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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. Thousands of dots fill the canvas. The grotesque in art is generally associated with bizarre, ugly or disturbing imagery. Is this response informed by Bennetts work? Why might such an organisation purchase this painting? 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. These include the tall ship and the appropriated logos featuring kitsch and racist references to Indigenous people, and the ominous juxtaposition of bags of flour and bottles of poison. Gordon Bennett, Possession Island, 1991, oil and synthetic polymer paint on canvas in two parts. Gewerblich. . Collect a range of images (both art and media sources) that depict characters that are perceived or presented as typically Australian. However the hand in the opposite panel controls and threatens the Aboriginal figure represented as a jack- in- the- box. The circular forms in the sky are inspired by the brilliant bursts of light in van Goghs Starry night. Bennett layered these two distinctly different artists with his own work work previously appropriated from yet another context. Possession Island No 2 is representative of Bennetts wider practice, which explores issues of post-colonisation and Aboriginal identity. Bennett attempts to destroy the stereotypes to question notions of identity. Lists of words draw the viewer into a game of word association. Curated by Zara StanhopeThe intelligence and passion of Gordon Bennett's politically committed post-appropriation art struck a chord with the postcolonial ambitions of the 1990s. The effect is that they dissolve into a mass of colour, dots and slashes of paint . Mixing of pure blood with European blood was feared by Europeans, authenticity was at risk and identity diluted. This image also translates to mean: In the name of Allah, the Beneficent, the Merciful. Fri. 10-9, Sat. The Estate of Gordon Bennett. Today a monument exists on the site commemorating his arrival. 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. 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. The jack- in- the box is surrounded by symbols, including the grid- like buildings and alphabet blocks, of the knowledge, systems and structures that represent an enlightened, civilised society. I needed to change direction at least for a while. Bennetts interest in adopting a strategy of intervention and disturbance in the field of representation manifests in many different ways in his art. 35, 36. Gordon Bennett Australia 1955-2014. Gordon Bennett, Possession Island (1991)*. He described his upbringing as overwhelmingly Euro-Australian, with never a word spoken about my Aboriginal heritage. He drew on and sampled from many artists and traditions to create a new language and a new way of reading these images. The representation of Aborigines has been reduced to caricature. The motivation behind the abstract paintings was complex but in part it reflects Bennetts ongoing concerns about issues related to the reception of his work. From 2003 Bennett worked on a series of non-representational abstract paintings that mark another significant shift in his practice. An understanding of self in the context of family is not enough. The Notes to Basquiat series takes appropriation to yet another level within Bennetts art practice. Early life [ edit] New perspectives on familiar images and stories are presented. 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. The critical and aesthetic strategies of postmodernism have had significant impact on the development of his art practice. 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. . The imagery in this painting focuses on binary opposites, including the Aboriginal figure and various symbols of European and Indigenous art and culture . At the same time his work demonstrates great conceptual unity and interconnectedness. Study with Quizlet and memorize flashcards containing terms like Art Elements, Line, Colour and more. The arms that extend in opposite directions across the two panels of the painting represent different perspectives on the impact of the Enlightenment. It demonstrates Bennetts understanding of the power of this image. The early 'Possession Island' (Abstraction))' 1991 was one choice. SOLD FEB 21, 2023. Bennett only used two colours, symbolically, red and black. Purchased with funds from the Foundation for the Historic Houses Trust, Museum of Sydney Appeal, 2007. $927,000 Last Sold Price. For Bennett, however, success triggered concerns related to the links drawn between his identity as an Indigenous person, his subject matter and the reception of his work. Gordon Bennett 1. He lived and worked in Brisbane. 3 Beds. 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. In September 2017, Bennett's 1991 Possession Island was unveiled at London's Tate Modern. These contrasting and complex meanings and ideas are not accidental. 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 (Abstraction) 1991 oil and acrylic on canvas 182 x 182cm Collection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016 The Estate of Gordon Bennett Here he exposes the truth of colonial occupation it was a bloody conquest. Its like images become part of the Australian unconscious. Opens in a new window or tab. my work was largely about ideas rather than emotional content emanating from some stereotype of a tortured soul. He is not disturbed by slashes of paint, but painted carefully and outlined by the precise grid behind him. 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. 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. cat. Nearby Recently Sold Homes. . Since 1992 Bennett was involved in an ongoing non-performance by refusing to participate in public lecture programs in Australia. cat. Possession Island 1991 Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall) The Estate of Gordon Bennett Purchased with funds. What systems and/or conventions are used by each culture to represent three dimensional space? Bennett was interested in the way language and images construct identity and history, and the way this language controls and creates meaning. 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. 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. 