Gordon Bennett

 

1955-2014

Born Monto, Queensland, lived and worked in Brisbane

1986-88

Bachelor of Arts (Fine Arts), Queensland College of Art, Brisbane

1990

Winner of Aberdare Art Prize, Ipswich City Council Regional Gallery, Ipswich

1991

Winner of the Moet & Chandon Australian Art Fellowship

1993

Artist in Residence, University of Melbourne, MacGeorge Fellowship

1994

Winner of the Contemporary Art Excellence Award, Nudgee College, Brisbane

1995

Australian Network for Art and Technology Summer School, Brisbane

1995

Winner of the Pine Rivers Art Prize 

Winner of the Logan City Painting Prize

1996

Anniversary Creative Arts Fellow, Australian National University, Canberra

1997

Winner of the SCEGGS Redlands/ Westpac Art Award, Sydney

1997

Winner of the John McCaughey Memorial Art Prize, National Gallery of Victoria, Melbourne

1998

Winner of the Jacaranda Acquisitive Drawing Award, Grafton Regional Gallery, Grafton

2014

Awarded Griffith University Arts, Education and Law Outstanding Alumnus of the Year and Queensland College of Art Outstanding Alumnus of the Year

2016

Recipient of Tate Modern and the Museum of Contemporary Art inaugural Acquisition Program purchased jointly through the Qantas Foundation 


Selected Solo Exhibitions


2016

Gordon Bennett: Home Décor (after Margaret Preston), Sutton Gallery, Melbourne

Gordon Bennett: Home Décor / Ancestor Figures, Milani Gallery, Brisbane

Gordon Bennett: Moving Images Part I, Centre for Contemporary Photography, Melbourne

Gordon Bennett: Moving Images Part II, Sutton Gallery, Melbourne

2015-2018

Gordon Bennett: Be Polite, Institute of Modern Art, Brisbane; Perth Institute of Contemporary Arts, Perth; Contemporary Art Gallery, Vancouver, Canada; 

McMaster Museum of Art, McMaster University, Hamilton, Ontario, Canada 

2014

In Memoriam Gordon Bennett 1955 – 2014, Milani Gallery, Brisbane

Gordon Bennett in Memoriam, Gertrude Contemporary, Melbourne

2013

Gordon Bennett, The Australian Club, Melbourne

Gordon Bennett: Abstractions, Sutton Gallery, Melbourne

2012

Gordon Bennett: Abstractions, Milani Gallery, Brisbane

Outsider/Insider: The Art of Gordon Bennett, AAMU, Utrecht, The Netherlands.

2011

Gordon Bennett: Abstraction (Citizen), Milani Gallery, Brisbane

Gordon Bennett: Abstraction (Citizen), Sutton Gallery, Melbourne

2010

Gordon Bennett: Home Décor (after Margaret Preston), Sutton Gallery, Melbourne

Gordon Bennett: Abstraction (Citizen), Gallery Barry Keldoulis, Sydney

Gordon Bennett: Home Décor (after Margaret Preston), Milani Gallery, Brisbane

2009

Gordon Bennett: Home Décor(after Margaret Preston), Milani Gallery, Brisbane

Gordon Bennett Retro (Home Décor) Aboriginal Art, Sutton Gallery, Melbourne

2007-2009

Gordon Bennett Survey, National Gallery of Victoria, Melbourne 

Queensland Art Gallery/Gallery of Modern Art, Brisbane 

Art Gallery of Western Australia, Perth

2008

Gordon Bennett: Shadow Reflection, Milani Gallery, Brisbane

Gordon Bennett, Greenaway Art Gallery, Adelaide

Gordon Bennett: Digital Prints, Sutton Gallery Project Space, Melbourne

2007

Gordon Bennett, Bellas Milani Gallery, Brisbane

Gordon Bennett, Sutton Gallery, Melbourne

The Expiation of Guilt, Museum of Archaeology and Anthropology, 

University of Cambridge, United Kingdom

2006

Gordon Bennett “Prints”, Bellas/Milani Gallery, Brisbane

Gordon Bennett “New Work” Sherman Galleries, Sydney

2005

Gordon Bennett “New Work”, Bellas/Milani Gallery, Brisbane

2004

Gordon Bennett “New Work”, Greenaway  Art Gallery, Adelaide

Gordon Bennett “New Work”, Melbourne Art Fair, Sutton Gallery, Melbourne

Out of Print, Dell Gallery, Queensland College of Art travelling exhibition, Brisbane

Gordon Bennett “New Work”, Bellas/Milani Gallery, Brisbane

2003

Gordon Bennett, New works on paper, Bellas Gallery, Brisbane

White Paintings, Sutton Gallery, Melbourne

Figure/Ground (Zero), Sherman Galleries, Sydney


2002

Notes to Basquiat: 9 11, Greenaway  Art Gallery, Adelaide

Notes to Basquiat: 9 11 (Part II), Bellas Gallery, Brisbane

Notes to Basquiat: 9 11 (Part III), Sutton Gallery, Melbourne


2001

Notes to Basquiat: The Reverb, Sutton Gallery, Melbourne

Notes to Basquiat: The Reverb, Bellas Gallery, Brisbane

Notes to Basquiat: Modern Art, Sherman Gallery, Sydney

Contemporary Australian Art From the Paul Eliadis Collection, University of Queensland Art Museum, Brisbane


2000

Notes to Basquiat (Samo) Another Millennium, Sutton Gallery, Melbourne

1999-2000

History and Memory in the Art of Gordon Bennett, Brisbane City Gallery, Brisbane 

Ikon Gallery, Birmingham, UK 

Arnolfini, Bristol, UK 

Henie Onstad Kunstsenter, Oslo, Norway

1999

Gordon Bennett, Sutton Gallery, Melbourne

Notes to Basquiat: One Tense Moment, Bellas Gallery, Brisbane

Notes to Basquiat: One Tense Moment (episode two), Sherman Galleries, Sydney

1998

Home Decor (Calculus), Sutton Gallery, Melbourne

Gordon Bennett, Bellas Gallery, Brisbane

Notes to Basquiat, Gramercy International Art Fair, New York, USA

1997

Home Decor (Algebra), Bellas Gallery, Brisbane

Preston + De Stijl = Citizen (Cold Comfort), Sutton Gallery, Melbourne

1996

Mirror Mirror: The Narcissism of Coloniality, Canberra School of Art Gallery, Canberra

Australiana, Art for the Bridge, Institute of Modern Art, Brisbane

Home Decor (after Margaret Preston), Bellas Gallery, Brisbane

1995

BLACK: Fear of Shadows, Bellas Gallery, Brisbane

Performance with Object for the Expiation of Guilt: Apple Premiere Mix, Noosa 

Regional Gallery, Noosa

1994

Mirror Mirror (The Inland Sea), Sutton Gallery, Melbourne

Surface Veil, Bellas Gallery, Brisbane

Dismember/Remember, Bellas Gallery, Brisbane

How to Cross the Void - works on paper, Sutton Gallery, Melbourne

Present Wall, installation, Institute Building, Adelaide 

Performance with Object for the Expiation of Guilt, Bellas Gallery, Brisbane

D.U.H! (Down Under Homi), Sutton Gallery, Melbourne

1993

A Black History, Sutton Gallery, Melbourne

Painting History, Contemporary Art Centre of South Australia, Adelaide

Painting History, The Drill Hall, Canberra

Mirrorama, Ian Potter Gallery, University of Melbourne, Melbourne

How to Cross the Void, Bellas Gallery, Brisbane

1992

The Colour Black and Other Histories, Bellas Gallery, Brisbane

Relative/Absolute, Bellas Gallery, Brisbane

1991

Gordon Bennett, Bellas Gallery, Brisbane

Dialogues with Self, Art Gallery of Western Australia, Perth

1990

Psycho(d)rama, Institute of Modern Art, Brisbane

1989

Gordon Bennett, Bellas Gallery, Brisbane



Selected Group Exhibitions

2018

Colony: Frontier Wars, National Gallery of Victoria, Melbourne

2017

The National 2017: New Australian Art, Art Gallery of New South Wales, Sydney

Plain Speak, Art Gallery of Western Australia, Perth

The Dust Never Settles, University of Queensland Art Museum, Brisbane

Collective Vision 130 Years, Bendigo Art Gallery, Bendigo

Restless, Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne

I Can See Russia From Here, TCB Art Inc, Melbourne

Every Brilliant Eye: Australian Art of the 1990’s, National Gallery of Victoria, Melbourne

