The titles of Bennetts artworks reflect the artists awareness of the power of words/language to suggest meaning. 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. Thousands of dots fill the canvas. These images are fused and overlapped in a dynamic composition underpinned by Mondrian-style grids. He has written of his approach to his work: Bennetts practice include painting, printmaking, drawing, video, performance, installation and sculpture, and challenges racial stereotypes and critically reflects on Australias history (official and unacknowledged) by addressing issues relating to the role of language and systems of thought in forging identity. While Bennetts art is grounded in his personal struggle for identity as an Australian of Aboriginal and AngloCeltic descent, it presents and examines a broad range of philosophical questions related to the construction of identity, perception and knowledge. What typically Australian qualities are associated with these characters? Roundels relating to symbols that denote significant sites in Aboriginal Western Desert dot painting also appear. This influence is seen in the rhythmic movement of Bennetts Notes to Basquiat series. 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. Lichtenstein 19231987). The juxtaposition and sequencing of words and images in Untitled is unsettling. Bellas Gallery. The only clearly defined part of Possession Island is the black skinned male figure in the centre. In The coming of the light, 1987 the high- rise buildings that frame the white faces are represented as grid-like forms. The emphasis on making art about art which was the focus of his non-representational abstract paintings, contrasts clearly with the focus on social critique that was integral to Bennetts earlier work, and was intended also to make people aware that I am an artist first and not a professional Aborigine.2 In this respect, Bennetts non representational abstract works, despite their overt emphasis on visual concerns, may be seen as reflecting his engagement with questions of identity, knowledge and perception. Scan these into the computer using a photographic software package like Photoshop. If God cannot be contained, can humanity be contained by stereotypes and labels? The mirror at the bottom left-hand corner of the painting represents Bennetts own shaving mirror. 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. The images include historical footage of Indigenous people and details of some of Bennetts own paintings. The men also paint their bodies in red, yellow, white and black, or in feather down stuck with human blood when they dress up, and make music with a didgeridoo. 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. Theyre buried, and this is a way of bringing them back into memory, but remembered in a different way from the way that I was taught, looking at them from a different angle and looking at how they work, where they came from initially, and how these images still support contemporary stereotypes, etc. Our understanding of the meanings associated with visual signs is linked to cultural codes, conventions and experience. John Citizen lets me take my Australian citizenship and cultural upbringing back from the netherworld of the imagined Other. Bennett as a cultural outsider of both his Aboriginal and AngloCeltic heritage does not assume a simplistic interpretation of identity. Such accolades and critical recognition are keenly sought by many artists. What does Bennetts goal for his work suggest to you about how he views the role of art? 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. 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. Literally opening up this black skin of paint are the words cut me. In the following year he was awarded the prestigious Mot et Chandon prize with his painting The Nine Ricochets (Fall down black fella, jump up white fella), 1990. Why? Gordon Bennett 3, Bennett married in 1977. EUR 99,99. dresden-de (52.329) 100%. Gordon Bennett, born on 16 April 1887 at Balwyn, Melbourne, was Australia's most controversial Second World War commander. Bennetts interest in adopting a strategy of intervention and disturbance in the field of representation manifests in many different ways in his art. Gordon Bennetts art challenges us to question the stereotypes and racist labelling of Aboriginal Australians found in some history books written for and by Europeans. Gordon Bennett 6, I first learnt about Aborigines in primary school, as part of the social studies curriculum I learnt that Aborigines had dark brown skin, thin limbs, thick lips, black hair and dark brown eyes. They physically prevent the viewer from seeing the image clearly, but psychologically encourage the viewer to delve into the image more deeply and question: Where did these images come from that theyre relating back to in their minds in order to stage this re- enactment? Discuss with reference to one or more works by Bennett. He carefully staged each image in his studio, posing the sitter against a painted backdrop. It is open to self revelation, self redemption and a myriad of rich images of self that can be built upon. "Gordon Bennett!" Issues ly explored in an Australian context are now examined in an international context. Discuss different approaches/ideas evident in the way each artist uses dots in their work. Kelly Gellatly 1. These act as disturbances. He described this knowledge as a psychic rupturing. The focus on designer style in these interiors, the lack of human presence, and the flat areas of colour with simple black outline, creates a strange feeling of emptiness that sets them apart from Bennetts art. Both artists have an affinity with Jazz, Rap and Hip Hop music. The viewer does not confront the artist, but self. 