching, an Aboriginal man holds a drinks tray. . . The images include historical footage of Indigenous people and details of some of Bennetts own paintings. Gebraucht | Gewerblich. He painted his most famous work, Guernica (1937), in response to the Spanish Civil War; the totemic grisaille canvas remains a definitive work of anti-war art. Bennetts art is not always easy to look at. The Constitution is being rethought with respect to Indigenous Australians, and treaty-making is on the agenda yet the Uluru Statement from the Heart was roundly ignored by the Federal Government. He lived and worked in Brisbane. my work was largely about ideas rather than emotional content emanating from some stereotype of a tortured soul. Discuss with reference to one or more works by Bennett. By the late 1980s there was also a growing awareness within Australian society of the injustices suffered by the Indigenous population as a result of their dispossession. From 2003 Bennett worked on a series of non-representational abstract paintings that mark another significant shift in his practice. Learn How rich is He in this year and how He spends money? However behind the neat facade and pleasantries of suburban life, Bennett was haunted by racism and the same derogatory opinions of Aboriginal people that he quietly endured in the workforce. Gordon Bennett 3, Bennett married in 1977. Bennett purposefully constructed these layers to blur fixed ideas and raise questions about the way identity is constructed. Reflecting the colours of the Aboriginal flag, splashes and drips of red, yellow and black paint across the surface of the painting quote the distinctive style of Jackson Pollock (19121956), which Bennett began to sample in 1990. There is strong symbolism associated with the placement of the figure beneath the Roman triumphal arch. After working in various trades in his early life, Bennett enrolled as a matureage student at Queensland College of Art in 1986 and graduated with a Bachelor of Arts (Fine Arts) degree in 1988. Discuss with reference to examples in at least two works by Bennett. It is at once a name revealed and something like the refusal of a name. Layers of images superimposed with words. In the Christian tradition light is associated with goodness and righteousness while darkness is associated with evil. The Notes to Basquiat series takes appropriation to yet another level within Bennetts art practice. Such images have defined the nations settlement history for many generations of Australians. In Malevichs work the black square is seen as having a strong and even spiritual presence. Among these was the harrowing struggle for identity that ensued from the repression and denial of his Aboriginal heritage. The inclusion of the grid as the foundation of the installation appears to confirm this. In Interior (Abstract eye), 1991 a diagrammatic grid overlays an image depicting a group of Aboriginal people in the landscape, seemingly appropriated from a social studies text. In Bennetts painting the bedroom becomes the site of violent conflict that involves complex and intersecting personal and cultural histories. Gordon Bennett 1. Gordon Bennett, The Manifest Toe, in Ian McLean & Gordon Bennett, The Art of Gordon Bennett, Craftsman House/ G + G Arts International, Sydney, 1996, pp.962.Kelly Gellatly et.al., Gordon Bennett: A Survey, exhibition catalogue, National Gallery of Victoria, Melbourne 2007. Bennetts final year at art college in 1988 coincided with the Bicentenary of European settlement of Australia. Such accolades and critical recognition are keenly sought by many artists. The Whitlam Government abolished the last remnants of the White Australia policy, established diplomatic relations with China and advocated Aboriginal land rights, to name just a few of these changes. Gordon Bennett is an Australian artist of Aboriginal descent. In the past Quadroon, was a socially acceptable term used to label Indigenous people as a way of establishing genetic heredity. Gordon Bennett 1. This culminated in the Notes to Basquiat series in 2003. Bennett's 'unfinished business' was to encourage a great sensitivity and action in terms of these conditions," said Ms Stanhope. He states: The traditionalist studies of Anthropology and Ethnography have thus tended to reinforce popular romantic beliefs of an authentic Aboriginality associated with the Dreaming and images of primitive desert people, thereby supporting the popular judgment that only remote fullbloods are real Aborigines. An Anthology of writings on Australian Art in the 1980s & 1990s, IMA Publishing, 2004, p. 273, Gordon Bennett, The manifest toe, Ian McLean & Gordon Bennett, The Art of Gordon Bennett Craftsman House, 1996, p. 58, Kelly Gellatly, Citizen in the making, p.18, Kelly Gellatly, Citizen in the making, p. 17, John Citizen artist profile, Sutton Gallery, Melbourne http://www.suttongallery.com.au/artists/artistprofile.php?id=39 accessed 29/11/07, Conversation Bill Wright talks to Gordon Bennett, in Kelly Gellatly with contributions by Bill Wright, Justin Clemens and Jane Devery, Gordon Bennett (exhib. I did want to explore Aboriginality, however, and it is a subject of my work as much as colonialism and the narratives and language that frame it, and the language that has consistently framed me. This pastiche of style and image is like a D J (Disc Jockey) sampling and remixing different styles of music to create new expressions. Possession Island (Appendix 1) 1991 and Notes to Basquiat (Jackson Pollock and his Other) (Appendix 2) 2001 will be discussed in relation to Henri's statement. Gordon Bennett's "Outsider" is a highly emotive piece that conveys various ideas through appropriate symbolism. Find examples of the work of these artists. The inclusion of Pollock helps build these cross- connections. Image credit: Gordon Bennett - Possession Island (1991). Das Jahr 1904 brachte mit dem Gordon-Bennett-Rennen in Deutschland und dem Vanderbilt Cup in den USA einen weiteren Aufschwung des Motorsports vor allem auch auerhalb Frankreichs, wobei fr das Rennen in New York erstmals europische Fahrer und Rennstlle nach bersee gereist waren. On closer inspection we see it is an image of an Aboriginal man. The Estate of Gordon Bennett. Gordon Bennett, Possession Island (1991)*. He used weapons or gum tree branches as props, to construct an image that reflected European ideas of Aboriginal types. Victorious soldiers triumphantly and ceremoniously paraded under such arches, sometimes accompanied by their captives. Mondrian cages the figures, Preston objectifies the figures; Bennett accommodates both to grasp the intangible and dissect these limited interpretations and stereotypes. Bennett intentionally fuses this iconic style of Western painting with the famous Aboriginal white dot painting of the Western Desert, reproducing the mix in Possession Island. Include a selection of relevant artworks by Gordon Bennett to illustrate your timeline. Gordon Bennett Possession Island (Abstraction), 1991 Oil and acrylic on canvas 71 7/10 71 7/10 in | 182 182 cm Museum of Contemporary Art Australia (MCA) The Rocks Get notifications for similar works Create Alert Want to sell a work by this artist? More broadly, it recalls the lives of many young Aboriginal women who followed a similar destiny. He used familiar and recognisable images that are part of an Australian consciousness to explore and question the meaning of these images. The grotesque in art is generally associated with bizarre, ugly or disturbing imagery. Sell with Artsy Artist Series Portraits of Artists and Sculptors 113 available Portraits of Artists and Sculptors "I want a future that lives up to my past": the words from David McDiarmid's iconic poster reverberate now, as we ponder the past year and think ah.
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