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. At the time the A$ 1.3 million purchase price was the highest ever paid for a piece of modern art within Australia and the U.S. Bennett's 'unfinished business' was to encourage a great sensitivity and action in terms of these conditions," said Ms Stanhope. He was born in New York, May 10th 1841 and died 4 days after his 77th Birthday in Beaulieu near Nizza/France. Bennett not only used Basquiat images, but begins to paint in his style. How do the key themes/ideas and strategies in the book/film compare to those used by Gordon Bennett in early work such as. A fleet of tall ships sailed around Australia as part of the commemoration of settlement. That was to be the extent of my formal education on Aborigines and Aboriginal culture until Art College. Such imagery has often been used by artists to unsettle the viewer and present new perspectives on familiar subjects. Self portrait (Ancestor figures), 1992 deals with broader issues of cultural identity as well as personal identity. Scan these into the computer using a photographic software package like Photoshop. 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? GORDON BENNETT AND HIS RACES From the Book: Die Gordon Bennett Ballon Rennen (The Gordon Bennett Races)by Ulrich Hohmann Sr along with articles by others.Many of his contemporaries have considered Mister James Gordon Bennett to be a spleeny American. The left explodes with images of 9/11, the devastatingly unforgettable attacks in the United States, including New York. 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. Bennett worked in a range of art forms and with a variety of media and techniques. It speaks of colonial violence and the consequences of being on the 'wrong' side of history, purchased in 2019, this powerful and sobering work is a major acquisition for the QAGOMA Collection. Watch. 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. This is the second of two works entitled Possession Island that Bennett painted following Australias bicentennial celebrations in 1988. The resource provides frameworks for exploring key issues and ideas in Bennetts art practice. Research the significant dates/events referenced in Bennetts artworks, including Myth of the Western Man (White mans burden) 1992 for some ideas. 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. Bennetts use of the grid in these and other artworks suggests questions and ideas. Why? These images include scenes featuring tall ships, the landing of Captain Cook at Botany Bay, and several scenes that reveal the violence and tension that often characterised the relationship between colonisers and the colonised. This image is based on a photograph by JW Lindt (1845 1926). References As a shy and inarticulate teenager my response to these derogatory opinions was silence, self-loathing and denial of my heritage. I AM is borrowed from a well known art work, Victory over death 2, 1970 by New Zealand artist Colin McCahon (19191987) . That's probably why he is hardly a household name, despite the cognoscenti referring to him as a powerfully influential figure in contemporary art. It is uttered by all good Muslims before a good deed. These questions include how traditional characterisations of light and darkness have influenced perceptions and experience of race and culture. Bennett presents each image with a single word, written in capitals, that boldly asserts a new meaning for them. In the Home dcorseries Bennett used gridded compositions that refer to the paintings of Dutch artistPiet Mondrian (1872 1944). Gordon Bennett . One reason is that I felt I had gone as far as I could with the postcolonial project I was working through. 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. The other was 'Number . What evidence can you see in this self-portrait of Bennett linking issues of personal identity with broader issues related to history and culture? "Gordon Bennett!" Research references to existing images in Gordon Bennetts The nine richochets (Fall down black fella, jump up white fella) 1990. McCahon uses I AM to question notions of faith. Particularly when academics claim that they are afraid of expressing their 'true' findings for fear of losing their careers. while Bennett may have attempted, in recent years, to disconnect from the politics of his earlier practice, there is also a sense within these paintings, of the impossibility of such a task. 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. They absorb the flow of blood and recall the symbols often used in Aboriginal dot painting of the Western Desert to represent significant sites. . Bennetts use of dots highlights the way Aboriginal cultural identity continues to be defined and confined by Western ideas of Aboriginality. "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. How ideas might be encountered from different places and events interest him. Self portrait (But I always wanted to be one of the good guys), 1990 questions how stereotypes create a sense of identity. I did drawings of tools and weapons in my project book, just like all the other children, and like them I also wrote in my books that each Aboriginal family had their own hut, that men hunt kangaroos, possums and emus; that women collect seeds, eggs, fruit and yams. Possession Island is a small island off the coast of northern Queensland, near the tip of Cape York, the most northerly point of mainland Australia. Some supporters applauded his escape but his claim that he left to pass on his knowledge about how to fight the Japanese - given his lack of success . Kelly Gellatly 3. 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. This includes a focus on the role and power of language, including visual representations, in shaping identity, culture and history. The process of translation from one version to the next mimics how history is endlessly translated and transformed by the vagaries oftime and by individual perspectives. European history has stipulated that being Australian has required anyone that does not fit into such a Eurocentric category is different, other and therefore unworthy. There was still no space for me to simply be. Bennett indicates the need to be reconciled within the context of culture and history to develop a full sense of identity. Gordon Bennett, Possession Island (1991)*. John Citizen was an abstraction of the Australian Mr Average, the Australian everyman. His identity must remain fluid. List some of your own qualities and attributes. This is a Tate Images licensable image titled 'Possession Island (Abstraction)' by Tate Images. 