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. Ian McLean 2. Who was Paul Keating? From 2003 Bennett worked on a series of non-representational abstract paintings that mark another significant shift in his practice. Gordon Bennett Australia 1955-2014. It is uttered by all good Muslims before a good deed. The grotesque also interested Bennett as a means of disrupting conventional ways of seeing and understanding. Underlying Bennetts admiration for Basquiat was the need to re- contextualise the issues that he had explored throughout his career as an artist. They communicated important Christian stories to the congregation. Bennetts recent abstract paintings reflect links to a range of artists including Australians Robert McPherson, Emily Kam Kngwarray and Ronnie Tjampitjinpa, and International artist Frank Stella. Early life [ edit] These paintings reflect Bennetts belief that after the Notes to Basquiat series of 2003, I had gone as far I could with the postcolonial project I was working through1. Gleichzeitig war es das erste Jahr ohne Stadt-zu-Stadt-Rennen, die nach dem Todesrennen" Paris-Madrid . The timeline could be presented in hardcopy for display in the classroom, or as an ICT project incorporating images and audio. She looms large over the landscape in Requiem, as she does in the post- contact history of the nation as a symbol of the devastating impact that colonisation had on Indigenous people and culture. 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. Citizens more recent work includes a series of interiors inspired by the decorator and home magazines that circulate widely in popular culture. Suggest reasons for the similarities and differences that you find. He described his upbringing as overwhelmingly Euro-Australian, with never a word spoken about my Aboriginal heritage. 2 All that he had understood about himself and taken for granted as an Australian had ruptured. This image also translates to mean: In the name of Allah, the Beneficent, the Merciful. Bennetts earliest works, including The coming of the light, 1987, reflect a raw and expressive style. These visual representations of history present the colonisers as powerful figures and as the bearers of learning and civilisation in a land of primitive people who have no obvious learning or culture. SOLD FEB 21, 2023. From the beginning of his career, John Citizen had had a complex relationship with Gordon Bennett. The facial features reflected in the mirror are blurred and distorted by roughly painted words typical racist remarks about Aboriginal people. What systems and/or conventions are used by each culture to represent three dimensional space? He found this liberating. While his work was increasingly exhibited within a national and international context, the combination of his position (or as Bennett would argue label) as an (urban) Aboriginal artist, and the subject matter of his work, seemed to ensure inclusion within certain curatorial and critical frameworks, and largely determine interpretation and reception. Gordon Bennett Possession Island , 1991 Oil and synthetic polymer paint on canvas 162 x 260cm Museum of Sydney Gordon Bennett The Coming of the Light , 1987 Acrylic on canvas 152 x 274cm Queensland Art Gallery Collection All Artworks Subscribe Submit Follow Sutton Gallery 254 Brunswick Street Fitzroy 3065 References Gordon Bennett, Possession Island (1991)*. Image: Gordon Bennett, Australia 1955-2014, Possession Island, 1991. Every object is carefully and clearly painted, yet the images conceptually blur together as they intersect and interlace through the grid, across the canvas. Gordon Bennett, Possession Island (1991)*. The representation of Aborigines has been reduced to caricature. Once again, the arena of self- portraiture becomes a vehicle to take over and challenge stereotypes. Bennett was acutely aware that his own success paralleled the growing contemporary interest in Indigenous art and culture. Purchased with funds from the Foundation for the Historic Houses Trust, Museum of Sydney Appeal, 2007. It is also a direct reference to biblical stories in the Hebrew Scriptures. I was certainly aware of it by the time I was sixteen years old after having been in the workforce for twelve months. See more ideas about artist, art, straight photography. Looking at the image from different viewpoints helps us to discover different perspectives. Bennetts distinctive visual language repositions the subject of the work, claiming the Aboriginal perspective as central to the historical moment of the original painting. Bennetts art is not always easy to look at. James Gordon Bennett was born on a farm near Enzie, around three miles from Buckie, in 1795 but chose to follow a friend to North America when aged 24 with just 5 in his pocket. It has been designed for teachers and students to instigate discussion and investigation, and includes learning activities relevant to history and visual arts that can be adapted to different levels. Gouged into the skin like a tattoo, these markings will never heal or fade away. 