Call of the Avant-Garde: Constructivism and Australian Art, Heide MOMA, Victoria

Legacy of the Russian-Avant-Garde in Aust’n Art, Art Gallery of New South Wales Sydney

Twighlight of the Idols, Milani Gallery, Brisbane

Me, Myselfie and I, Gallery of Modern Art, Children’s Art Centre, Brisbane

2016

Black, White and Restive, Newcastle Regional Art Gallery, Newcastle 

With Secrecy and Despatch, Campbelltown Arts Centre, Campbelltown

Shut Up and Paint, NGV International, Melbourne

Beyond The Tower: 40 Years and Counting, University of Qld Art Museum, Brisbane

Today Tomorrow Yesterday, Museum of Contemporary Art Australia, Sydney

For Country: For Nation, Australian War Memorial, Canberra

1st Yinchuan Biennale, Museum of Contemporary Art, People’s Republic of China

Dissenting Voices, Art Gallery of Western Australia, Perth

Sugar Spin: You, Me, Art, and Everything, Gallery of Modern Art, Brisbane

2015

Loose Canon: Works from the Collection, Artbank, Sydney

Cross Pose: Body Language Against the Grain, University of Qld Art Museum, Brisbane

9/11, Moana Art Gallery, Perth

21, Casula Powerhouse Arts Centre, Sydney

Brutal Truths, Griffith University Art Gallery, Brisbane 

On the Beach, Mornington Peninsula Regional Gallery, Melbourne

Propositions Three, Milani Gallery, Brisbane

2014

8th Berlin Biennale for Contemporary Art, Museen Dahlem, Staatliche Museen zu Berlin 

Conflict: Contemporary Responses to War, University of Qld Art Museum, Brisbane 

An Appetite for Painting, National Museum, Oslo, Norway

Sublime: Contemporary works from the Collection, Qld Art Gallery, Brisbane

Notes to GB, Sutton Gallery, Melbourne

Taking it all Away, Museum of Contemporary Art, Sydney

2013

Mix Tape 1980’s: Appropriation, Subculture, Critical Style,

The Ian Potter Centre, National Gallery of Victoria, Melbourne

Art Dubai International Fair, Dubai, United Arab Emirates

Debil Debil, Anna Schwartz Gallery, Sydney

Australia, The Royal Academy of the Arts, London

(What’s so Funny ‘Bout) Peace, Love and Understand…?

Bayside Arts & Cultural Centre, Brighton, Victoria

My Country, I Still Call Australia Home: Contemporary Art From Black Australia,

Gallery of Modern Art, Brisbane

Voice and Reason, Gallery of Modern Art, Brisbane

Collective Identities, Lake Macquarie City Art Gallery, Booragul

Vivid Memories: An Aboriginal Art History, Musee d’Aquitaine, Bordeaux, France

2012

Documenta 13, Kassel, Germany

Volume One: MCA Collection, Museum of Contemporary Art, Sydney

Making Change, The National Art Museum of China, Beijing, touring to Australian Centre 

for Photography, University of New South Wales College of Fine Arts, Sydney

2011

House Inspection: Interior Motives, Griffith University Art Gallery, Brisbane

Ten Years of Contemporary Art: The James C Sourris AM Collection, 

Gallery of Modern Art, Brisbane.

Forever Young: 30 Years of the Heide Collection, Heide Museum of Modern Art, Bulleen.

2010

Afterglow: Performance Art & Photography, Monash Gallery of Art, Melbourne

Roundabout (International touring exhibition), City Gallery, Wellington, New Zealand

Time Travel: Reimaging the Past, Tweed River Art Gallery

100 Years: Highlights from the UQ Art Museum, University of Qld Art Museum, Brisbane

Suburbia, Redcliffe Regional Gallery, Redcliffe

Views from the Vanishing Point, Project Space, Sutton Gallery, Melbourne

C20 – 100 Years of Australian Art from the TMAG Collection, Tasmania

Pulp, Sutton Gallery, Melbourne

Redlands Westpac Art Prize – Celebrating 15 Years, Mosman Art Gallery, Mosman

New 2010: Selected Recent Acquisitions, University of Qld Art Museum, Brisbane 

Multiplicities: Self Portraits from the UQ Art Museum Collection, University of Queensland Art Museum, Brisbane 

2009

Cubism and Australian Art, Heide Museum of Modern Art, Bulleen, Victoria

Avoiding Myth and Message: Australian Artists and the Literary World, Museum of Contemporary Art, Sydney

I Have Not Been Myself Lately…, Queensland College of Art Gallery, Brisbane

Black and White: Documenting Indigenous Australia, Wilbow Gallery, Monash Gallery of Art, Victoria

2008

Biennale of Sydney: Revolutions – Forms that Turn, Art Gallery of NSW, Sydney

Through Artists’ Eyes: Tracey Moffat and Gordon Bennett - Highlights from the University’s National Collection of Artists’ Self Portraits, University of Queensland Art Museum, Brisbane

Someone’s Universe: The Art of Eugene Carchesio, Gallery of Modern Art, Brisbane

Open Daze, Dell Gallery @ Queensland College of Art, Brisbane 

The Tallis Foundation 2008 National Works on Paper award exhibition, Mornington Peninsula Regional Gallery, Mornington

Lines in the Sand: Botany Bay Stories from 1770, Hazelhurst Regional Art Gallery, Sydney

The Pine Rivers Art Award Winner’s Retrospective 1993 – 2007,

 Pine Rivers Regional Art Gallery, Strathpine

Conflicts: 1945 to Today, Australian War Memorial, Canberra

Gifted: New to the Griffith University Art Collection, Dell Gallery, Brisbane

In a Different Light: artists portrayed, Monash Gallery of Art, Melbourne

2007

Artist Makes Video: Art Rage Survey1994-1998, Dell Gallery @ QCA, Brisbane

Eye to I, Potter Gallery, Ballarat Fine Art Gallery, Ballarat

2006

Queensland Live! Contemporary Art on Tour, Queensland Art Gallery Touring Exhibition, Brisbane

  Photographic Portrait Prize, Art Gallery New South Wales, Sydney

Bangu Yilbara: Works from the MCA Collection, Museum of Contemporary Art, Sydney

A Man’s World, Museum of Brisbane, Brisbane

Colonial to Contemporary – Queensland College of Art 125 Years, Dell Gallery, Brisbane

Prism: Contemporary Australian Art, Bridgestone Museum of Art, Ishibashi Foundation, Japan

New to the Modern: Heide Twenty-Five Years on, Heide Museum of Modern Art, Melbourne

 

2005

International Biennale of Contemporary Art in Prague 2005, The National Gallery in Prague, Czech Republic

The Plot Thickens: Narratives in Australian Art, Heide Museum of Modern Art, Melbourne 

Future Tense: Security and Human Rights, Dell Gallery and Galleria Space, Queensland College of Art, Griffith University, Brisbane

Cook’s Sites, Museum of Sydney, Sydney

after Van Gogh: Australian artists in homage to Vincent, Mornington Peninsula Regional Gallery, Melbourne

ARC Biennial, Brisbane City Hall, Brisbane

Unscripted: Language in Contemporary Australian Art, Art Gallery of New South Wales, Sydney

2004 – 05

Three Colours, Gordon Bennett and Peter Robinson, Heide Museum of Modern Art Touring Exhibition, Melbourne

2004

Likan Mirri - Connections. The AIATSIS Collection of Art, Drill Hall Gallery, Australian National University, Canberra

Place made: Australian Print Workshop, National Gallery of Australia, Canberra 

Heavenly Creatures, Heide Museum of Modern Art, Melbourne

Terra Alterius: Land of Another, Ivan Dougherty Gallery Touring Exhibition, The University of New South Wales, College  of Fine Arts, Sydney

One Of (unique-state photographic works), Festivus 04, Sherman Galleries, Sydney

Home &  Away (Place and Identity in Recent Australian Art), Museum of Art, Monash University