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. Gordon Bennett, an Australian Aboriginal artist, demonstrates this theory through his work. Gordon Bennett 3. We acknowledge the Wurundjeri Woi-Wurrung People as the Traditional Owners of the land on which the NGV is built. Citizens more recent work includes a series of interiors inspired by the decorator and home magazines that circulate widely in popular culture. Further reading Bennett repositions the subject of the painting in other ways too, by including black footprints that diminish into the background of the composition. The headless figure of the Aboriginal man has an animated, spectre- like presence that haunts the scene. At art college Bennett discovered how Australian identity was built on a subjective writing of history. 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. Throughout his career Bennett has used many different strategies to engage the viewer in his work. 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. Gordon Bennett did not describe himself as an appropriation artist. Bennetts distinctive visual language repositions the subject of the work, claiming the Aboriginal perspective as central to the historical moment of the original painting. Gordon Bennett, The manifest toe, p. 27, Identities come from somewhere, have histories, and like everything which is historical, they undergo constant transformation. However Bennetts use of the black square in this and other works also reflect his ongoing interest in the work of the influential Russian abstract artist Kazimir Malevich (1878-1935). The juxtaposition and sequencing of words and images in Untitled is unsettling. In Untitled, 1989 Bennett works with a selection of images associated with the familiar story of the discovery and settlement of Australia. Using a painting technique, create a finished artwork based on one or some of these experiments. But in Bennetts painting disparate diagrams, symbols and images disrupt the illusion, presenting the landscape as a site where many ideas and viewpoints compete. What values or ideas characterise the postKeating era in Australia? The grand Romantic landscapes of Western art were intended to inspire the viewer with their dramatic beauty and effects of illusion. The 'cancel culture' debate winds me up. He probed ideas about identity, fuelled partly by his own . Bennett was aware of the role binary opposites, such as self/other, play in constructing personal and cultural identity. Bennett simultaneously obscures and draws attention to the Aboriginal man standing next to Cook, overlaying an abstract geometric shape which recalls constructivist art and the Aboriginal flag. 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. I have tried to avoid any simplistic critical containment or stylistic categorisation as an Aboriginal artist producing Aboriginal art by consistently changing stylistic directions and by producing work that does not sit easily in the confines of Aboriginal art collections or definitions. I am that I am, Exodus 3:14 is God naming self. It exposes the pain these stereotypes create. Do you agree? The content of the work was getting to me emotionally. It is interesting to note that this same year was declared a period of mourning by Aboriginal people. Get this The Morning News page for free from Friday, July 7, 1972 Q90 wSu Fairfax Shopping Center Doily 10-6. What does Bennetts goal for his work suggest to you about how he views the role of art? He and his partner bought a house and settled in the suburbs of Brisbane like other young couples. In just three generations, that heritage has been lost to me. Sell with Artsy Artist Series Portraits of Artists and Sculptors 113 available Queensland-born, Bennett (1955-2014) was deeply engaged with questions of identity, perception and the construction of history, and made a profound and ongoing contribution to contemporary art in Australia and internationally. Western art has a long tradition of creating an illusion of three- dimensional space on a flat surface. Lichtenstein 19231987). Conversation Bill Wright talks to Gordon Bennett, in Kelly Gellatly with contributions by Bill Wright, Justin Clemens and Jane Devery, Ian McLean, Who is John Citizen? Greenaway Art Gallery, 2006, Kelly Gellatly Citizen in the making, in Kelly Gellatly, p. 24. Nov 26, 2012 - The paintings of Gordon Bennett are loaded with graphic detail. (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. They became a potent symbol of the celebrations. May 20, 2022 - Explore Benny O's board "Artists" on Pinterest. 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. Create an illustrated and annotated timeline of the history of Australia since settlement. 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. The grid, with its characteristic ordered mathematical structure, appears in a range of Bennetts artworks in a variety of forms. Clear visual divisions are created with distinct black areas as well as large white areas. How does this interpretation and analysis compare to your own? Gordon Bennett 1. Bennett used perspective diagrams and visual symbols in Triptych: Requiem, Of grandeur, Empire . He tried a career as an actuarial clerk, attending Hawthorn College after Balwyn State School. It was upon entering the workforce that I really learnt how low the general opinion of Aboriginal people was. Such accolades and critical recognition are keenly sought by many artists. Bennett was concerned that his identity and work was seen as coming from a narrow framework. Bennetts final year at art college in 1988 coincided with the Bicentenary of European settlement of Australia. That is not my intention, I have my own experiences of being crowned in Australia, as an Urban Aboriginal artist underscored as that title is by racism and primitivism and I do not wear it well. The inclusion of the grid as the foundation of the installation appears to confirm this. 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. Both artists have an affinity with Jazz, Rap and Hip Hop music. The Spanish artist Francisco Goya (1746-1828) used the power of the grotesque in the Disasters of war series, which depicts some of the atrocities that took place in Spain during the War of Independence (1814-18). However, the cross- like form in Bennetts painting has an image of Bennetts mother, kneeling before it, with a cleaning rag in her hand, recalling her early training and work as a domestic servant under the governments protection. 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. Discuss with reference to selected artworks by Gordon Bennett. In the Christian tradition light is associated with goodness and righteousness while darkness is associated with evil. Bennetts art practice was interdisciplinary and encompasses painting, photography, printmaking, video, performance and installation. The I am from Self portrait (But I always wanted to be one of the good guys) is replaced with We all are.