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. The inclusion of the grid as the foundation of the installation appears to confirm this. . His use of the perspective diagrams to frame and contain the figure of his mother alludes to the impact the values and systems of European culture have had on the lives of Indigenous people. 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. "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. List some of your own qualities and attributes. Reynolds wrote books and articles about the history of Australian settlement as a story of invasion and genocide. The repression of Aboriginal heritage that Bennett experienced was reinforced by an education system and society dominated by a history built on the belief in Australia as terra nullius. Collect and find photographs of a wide variety of people of different ethnicities, cultures and physical appearances. In the Christian tradition light is associated with goodness and righteousness while darkness is associated with evil. In Possession Island, 1991, Bennett meticulously photocopies and enlarges Calverts image so that it can be projected, cropped and copied onto the canvas. Explain how these images might have influenced perceptions of Australian identity? Bennetts art practice was interdisciplinary and encompasses painting, photography, printmaking, video, performance and installation. It exposes the pain these stereotypes create. Gordon Bennett, The manifest toe, p. 27, Identities come from somewhere, have histories, and like everything which is historical, they undergo constant transformation. my work was largely about ideas rather than emotional content emanating from some stereotype of a tortured soul. He was in a sense all things to all people. 27 oct. 2018 - Dcouvrez le tableau "GORDON BENNETT" de Bibishams sur Pinterest. Collection: Museum of Sydney, Sydney Living Museums The Estate of Gordon Bennett scale, format), Ian McLean Gordon Bennetts existentialism in Ian McLean & Gordon Bennett, The art of Gordon Bennett, Craftsman House, Roseville East, 1996, p. 69, Ian McLean Gordon Bennetts existentialism, p. 71. How does this interpretation and analysis compare to your own? 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. Bennetts final year at art college in 1988 coincided with the Bicentenary of European settlement of Australia. The inclusion of Pollock helps build these cross- connections. 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 . Place each photograph on a separate layer, overlap and morph or merge all the portraits into one image. Bennett depicts self as a black empty vessel, coffin- like with lash markings almost disguised by a thick layer of black paint. 40 41. This purchase was indicative of a massive legislative reform program that had not been seen in Australian society for decades. The graphic detail in these images, including mutilated, tortured bodies, continue to confront viewers today with the realities of human behaviour and suffering in war. Bennett was aware of the role binary opposites, such as self/other, play in constructing personal and cultural identity. RM 2JEMG56 - A rare old photograph of the 1903 Gordon Bennett trophy race, Ireland - In the 'pits' attendants are cooling down an overheated vehicle with a bucket of water. The soundtrack includes digital sampling of ICE.Ts Race War. Jackson Pollock is one of the most influential artists of the 20th century. 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. Sell with Artsy Artist Series Portraits of Artists and Sculptors 113 available Compare and contrast Possession Island with one or more of the following artworks: What does this comparison reveal about the relationship between visual images, culture and history? However the hand in the opposite panel controls and threatens the Aboriginal figure represented as a jack- in- the- box. Discuss with reference to the same works. The resource provides frameworks for exploring key issues and ideas in Bennett's art practice. His identity must remain fluid. The dynamic juxtaposition of images, sound and other effects made possible by video, introduced new dimensions to Bennetts investigation of issues and ideas related to identity, history and language. His father, born in Scotland in 1795, emigrated to the US to become a journalist and subsequently founded the 'New York Herald' in 1835. His use of I AM emphasises this. One reason is that I felt I had gone as far as I could with the postcolonial project I was working through. The headless figure of the Aboriginal man has an animated, spectre- like presence that haunts the scene. . 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. Possession Island No 2 1991 is a painting that shows the British explorer Captain James Cook and other compatriots hoisting the Union flag to claim the eastern coast of Australia for the British Crown in 1770. 