 

 2003

Isle of Refuge, Ivan Dougherty Gallery Touring Exhibition, The University of New South Wales, College  of Fine Arts, Sydney

Synergies, Drill Hall Gallery, Australian National University, Canberra

Many Happy Returns: Celebrating Heide’s 21st Birthday, Heide Museum of Modern Art, Melbourne

When I was Young – Impressions of Childhood, Global Arts link, Ipswich

War Without Boundaries – Australia and the War Against Terrorism, Australian War Memorial, Canberra


2002

No Shame No More, Sotheby’s Galleries, Sydney

Other Views, Works from the University Collection, Griffith University, Brisbane

Deeper Places, Casula Powerhouse Arts Centre, Sydney

Fieldwork, Works from the Collection, The Ian Potter Centre, National Gallery of Victoria, Federation Square, Melbourne

Sublime, Wesfarmers Collection, Art Gallery of Western Australia, Perth

The Big River Show – Murrumbidgee Riverine, Wagga Wagga Regional Art Gallery

2001

Our Place: Issues of Identity in Recent Australian Art, Monash University Museum of Art, Prato, Italy

Transit Narratives, Villa Letizia, Treviso, Italy

366/2000, Auckland Museum, New Zealand

Imaging, Identity and Place, Grafton Regional Gallery, (two year touring exhibition to Australian regional galleries)

 

 2000

Kwangju Biennale 2000, Korea

Shanghai Biennale, China

Crossing the Ocean, Central Academy of Fine Artists, Beijing, China

Mirror with a Memory, National Portrait Gallery, Canberra

On the brink; Abstraction of the 90s, Heide Museum of Modern Art, Melbourne

12th Biennale of Sydney, Museum of Contemporary Art, Sydney

1999-2000

New Republics, Contemporary art from Australia, Canada & South Africa, Canada House Gallery, London; Edmonton Art Gallery, Edmonton; Australian Centre for Contemporary Art, Melbourne; Johannesburg Art Gallery, Johannesburg

1999

Perspecta 99, Museum of Contemporary Art, Sydney

A Letter to Picasso: The Stamp in Contemporary Art, Post Master Gallery, Melbourne; curated by Merryn Gates

Commissions Exhibition, Tasmanian Museum and Art Gallery, Hobart

Conceptualist Art: Points of Origin 1950’s – 1980’s, Queens Museum of Art, New York; Walker Art Centre, Minneapolis

Body of Information: 99 Dong ALG International Festival of Comics and Information, Seoul, Korea

Third Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane

Sydney 2000: Limited Edition Artists’ Prints, Museum of Contemporary Art, Sydney

Art – Worlds in Dialogue, Ludwig Museum, Cologne, Germany

Crossing the Ocean, The Central Academy of Fine Art, Beijing, China

1998

Remanence, Old Magistrates’ Court, Melbourne Festival

National Works on Paper, Mornington Peninsula Regional Gallery, Victoria

The Great Australian Teapot, Distelfink Gallery, Melbourne

Telling Tales, Ivan Dougherty Gallery, Sydney, Neue Galerie, Graz, Austria

Foldback, Ngapartji Co-operative Multimedia Centre, Adelaide, South Australia

Proof Positive- a selection of prints from the archive of the Australian Print Workshop, Carnegie Gallery, Hobart City Council, Tasmania

Jacaranda Acquisitive Drawing Award, Grafton Regional Gallery, (touring regional galleries)

Flesh and Blood, Museum of Sydney, NSW

The Australian Drawing Biennale, The ANU, Drill Hall Gallery, Canberra (touring   exhibition)

1997

Landmarks - Contemporary Visions of the Australian Landscape, Campbelltown City Bicentennial Art Gallery, Campbelltown

Video Positive ‘97: Escaping Gravity, Open Eye Gallery, Liverpool, England

In Place (Out of Time): Contemporary Art in Australia, Museum of Modern Art, Oxford, England

Breaking Borders, St. Norbert Arts and Cultural Centre, Manitoba, Canada.

In Relief: Australian Wood Engravings, Woodcuts and Linocuts, National Gallery of Victoria, Melbourne

Archives and the Everyday, Installation, Old Parliament House, Canberra

Episodes, Contemporary Art Services Tasmania, Hobart

Bus Stop Art: Limited Edition Prints, Melbourne International Festival, Melbourne

Geelong Contemporary Art Prize Exhibition, Geelong Art Gallery, Geelong

The Rock Building Society Central Queensland Biennial Art Purchase

Personal Vision Multiple Perspective Queensland University of Technology Touring Exhibition, Queensland

Body of Information (Australian Video & Interactive Artwork), Gallery Connexion, Fredericton, Canada

John McCaughey Memorial Art Prize, National Gallery of Victoria, Melbourne

The Real Thing, Museum of Modern Art at Heide, Melbourne

1996

Native Titled Now, Tandanya (National Aboriginal Cultural Institute), Adelaide

Blundstone Prize, National Touring Exhibition, Australia

Flagging the Republic, Sherman Galleries Goodhope, Sydney Regional Touring Exhibition

Sub-Urban, Freemantle Arts Centre, Western Australia

Rites for an Anxious Spring: Selected Acquisitions 1981-1995, Museum of Modern Art at Heide, Melbourne

Face value: Portraits from the Collection, Waverley City Gallery, Melbourne

AERPHOST, The Debtor’s Prison, Dublin, Ireland

The Burbs, Gold Coast City Art Gallery, Gold Coast, Queensland

Systems End: Contemporary Art in Australia, touring exhibition Korea, Japan and Singapore, 1996

Perception and Perspective, Next Wave Festival, National Gallery of Victoria, Melbourne

Inclusion/Exclusion: Art in the Age of Post Colonialism and Global Migration, Künstlerhaus Burgring, Graz, Austria

Colonial Post Colonial, Museum of Modern Art at Heide, Melbourne

Artrage, Artworks for television

Fourth Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide

The Second Biennale of Contemporary Art of Noumea, Theatre de l’Ile, Noumea

1995

Interfaces: Art and Technology, Regional Touring Exhibition, Griffith University, Brisbane

LINGO Getting the Picture, Brisbane City Hall Art Gallery, Brisbane

Pathways 1, Queensland Art Gallery, Brisbane

Sight Seeing; Views, Tourists, Souvenirs, National Philatelic Centre, Melbourne

Seven Histories of Australia, Australian Centre for Contemporary Art, Melbourne

The Wandering Jew - Myth and Metaphor, Jewish Museum of Australia, Melbourne, (regional touring exhibition)

TransCulture, curated by Dana Friis-Hansen, Palazzo Giustinian Lolin, 

Venice Biennale, Italy; Naoshima Contemporary Art Museum, Naoshima Island, Japan

Digital Shifts, part of the Zero 1 project, Noosa Regional Gallery, Tewantin

1994/95

Antipodean Currents, John F Kennedy Centre, Washington DC; Guggenheim Museum Soho, New York

Virtual Reality, National Gallery of Australia, Canberra

1994

The Beach, Museum of Modern Art at Heide, Melbourne

Landed, National Gallery of Australia, Canberra

Localities of Desire: Contemporary Art in an International World, Museum of Contemporary Art, Sydney

Tyerabarrbowaryaou II, Museum of Contemporary Art, Sydney

Aussemblage!, Auckland Art Gallery Toi o Tāmaki, New Zealand

Present Wall, The Institute Building, Adelaide Biennial

Fifth Havana Biennial, Cuba

Faciality, Monash University Gallery, Melbourne

Identities: Art from Australia, An International Exchange Exhibition between Australia and Taiwan, Taipei Fine Arts Museum, Taiwan; Wollongong City Gallery, New South Wales; Gold Coast City Gallery, Queensland 

Sweet Damper and Gossip - Colonial Sightings from the Goulburn North East

Benalla Art Gallery, Victoria; Monash University Gallery, Melbourne; Shepparton Art Gallery, Victoria   

Adelaide Installations: incorporating the Adelaide Biennial of Australian Art, Adelaide    

Urban Focus: Aboriginal and Torres Strait Islander Art from the Urban Areas of Australia, National Gallery of Australia, Canberra

1993

Inner-Land. Australian Contemporary Art, Soko Gallery, Tokyo, Japan

Confess and Conceal: 11 Insights from Contemporary South East Asia and Australia, Art Gallery of Western Australia, Perth, touring South East Asia

Fifth Australian Sculpture Triennial, Melbourne

Commitments, Institute of Modern Art, Brisbane

Aratjara: Art of the First Australians, Kunstsammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum of Contemporary Art, Humlebaek

Prime Television Painting Prize, Newcastle Region Art Gallery; Gold Coast City Art Gallery

1992

9th Biennale of Sydney: The Boundary Rider, Bond Store 3\4 and Art Gallery of New South Wales, Sydney

Strangers in Paradise: Contemporary Australian Art to Korea, National Museum of Contemporary Art, Seoul

Medium Density: Contemporary Australian Drawings and Photographs

Australian National Gallery, Canberra

Domino I: Collaborations Between Artists, Ian Potter Gallery, Melbourne

Transgenerations, Queensland Art Gallery, Brisbane

Australian Artists In Paris, Galerie Parvi: Pour l'Art Visuel, Paris

Works from the Collection, Museum of Contemporary Art, Brisbane

Tyerabarrbowaryaou: I Shall Never Become A White Man, MCA, Sydney

Southern Crossings: Contemporary Australian Photography, Camerawork Gallery, London, (two year tour of Britain)

 

1991

Moet & Chandon Touring Exhibition, Australia

Aboriginal Art and Spirituality, High Court of Australia, Canberra

Three Artists, Powell Street Gallery, Melbourne

1990

Acquisitions 1984-1990, University Art Museum, University of Queensland, Brisbane

You Came to My Country and You Didn't Turn Black, Queensland Museum, Brisbane

Taqari Lia: My Family, Contemporary Aboriginal Art 1990- From Australia,Third Eye Centre, Glasgow, Scotland

Young Contemporaries, Irving Galleries, Sydney

Urban Aboriginal Art, Hogarth Galleries, Sydney

Innovations in Aboriginal Art, Hogarth Galleries, Sydney

Only Life, Bellas Gallery, Brisbane

Post-Hillshoistism, Museum of Contemporary Art, Brisbane

Adelaide Biennial, Art Gallery of South Australia, Adelaide

Balance 1990: Views, Visions, Influences, Queensland Art Gallery, Brisbane Moet & Chandon Touring Exhibition, Australia

Paraculture, Artists’ Space, New York

1989

Perspecta, Art Gallery of New South Wales, Sydney

Myriad of Dreaming, Twentieth Century Aboriginal Art, Lauraine Diggins Fine Art Gallery, Melbourne

Visual Poetics, Museum of Contemporary Art, Brisbane

Group Exhibition, Bellas Gallery, Brisbane

Collaborations, Bellas Gallery, Brisbane

1988

Australian Art of the Last Twenty Years, Museum of Contemporary Art, Brisbane

Works From the Collection, Museum of Contemporary Art, Brisbane

1987

Little Masters, THAT Contemporary Artspace, Brisbane

Performances

1992-2014

Non-Performance, consisting of a twenty one year period of systematic non-participation in public lecture programs within Australia

Collections

Aberdeen Asset Management, Sydney

Adelaide Festival Collection, Adelaide

Allied Queensland Coalfields, Ipswich

Art Gallery of New South Wales, Sydney

Art Gallery of South Australia, Adelaide

Art Gallery of Western Australia, Perth

Artbank, Sydney

Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra

Australian National University, Canberra

Australian War Memorial, Canberra

Banyule City Council, Melbourne

Benalla Art Gallery, Victoria

Bendigo Art Gallery, Victoria

BHP Biliton, Melbourne

BP Refinery Ltd, Brisbane

Brisbane Boys Grammar School, Brisbane

Brisbane Girls Grammar School, Brisbane

Capalaba State High School, Brisbane

Charles Sturt University, Wagga Wagga

Chartwell Collection, New Zealand

City of Box Hill Collection, Box Hill

City of Whitehorse Art Collection, Victoria

Commonwealth Bank of Australia

Deakin University, Melbourne

Department of Aboriginal and Islander Affairs, Brisbane

Downlands College, Toowoomba Regional Gallery, Toowoomba

Emerald City Council

Flinders University of South Australia, Adelaide

Gippsland Art Gallery Sale, Victoria

Gold Coast City Art Gallery, Queensland

Grafton Regional Gallery, New South Wales

Griffith University, Brisbane

Heide Museum of Modern Art, Melbourne

Holmes à Court Collection, Perth

La Trobe University Museum of Art, Melbourne

The Ian Potter Museum of Art, University of Melbourne, Melbourne

The National Library of Australia, Canberra

Moet & Chandon, Epernay, France

Monash University Museum of Art, Melbourne

Murdoch University Art Collection, Perth

Murray Art Museum, Albury

Museum of Brisbane, City of Brisbane Collection, Brisbane

Museum of Contemporary Art, Sydney

Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand

Museum of Sydney on the site of the first Government House, Historic Houses Trust of NSW, Sydney 

National Gallery of Australia, Canberra

National Gallery of Victoria, Melbourne

National Portrait Gallery, Canberra

Newcastle Regional Art Gallery, Newcastle

Parliament House Art Collection, Canberra

Peggy Scott & David Teplitzky Collection

Perc Tucker Regional Gallery, Townsville

Pine Rivers Shire Council, Pine Rivers

Powerhouse Museum, Sydney

Queensland Teachers Union, Brisbane

Queensland University of Technology, Brisbane

Queensland Art Gallery, Gallery of Modern Art, Brisbane

Queensland Forestry Commission, Brisbane

Sydney Church of England Girls Grammar School, Sydney

Stanthorpe Regional Art Gallery, Stanthorpe

State Library of Victoria, Melbourne

Tasmanian Museum & Art Gallery, Hobart

Tate Modern, London, United Kingdom

TEWRR Collection, Brisbane/London

The Macquarie Group Collection

Toowoomba Regional Gallery, Toowoomba

University Art Museum, University of Queensland, Brisbane

University of Technology, Sydney

Vizard Collection, Melbourne

Wavell State High School, Brisbane

Wereidmuseum, Rotterdam, The Netherlands

Wesfarmers Collection of Australian Art, Perth

Wesley College, Melbourne

The Yarra Collection, Melbourne

Private collections 

Selected Bibliography

2017

Deakin University Art Collection. A Selection of Works, Melbourne: Deakin University, 2017, p. 97.

Heraclitus’ River, Narcissus’ Pool, Plato’s Cave and Gordon Bennett’s Citizen, Minus Plato The   

Classical in Contemporary Art, 27 May 2017, http://minusplato.com/2017/05/heraclitus-river- 

narcissus-pool-platos-cave-and-gordon-bennetts-citizen.html.

Hughes, Helen. ‘Upside down/right way up: Historiography of contemporary ‘Australian’ art’, The National: New Australian Art exhibition catalogue, Sydney: Art Gallery of New South Wales, Carriageworks and Museum of Contemporary Art Australia, 2017, pp. 44-49.

Jaspers, Anneke. ‘Past Origins, Present Politics’, The National: New Australian Art exhibition  

catalogue, Sydney: Art Gallery of New South Wales, Carriageworks and Museum of Contemporary Art Australia, 2017, pp. 16-21.

McLean, Ian. ‘Gordon Bennett: Untitled (re) Construction 1995’, Call of the Avant-Garde: Constructivism & Australian Art exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2017, pp. 124-125.

McLean, Ian. ‘Into the Transpocene: The Future of Indigenous Art’, Artlink, Issue no. 37:2, June 2017, pp. 28-34.

Rowse, Tim. Indigenous and Other Australians Since 1901, Sydney: University of New South Wales Press Ltd, 2017, cover.

Sequeira, David. Restless exhibition catalogue, Melbourne: Victorian College of the Arts, The University of Melbourne, 2017.

Speck, Catherine. ‘For Country, For Nation’, Artlink, Issue no. 37, March 2017.

Tunnicliffe, Wayne. ‘Gordon Bennett’, The National: New Australian Art exhibition catalogue, 

Sydney: Art Gallery of New South Wales, Carriageworks and Museum of Contemporary Art 

Australia, 2017, pp. 58-59.