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. On each corner of the grid are the letters A B C D . The vanishing point may also be understood as the point from which these lines extend outward past the picture plane to include the viewer in the pictorial space, positioned as observer of a self contained harmonious whole. The coming of the light also explores ideas, issues and questions related to the Enlightenment values central to colonialism. In September 2017, Bennett's 1991 Possession Island was unveiled at London's Tate Modern. Gordon Bennett (1955-2014) created the triptych Bloodlines 1993 early in his career. Bennett indicates the need to be reconciled within the context of culture and history to develop a full sense of identity. He lived and worked in Brisbane. Gordon Bennett 1. But the oppressive and restrictive laws that governed the lives of Aboriginal people in Australia until the late 1960s continued to impose on her life. 2, I cant remember exactly when it dawned on me that I had an Aboriginal heritage, I generally say it was around age eleven, but this was my age when my family returned to Queensland where Aboriginal people were far more visible. The first panel of Bennetts triptych, Requiem, depicts Trugannini (c. 1812 1876), a Palawa woman from Tasmania. A fleet of tall ships sailed around Australia as part of the commemoration of settlement. Gordon Bennett 1, Bennetts Aboriginal heritage came through his mother. The Other is clearly marked out as not only different but by necessity inferior. are they representative of different cultural identities)? She was one of the first Australian artists to recognise the spiritual significance of Aboriginal art and the land. Opens in a new window or tab. Blood is a potent symbol and has historically been a measure of Aboriginality. Investigate the theories and ideas associated with anthropology, ethnography and phrenology. Self portrait (Ancestor figures), 1992 deals with broader issues of cultural identity as well as personal identity. Once again the letters A B C D feature as a potent symbol and complete the grid. Discuss with reference to a selection of at least three works, clearly identifying stylistic shifts, and evidence of conceptual unity. The content of the work was getting to me emotionally. Picassos sizable oeuvre grew to include over 20,000 paintings, prints, drawings, sculptures,ceramics, theater sets, and costume designs. Why might such an organisation purchase this painting? Western art has a long tradition of creating an illusion of three- dimensional space on a flat surface. SOLD FEB 10, 2023. He depicts how pain transcends place and event to encompass a global consciousness. Gordon Bennett did not describe himself as an appropriation artist. He tried a career as an actuarial clerk, attending Hawthorn College after Balwyn State School. He drew on and sampled from many artists and traditions to create a new language and a new way of reading these images. Who was Gordon Bennett? Strange to think of Gordon Bennett as an almost classical figure in contemporary Australian art. How do these systems/conventions reflect values and ideas important to that culture? 3233, Gordon Bennett, The manifest toe, p. 33, Gordon Bennett & Chris McAuliffe, Interview with Gordon Bennett in Rex Bulter (Ed.) The incorporation of Blue Poles calls to mind an era of great reform in Australian politics. 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. Gordon Bennetts Possession Island 1991, highlights the influence that visual images have on our understanding of history, and the way that visual images often reflect the values of the social / historical context in which they are made. It is interesting to note that this same year was declared a period of mourning by Aboriginal people. Experiment with enhancing or diminishing different layers to create a distinctive character. 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 many images of the crucifixion, including the painting by Veneziano illustrated, Mary Magdalene is kneeling at the foot of the cross washing and anointing Christs feet in an act of devotion . Lindt created many photographic portraits of Aboriginal subjects. 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. L120238 Gordon Bennett. Get this The Morning News page for free from Friday, July 7, 1972 Q90 wSu Fairfax Shopping Center Doily 10-6. Gordon Bennett uses self- portraits to question stereotypes and labelling. Bennett handed over command of his division and left the island. Immersed within a White European culture, he was unaware of his Aboriginality until his early teens. 148339 AK Gordon-Bennett-Rennen 1904 Cup Motorsport Usingen Weilburg Limburg. This activity could be done as a group activity with different students researching different dates/events and presenting talks to the class about their significance. Bennett attempts to destroy the stereotypes to question notions of identity. Bennett lodges this image in layers of dots and slashes of red and yellow paint that refer to other artists and images.
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