Van Straaten, Evert and Anthonissen, Anton. De Stijl – 100 Jaar Inspiratie, Waanders & De Kunst, Zwolle, 2017, pp. 258-259, 311.

Walsh, Tim. ‘Notes on Perception: Gordon Bennett and Daniel Boyd’, Art Monthly Australia, issue no. 298, May 2017, pp. 46-55.

Wright, Simon. ‘Gordon Bennett: The Coming of the Light, 1987’, Artlines, Issue 1, Mar/Apr/May, 2017, Brisbane: QAGoMA, pp. 50-51, 71. 

2016

Angelatos, Veronica. ‘Notes to Basquiat: (Ab)Original 1999’, Important Australian and International Art – Featuring The Gene & Brian Sherman Capsule Collection II, Melbourne: Deutscher and Hackett, 4 May 2016, pp. 22-23.

Bowden, Michael & Hannan, Rowena (et al.), ‘Ideas and Styles in Artwork, 

Art-isan: Studio Arts for VCE Units 1-4, UK: Cambridge University Press, 2016, 

p. 106.  

Burns, Aileen & Lundh, Johan. Gordon Bennett: Be Polite, exhibition catalogue, Institute of Modern Art, Brisbane, Berlin: Sternberg Press, 2016, pp. 5-8.

Brand, Sally. ‘Gordon Bennett’, ArtAsiaPacific, No. 97, Mar/Apr 2016, p. 152.

Bullock, Natasha, ‘The MCA Collection: a history of contemporary Australian art’, MCA Collection Handbook, Natasha Bullock (ed.), Sydney: Museum of Contemporary Art Australia, 2016, pp. 12-21.

Giovanangeli, Angela & Snepvangers, Kim. Spaces of Multiplicity: Rethinking Indigenous Perspectives in Australian Tertiary Education Through Altering Teacher Beliefs and Practices, in Geographies of Displacement – Commonwealth Essays and Studies, Vol. 38, No2, Spring 2016, pp. 39-51.

Gumillya-Baker, Ali. ‘Contained and Uncontainable’, Speak to Me: Conversations with the Flinders University Art Collections, Adelaide: Flinders University, 2016, pp. 24-25.

Hughes, Helen. ‘Skin Deep: The Anatomy of Images in the Art of Gordon Bennett’, Gordon Bennett: Be Polite, exhibition catalogue, Institute of Modern Art, Brisbane, Berlin: Sternberg Press, 2016, pp. 29-48. 

McLean, Ian. ‘Everything You Wanted to Know About Drawing’, Gordon Bennett: Be Polite, exhibition catalogue, Institute of Modern Art, Brisbane, Berlin: Sternberg Press, 2016, 

pp. 125-140. 

McLean, Ian. ‘Post-Identity: Urban Indigenous Art, 1987-2015’, Rattling Spears: A History of Indigenous Australian Art, London: Reaktion Books, 2016, pp. 223-233.

McDowell, Tara. ‘The Post-Occupational Condition’, Australian and New Zealand Journal of Art, Vol 16, Issue 1, 2016, pp. 22-38.

McDowell, Tara. ‘Gordon Bennett’, MCA Collection Handbook, Natasha Bullock (ed.), Sydney: Museum of Contemporary Art Australia, 2016, pp. 62-65.

Nagam, Julie. ‘Be Polite….Because the Settlers Might be Listening and Watching’, Gordon Bennett:   

Be Polite, exhibition catalogue, Institute of Modern Art, Brisbane, Berlin: Sternberg Press, 2016, pp. 173-179.

2015

Brown, Phil. ‘Frontier artist unplugged’, Courier Mail, 17 October 2015. 

Croggon, Nicholas, David Homewood & Helen Hughes, ‘Editorial’, Discipline No. 4, 2015, pp. 4-6. 

McGregor, Elizabeth Ann. ‘Remembering Gordon’, Eyeline, No. 82, 2015, p. 53. 

McLean, Ian. ‘The Eternal Return of Irony: Gordon Bennett (1955–2014)’, Discipline No. 4, 2015, pp. 170-82. 

Smith, Terry. ‘Australia’s Anxiety Again: Remembering the Art of Gordon Bennett’, Eyeline, No. 82, 2015, pp. 40-52.

2014

Albert, Tony. ‘Tony Albert on Gordon Bennett’, ArtAsiaPacific, No. 90, Sep/Oct 2014, p. 25.

Ansaldo, Carmen. ‘Berlin Biennale 8’, Artlink, vol. 34, no. 3, pp. 82-83.

Brown, Phil. ‘Artist let his work do all the talking’, Courier Mail, 16 June 2014.

Devery, Jane. ‘Intersections: The 8th Berlin Biennale for Contemporary Art’, Art Monthly Australia,

no. 275, November 2014, pp. 18-19. 

Eccles, Jeremy. ‘Conceptual artist rejected racial labels’, The Sydney Morning Herald, 28 June 2014. 

Gellatly, Kelly. ‘Gordon Bennett, 1955 – 2014’, Art Monthly Australia, No. 273, pp. 64. 

Hauser, Kitty. ‘Public Works’, The Australian, 16 August 2014. 

Hoffie, Pat. ‘Notes to Bennett’, Artlink, vol. 34, no. 3, pp. 75-77.

Lingard, Bob. ‘The Art of Gordon Bennett’, Arena Magazine, No. 132, Oct/Nov 2014, pp. 44-46.

McLean, Ian. ‘Double Desire: Transculturation and Indigenous Contemporary Art’, United Kingdom:

Cambridge Scholars Publishing, 2014.

McLean, Ian. ‘Gordon Bennett, an artist who scaled the heights of the art world’, ABC Arts,19 June 2014, online. 

McLean, Ian. ‘Post-Western Poetics: Postmodern Appropriation Art in Australia’, Art History

Vol. 37, Iss. 4, 09/2014. 

Rainforth, Dylan. ‘Around the galleries’, The Age, 19 November 2014.

2013

Fehily, Toby. What’s So Funny ‘Bout Peace, Love and Understanding exhibition catalogue, The Gallery @ Bayside Arts & Cultural Centre, Brighton, Victoria, 2013, pp. 5-6, 18. 

Geczy, Adam. 'Outside/Insider: The Art of Gordon Bennett', Art Monthly, No. 260, June 2013, pp. 26 - 28. 

McLean, Ian. ‘Contemporaneous Traditions: The World in Indigenous Art/Indigenous Art in the World’, Humanities Research, Vol XIX, No. 2, 2013. 

2012

Krischer, Olivier, ‘Gordon Bennett: Fields of Disturbance’, ArtAsiaPacific, No. 78, May/Jun 2012, pp. 120-31. 

McLean, Ian. ‘Gordon Bennett in a global perspective: aesthetic theory and the politics of recovery’, Outsider/Insider: The Art of Gordon Bennett, 2012, AAMU Museum of Contemporary Aboriginal Art, The Netherlands, pp. 27-41. 

Petitjean, Georges. ‘An introduction to the art of Gordon Bennett’, Outsider/Insider: The Art of Gordon Bennett, 2012, AAMU Museum of  Contemporary Aboriginal Art, The Netherlands, pp. 17 -21. 

Zijlmans, Kitty. ‘Challenge the box!’, Outsider/Insider: The Art of Gordon Bennett, 2012, AAMU Museum of  Contemporary Aboriginal Art, The Netherlands, pp. 23 -25. 


2010

Camouflage and/or Ambiguity, Iconophilia, 21 May 2010, www.iconophilia.net/camouflage-andor-ambiguity/.

McKenzie, Janet, Studio International - Visual Arts, Design and Architecture, Scotland, 2010.

McLean, Ian. ‘9 Shots 5 Stories’, Art Monthly Australia, Issue 229, May 2010, pp. 12-16.

2009
Heartney, Eleanor. ‘Identity and Locale: Four Australian Artists’, Art in America. May, 2009.

McLean, Ian. ‘Judgement Day: The Art of Gordon Bennett in Perspective’, Australian Aboriginal Art, Iss. 2, June/July/August 2009, pp. 131-133.

Nugent, Maria. ‘Repainting History’, Captain Cook Was Here, Port Melbourne: Cambridge University Press, 2009, pp. 129-131.

Parker, Francis. Review - Gordon Bennett: Retro (Home Décor) Aboriginal Art & John Citizen: Interiors, Eyeline Contemporary Visual Arts, #69, 2009. Brisbane: Eyeline Publishing Ltd.

2008

Bourke, Ace. ‘Lines in the Sand’, Lines in the Sand exhibition catalogue, Sydney: Hazelhurst

Regional Gallery & Arts Centre, 2008, pp 23-24, 30, 38-39.

McLean, Ian. ‘The Restless Cosmopolitan’, Gordon Bennett exhibition catalogue, Adelaide: Greenaway Art Gallery, 2008.

McLean, Ian. ‘Face to Face: Gordon Bennett’s Shadow Reflections’, Gordon Bennett Shadow Reflections exhibition catalogue, Brisbane: Milani Gallery, 2008.

2007
Butler, Rex. ‘The revolutionary colouring history’, The Australian, 31 August 2007. 

Chamberlin, Lou. ‘Gordon Bennett’, ‘Art inSight’, Sydney: McGraw-Hill Book Company, 2007, pp. 114, 195-198.

Clemens, Justin. ‘The Analphabeast: Identity and Relation in the Work of Gordon Bennett’, Gordon Bennett exhibition catalogue, Melbourne: National Gallery of Victoria, 2007, 

pp.106-110.

Gellatly, Kelly. ‘Citizen in the Making: The Art of Gordon Bennett’, Gordon Bennett exhibition catalogue, Melbourne: National Gallery of Victoria, 2007, pp. 8-24.

Israel, Glenis. Essential Art, Victorian Essential Learning Standards Levels 5 & 6, Brisbane: 

John Wiley & Sons Australia Ltd, 2007, pp. 189-191.

Thomas, Nicholas. Gordon Bennett: The Expiation of Guilt, Gordon Bennett: The Expiation of Guilt exhibition catalogue, United Kingdom: Museum of Archaeology and Anthropology, University of Cambridge, 2007.

Wright, William. ‘Conversation: Bill Wright talks to Gordon Bennett’, Gordon Bennett Survey exhibition catalogue, Melbourne: National Gallery of Victoria, 2007, pp. 96-105.

2006

Morrison, Angeline. ‘Autobiography of an (Ex)Coloured Surface: Monochrome and Liminality’, Discrepant Abstraction, England: International Institute of the Visual Arts and The MIT Press, 2006, pp. 142-144.

Wright, Simon. ‘Borderlines’, Gordon Bennett New Work, exhibition catalogue, Sydney: Sherman Galleries, 2006.

Wright, William. ‘William Wright in Conversation with Tony Bond’, Twenty, Sherman Galleries 1986 – 2006, Australia: Craftsman House, 2006, pp. 68-69.

2005

James, Rodney. ‘The allure of Van Gogh’, After van Gogh: Australian artists in homage to Vincent, exhibition catalogue, Mornington Peninsula Regional Gallery, 2005, p. 38.

Morgan, Luke. ‘Time into space’, The Plot Thickens: Narratives in Australian Art, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2005.

2004

Bennett, Jill. Empathic Vision: Affect, Trauma and Contemporary Art, Stanford: Stanford University Press, 2004.

Bennett, Jill. Love and Irony: Gordon Bennett after 9/11, Three Colours, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2004.

Churcher, Betty. ‘Gordon Bennett: Notes to Basquiat 9:11’, The Art of War, Melbourne: Melbourne University Publishing Ltd, 2004, pp. 130-133.

Hunt, Pennie. ‘Blood as a Trace’, Three Colours, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2004.

McLean, Ian. ‘Gordon Bennett’s Abstract Art: The Aesthetics of Commitment and Indifference’ Gordon Bennett New Work, exhibition catalogue, Adelaide: Greenaway Art Gallery, 2004.

Meecham, Pam. Modern Art, A Critical Introduction, Sydney: Routledge, 2004.

Stanhope, Zara. ‘How Do You Think it Feels? Response and Riposte in the Art of Gordon Bennett and Peter Robinson’, Three Colours, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2004.

Stanhope, Zara. ‘… and When Do You Think it Stops? Response and Riposte in the Art of Gordon Bennett and Peter Robinson’, Three Colours, exhibition catalogue, Melbourne: 

Heide Museum of Modern Art, 2004.

Wright, Simon. ‘Into the Printout’, Gordon Bennett: Out of Print, exhibition catalogue, Brisbane: Dell Gallery at Queensland College of Art, Griffith University, 2004. pp. 72-80.

2003

McAuliffe, Chris. ‘Treasures: highlights of the cultural collections of the University of Melbourne’, Melbourne: The Miegunyah Press/Melbourne University Publishing, 2003. 

McLean, Ian. ‘Camouflage’, Figure/Ground (Zero), exhibition catalogue, Sydney: Sherman Galleries, 2003.

McLean, Ian. ‘Illuminations or a Season in Hell’, Artlink, Vol. 23, no. 1, March 2003.

Marsh, Anne. ‘The Darkroom- Photography and The Theatre of Desire’, Melbourne: Macmillan Publishers Australia, 2003, pp. 232-237.

2002
Dimitriadis, Greg & McCarthy, Cameron. ‘Urban Renewal: Gordon Bennett's Notes to Basquiat 

(9 11)’, Notes to Basquiat: 9 11, exhibition catalogue, Adelaide Festival of the Arts, 2002, Adelaide: Greenaway Art Gallery, 2002.

Harvey, Graham. ‘Readings in Indigenous Religions’, Great Britain: Continuum, 2002, 

pp. 310-316.

Jordan, Tim & Steve Pile. ‘Social Change’, UK: Blackwell Publishers, 2002, p 71,73.

McLean, Ian. ‘9 11 (with Apologies to Walter Benjamin)’, Notes to Basquiat: 9 11, exhibition catalogue, Adelaide Festival of the Arts, Adelaide: Greenaway Art Gallery, 2002.

McLean, Ian. ‘Angel of History’, Third Text, vol. 16, issue 2, no. 59, June 2002, pp. 212-216.

Williams, Donald. ‘In Our Own Image, The Story of Australian Art’, Fourth Edition, Australia: McGraw Hill Australia Pty Ltd, 2002, pp. 200-201.

2001-02

Magnusson, Tony. ‘Gordon Bennett: Just an/other black artist’, Art Monthly, December 2001-February 2002, no. 146, pp. 31-32.

2001

Croft, Brenda L. Indigenous Art: Art Gallery of Western Australia, exhibition catalogue, Perth: 

Art Gallery of Western Australia, 2001, pp. 9, 41, 82.

Dimitriadis, Greg & McCarthy, Cameron. Reading and Teaching the Postcolonial: From Baldwin to Basquiat and Beyond, New York: Teachers College Press, 2001.

McLean, Ian. ‘The Aura of Origin-ghouls and golems in Gordon Bennett's art’, Artlink, vol. 21, no. 4, 2001, pp. 24-29.

McLean, Ian. ‘Conspiracy Theory: Pollock, Basquiat, Bennett’, Notes to Basquiat: Modern Art, exhibition catalogue, Sydney: Sherman Galleries, 2001.

1999

McCulloch, Susan, Contemporary Aboriginal Art, A Guide to the Rebirth of an Ancient Culture, Sydney: Allen and Unwin, 1999, p. 204, 206.

McLean, Ian. Probability, Rap and Coincidence: Notes to Basquiat, Gordon Bennett’s Notes to Basquiat, exhibition catalogue, Sydney: Sherman Galleries, 1999.

Smith, Terry. ‘Australia’s Anxiety’, History and Memory in the Art of Gordon Bennett, exhibition catalogue, Birmingham: Ikon Gallery & Oslo: Henie Onstad Kunstsenter, 1999, pp. 10-21.

Thomas, Nicholas. Possessions: Indigenous Art/Colonial Culture, 1999, London: Thames and Hudson, pp. 181,199-223.

1998

McLean, Ian. White Aborigines. Identity Politics in Australian Art, Cambridge: Cambridge University Press, 1998.

McLean, Ian. ‘Gordon Bennett’s Home Décor: the joker in the pack’, Law/Text/Culture: In the Wake of Terra Nullius, Sydney: School of Law, Macquarie University, Australia, vol. 4, 1998.

McLean, Ian. ‘Documenta X and Australians in Oxford’, Third Text, No. 42, Spring 1998, pp. 57-70.

Thomas, Nicholas. Gordon Bennett’s Notes to Basquiat, ‘The Australian Drawing Biennale’, exhibition catalogue, Canberra: The Australian National Universtiy, Drill Hall Gallery, 1998, pp. 14-15.

1997

Grant, Kirsty. In Relief; Australian Wood Engravings, Woodcuts and Linocuts, exhibition catalogue, Melbourne: NGV, 1997, p. 65.

Huppatz, Danny. ‘Redressing the Balance: The Art of Gordon Bennett’, Broadsheet-Contemporary Visual Arts and Culture, vol. 26, no. 2, Win 97.

McLean, Ian. ‘Gordon Bennett’, Grand Street: Crossing the Line, no. 63, New York: Grand Street Press, 1997, pp. 84-89.

McLean, Ian. ‘Racism and Postmodernism: Australian Art and its Institutions’, Art Monthly Australia, no. 103, September 1997, pp. 15-19.

O’Ferrall, Michael. 'Gordon Bennett’, State Art Collection- Art Gallery of Western Australia

Perth: Art Gallery of Western Australia, 1997, pp. 10, 20-21.

Thomas, Nicholas. ‘Home Decor and Dance: The Abstraction of Aboriginality’, In Place (Out of Time) Contemporary Art In Australia, exhibition catalogue, Oxford: Museum Modern Art, 1997, pp. 24-28.

1996

Bennett, Gordon. ‘The Manifest Toe’, The Art of Gordon Bennett, Sydney: Craftsman House / G+B Arts International, 1996, pp. 9-62.

McAuliffe, Chris. ‘Interview with Gordon Bennett’, What Is Appropriation? An anthology of writings on Australian art in the 1980s and 1990s, edited collection of essays, Institute of Modern Art & Power Books, 1996, pp. 271-79. 

McLean, Ian. ‘Painting a History of the Self in Postcolonial Australia: Gordon Bennett’s Existentialism; Philosophy and Painting: Gordon Bennett’s Critical Aesthetic; Towards an Australian Postcolonial Art’, The Art Gordon Bennett, Australia: Craftsman House/G+B Arts International, 1996, pp. 65-119.

McLean, Ian. ‘Mirror Mirror: The Narcissism of Coloniality’, Mirror Mirror: The Narcissism of Coloniality, exhibition catalogue, Canberra: Canberra School of Art Gallery, Australian National University, 1996, pp. 2-10.

McLean, Ian. ‘Shadow Time’, 1996 Adelaide Biennial of Australian Art, exhibition catalogue, Adelaide: Art Gallery Board of South Australia, 1996, pp. 48-49.

1995
Bennett, Gordon. Inner-Land: Exhibition of Australian Contemporary Art, exhibition cat, T
okyo: Lumani Gallery.

Bennett, Gordon. Artist’s Statement, Zero One - Digital Shifts, exhibition catalogue, Noosa: Noosa Regional Gallery, 1995, p. 8.

Bennett, Gordon. ‘Altered Body Print (Howl)’, A Selection from the Downlands Art Collection: Toowoomba Regional Art Gallery, exhibition catalogue, Toowoomba: Downlands College, 1995, pp. 19-20.

Buckner, Robin. ‘Gordon Bennett’, Art and Design (Book One), Sydney: McGraw-Hill Book Company, 1995, pp. 12-14.

Cass, Naomi. ‘Home Is Where the Heart Is’, The Wandering Jew — Myth And Metaphor, exhibition catalogue, Melbourne: Jewish Museum of Australia, 1995, pp. 18-27.

Chapman, Christopher. ‘A Discussion with Gordon Bennett - The Inland Sea’, Artonview, Canberra: National Gallery of Australia, issue no.1, Autumn 1995, pp. 38-42.

Chapman, Christopher. ‘Homeboy’, Art & Australia, vol. 32, no. 3, Autumn 1995, p. 442.

Fontannaz, Lucienne. ‘Lingo - Getting the Picture’, Lingo - Getting the Picture, exhibition catalogue, Brisbane: Brisbane City Hall Art Gallery, 1995, pp. 4,10.

Friis-Hansen, Dana & Fumio Nanjo. ‘Gordon Bennett’, Transculture: La Biennale di Venezia 1995, exhibition catalogue, Italy: Palazzo Giustinian Lolin, pp.18-19, 87-92.

Ingram, Terry. ‘Map of Canberra shows way in Venice’, Financial Review, 29 June 1995, p. 27.

Karmel, Pepe. ‘Antidotes for a Cartoonish Image’, The New York Times, 23 June 1995, p. C27.

Williamson, Clare. ‘Seven Histories of Australia’, Seven Histories of Australia, exhibition catalogue, Melbourne: Australian Centre for Contemporary Art, 1995.


1994-95

Rainbird, Stephen. ‘Gordon Bennett’, Selected Australian Works, Queensland University of Technology Art Collection, exhibition catalogue, Brisbane: Queensland University of Technology, 1994-1995, p. 55.

1994

Barrett-Lennard, John. ‘Negotiating a Position’, Adelaide Installations: Adelaide Biennial of Australian Art, exhibition catalogue, vol. 1, no. 1, Adelaide: Art Gallery of South Australia, 1994, pp. 48-51.

Dutkiewicz, Adam. ‘Complex and Engaging Imagery’, Adelaide Advertiser, 25 February 1994.

Lingard, Bob & Fazal Rizvi, ‘(Re)membering, (Dis)membering : 'Aborignality' and the Art of Gordon Bennett’, Third Text, no. 26, Spring 1994, pp. 75-89.

McLean, Ian. ‘A Pool of Mirrors: Gordon Bennett's Present Wall’, Adelaide Installations, exhibition catalogue, Adelaide: Art Gallery of South Australia, vol. 1, 1994, pp. 52-54.

Newton, Gael. ‘Gordon Bennett’, Virtual Reality, exhibition catalogue, Canberra: National Gallery of Australia, 1994, pp. 14-15.

Nunn, Louise. ‘Reflections on a Media Message’, Adelaide Advertiser, 17 February 1994.

Papasdergiadis, Nikos. ‘From the Cambridge Expedition to Aratjara and Mabo: The Politics of Representation’, Nikos Papasdergiadis, The Complicities of Culture: Hybridity and New Internationalism, London: Cornerhouse, Manchester, 1994, pp. 25-28.

Stanhope, Zara. ‘The Territory of the Face’, Faciality, exhibition catalogue, Melbourne: 

Monash University Gallery, 1994, pp. 17-21.

Zurbrugg, Nicholas. ‘Gordon Bennett - Between the Lines’, Antipodean Currents, exhibition catalogue, Washington, D.C.: The Kennedy Centre & New York: Guggenheim Museum SoHo, 1994, pp. 40-51.

1993-94

McLean, Ian. ‘Psycho(dr)ama Mirror Line : Reading Gordon Bennett's Installation Mirrorama’, Third Text, no. 25, Winter 1993-94, pp. 77-80.

1993

Bennett, Gordon. Artist’s Statement, Identities: Art from Australia, exhibition catalogue, Taipei: Taipei Fine Arts Museum, Taiwan, 1993, pp. 53-55.

Bennett, Gordon. ‘Confess Conceal’ Artist’s Statement, Confess and Conceal, exhibition catalogue, Perth: Art Gallery of Western Australia, 1993, p.26.

Bennett, Gordon. Artist Statement’s, Fifth Australian Sculpture Triennial, exhibition catalogue, Melbourne, 1993, vol. 1, no. 1, pp. 32-33.

Bennett, Gordon. ‘Aesthetics and Iconography: An Artist’s Approach’, Aratjara: Art of the First Australians, exhibition catalogue, Dusseldorf: Kunstsammlung Nordrein-Westfalen, 1993, pp. 85-91.

Heathcote, Christopher. ‘Postmodern, but with a point to make’, The Age, 24 February 1993.

Hoorn, Jeanette. ‘Positioning the Post-Colonial Subject: History and Memory in the Art of Gordon Bennett’, Art and Australia, vol. 31, no. 2, Summer 1993, pp. 216-226.

Hoorn, Jeanette. ‘Mirrorama’, Gordon Bennett: Mirrorama, exhibition catalogue, Melbourne: The University of Melbourne Museum of Art - Ian Potter Gallery, 1993.

Johnson, Vivien. ‘The Unbounded Biennale. Contemporary Aboriginal Art’, Art and Australiavol. 31, no. 1, Spring 1993, pp. 49-56.

Lingard, Bob. ‘Painting History’, Gordon Bennett, exhibition catalogue, Adelaide: Contemporary Art Centre of South Australia, 1993.

Megaw, Ruth. ‘Violent Images of Conquest’, Adelaide Advertiser, 3 June 1993.

Moore, Margaret & Michael O'Ferral. Confess and Conceal, exhibition catalogue, Perth: 

Art Gallery of Western Australia, 1993, pp. 10-17.

Morphy, Howard. ‘Aratjara’, Art Monthly Australia, no. 63, September 1993, Canberra, pp. 17-18.

Namikawa, Emiko. ‘Inner-Land’, Inner-Land: Australian Contemporary Art, exhibition catalogue, Tokyo: Lunami Gallery and Sydney: Art Gallery of New South Wales, 1993, pp. 4-5.

Papasdergiadis, Nikos. ‘Framing the Message’, Third Text, no. 24 Autumn 1993, pp. 81-86.

Zurbrugg, Nicholas. ‘Gordon Bennett’, Art & Text, no. 44, January 1993, Sydney: College of Fine Arts, University of New South Wales, p. 5.

1992

Amadio, Nadine. ‘Oz in the Global Art Village’, Oz Arts Magazine, #4, 1992, pp. 70-71.

Bennett, Gordon. ‘Re-writing History’, exhibition catalogue, Southern Crossings, London: Camerawork,1992, pp.19- 21.

Bennett, Gordon. Artist’s Statement, Southern Crossings, exhibition catalogue, London: Camerawork, 1992, pp 43-47.

Bennett, Gordon. ‘On Double Standards: An 'Other' Perspective’, Art Monthly Australia, no. 47 March 1992, pp. 26-27.

Bennett, Gordon. Artist’s Statement, Strangers in Paradise: Contemporary Australian Art to Korea, exhibition catalogue, Sydney: Art Gallery of New South Wales, 1992, pp. 22-25.

Bennett, Gordon. Artist’s Statement, Tyerabarrbowaryaou: I Shall Never Become a White Man, exhibition catalogue, Sydney:  Museum of Contemporary Art, 1992, p. 14.

Butler, Rex. ‘Two readings of Gordon Bennett's The Nine Ricochets’, Eyeline, 19, Winter/Spring 1992, Brisbane: Queensland Art Workers Alliance, pp. 18-23.

Butler, Rex. ‘The Pataphysical Aborigine’, Gordon Bennett, Paintings 1987 - 1991, Epernay, France: Moët & Chandon Australian Art Foundation, 1992.

Gates, Merryn. ‘Collaborations Between Artists’, Domino I: Collaborations Between Artists, exhibition catalogue, Melbourne: Ian Potter Gallery, University of Melbourne, 1992, pp. 2-21.

Isaacs, Jennifer. ‘A Bitter Pill for the White Man (Woman). Tyerabarrbowaryaou at the Museum of Contemporary Art’, Art Monthly Australia, no. 49, May 1992, pp. 6-7.

Isaacs, Jennifer. ‘Gordon Bennett’, Aboriginality: Contemporary Aboriginal Paintings and Prints, Brisbane: University of Queensland Press, 1992, pp. 53-57.

Lynn, Victoria. ‘Introduction: Strangers in Paradise’, Strangers in Paradise: Contemporary Australian Art to Korea, exhibition catalogue, Seoul, Korea: National Museum of Contemporary Art, 1992, pp. 12-18.

O'Ferrall, Michael. ‘On Other Perspectives’, Gordon Bennett, Paintings 1987 - 1991, Epernay, France: Moet and Chandon, 1992.

Petelin, George. Transgenerations, exhibition catalogue, Brisbane: Queensland Art Gallery, 1992, p. 10.

Scott-Mundine, Djon. ‘If My Ancestors Could See Me Now’, Tyerabarrowaryaou: I Shall Never Become A White Man, exhibition catalogue, Sydney: Museum of Contemporary Art, 1992, pp. 4-11.

Sloane, Helen. ‘Terra Australis Incognita? - Perspectives on Cultural Identity’, Southern Crossings, exhibition catalogue, London: Camerawork, 1992, p. 7-20.

1991

Anderson, Peter. ‘Gordon Bennett’, Art & Text, no. 40, September 1991, p. 94.

Crumlin, Rosemary. Aboriginal Art and Spirituality, Victoria: Collins Dove, 1991, pp. 143-144.

Gleissler, M. ‘Moet & Chandon’, Oz Arts Magazine, no. 1, Spring 1991, pp. 54-59.

Smith, Bernard and Terry Smith. Australian Painting 1788-1990, South Melbourne, Australia: Oxford University Press, 1991 (first ed.1962). 

1990

Bartlett, Judith. You Came To My Country and You Didn't Turn Black, exhibition catalogue, Brisbane: Queensland Museum, 1990.

Bennett, Gordon. ‘The Coming of the Light’ Artist’s Statement, Balance 1990: Views, Visions, Influences, exhibition catalogue, Brisbane: Queensland Art Gallery, 1990, pp. 46-47.

Broadfoot, Keith & Rex Butler. ‘The Fearful Sphere of Australia’, Paraculture, exhibition catalogue, Sydney: Artspace, New York: Artists Space, 1990, pp. 6-14.

Hogan, Janet. Balance 1990 : Views, Visions, Influences, exhibition catalogue, Brisbane: Queensland Art Gallery, 1990.

Kirker, Anne. ‘Gordon Bennett: Expressions of Constructed Identity’, Artlink, vol. 10, nos. 1, 2, Autumn/Winter 1990, Adelaide: Artlink, pp. 93-95.

Lingard, Bob. ‘Psycho(d)rama: De(con)structing 'Settlement' ‘, Psycho(d)rama, exhibition catalogue, Brisbane: Institute of Modern Art, 1990.

Scott-Mundine, Djon. ‘Black on Black: An Aboriginal Perspective on Koori Art’, Art Monthly Australia, Special Supplement, ‘The Land, the City, The Emergence of Urban Aboriginal Art’, 

no. 30, May 1990, pp. 7-9.

Smith, Terry. ‘Aboriginal Art Now: Writing Its Variety and Vitality’, Contemporary Aboriginal Art 1990-From Australia, Glasgow: Aboriginal Arts Management Association and Third Eye Centre, 1990, p. 12.

Spendlove, Cherene. ‘Gordon Bennett’, Adelaide Biennial of Australian Art, exhibition catalogue, -Adelaide: Art Gallery of South Australia, 1990, pp. 20-21.

Thompson, Liz. Aboriginal Voices: Contemporary Aboriginal Artists, Writers and Performers, Brookvale, Australia: Simon and Schuster, 1990, pp. 147-153.

1989

Foggarty, Rebbekah. ‘Fusing Cultures’, Dare, no. 1, July 1989, Brisbane, pp. 45-46.
Lingard, Bob. ‘A Kind of History Painting’, Tension, no. 17 August 1989, pp. 39-42.

Scott-Mundine, Djon. ‘Drawing on Black Reality’, Myriad of Dreaming: Twentieth Century Aboriginal Art, exhibition catalogue, Melbourne: Lauraine Diggins Gallery, 1989, pp. 125-137.

Seear, Lyn. ‘Gordon Bennett’, Australian Perspecta 1989, exhibition catalogue, Sydney: Art Gallery of New South Wales, 1989, pp. 16-17.

Zurbrugg, Nicholas. Visual Poetics: Concrete Poetry and Its Contexts, exhibition catalogue, Brisbane: Museum of Contemporary Art, 1989, p. 52.