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 

 

Solo Exhibitions


2016                     
Gordon Bennett: Home Décor (after Margaret Preston), Sutton Gallery, Melbourne
Gordon Bennett: Moving Images Part I, Centre for Contemporary Photography, Melbourne
Gordon Bennett: Moving Images Part II, Sutton Gallery, Melbourne
Gordon Bennett: Home Décor / Ancestor Figures, Milani Gallery, Brisbane


2015-2017            
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, 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

 

Group Exhibitions


2016

Sugar Spin: You, me, art and everything, Queensland Art Gallery/Gallery of Modern Art, Brisbane
1st Yinchuan Biennale, Museum of Contemporary Art Yinchuan, Yinchuan, People's Republic of China
Beyond the tower: 40 years and counting, University of Queensland Art Museum, Brisbane
Gordon Bennett: Moving Images, Centre for Contemporary Photography & Sutton Gallery, Melbourne
MCA Collection: Today Tomorrow Yesterday, Museum of Contemporary Australia, Sydney 
Black, White and Restive, Newcastle Regional Art Gallery, Newcastle
With Secrecy and Despatch, Campbelltown Arts Centre, Campbelltown


2015

Cross Pose, University of Queensland Art Museum, Brisbane

Loose Canon: Works from the Collection, Artbank, Sydney

9/11, Moana Project Space, Perth

21, Casula Powerhouse Arts Centre, Sydney

On the Beach, Mornington Peninsula Regional Gallery, Victoria

Propositions Three, Milani Gallery, Brisbane

Brutal Truths, Griffith University Art Gallery, Brisbane


2014

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

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

An Appetite for Painting, National Museum, Oslo, Norway

Sublime: Contemporary works from the Collection, Queensland Art Gallery / Gallery of Modern Art, Brisbane

Loose Canon: Works from the Collection, Artbank, Sydney

Notes to GB, Sutton Gallery, Melbourne

Taking it all Away, Museum of Contemporary Art Australia, Sydney


2013 - 14

Vivid Memories, Musee d'Aquitaine in Bordeaux, France


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 Contempoary Art Australia, 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 - 12

Ten Years of Contemporary Art: The James C Sourris AM Collection, Queensland Art Gallery | Gallery of Modern Art, Brisbane.


2011

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

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


2010

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

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

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

Time Travel: Reimaging the Past, Tweed River Art Gallery.

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

Suburbia, Redcliffe Regional Gallery, Redcliffe.

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

Pulp, Sutton Gallery, Melbourne.

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


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, Queensland Art Gallery, 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 Survey 1994-1998, 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, 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), Monash University Museum of Art, Melbourne.


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.

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.

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-two 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

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 Art Gallery, Stanthorpe

State Library of Victoria, Melbourne

Tasmanian Museum & Art Gallery, Hobart

Tate Modern, London, United Kingdom

TEWRR Collection, Brisbane/London

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


2016

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

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, pp. 152.

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. Rattling Spears: A History of Indigenous Australian Art. Reaktion Books Ltd, 2016, pp. 223-31, 233, 238, 240.

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

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

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, p. 2-10.

 

1995
Bennett, Gordon. Inner-Land: Exhibition of Australian Contemporary Art, exhibition cat, Tokyo: 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 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 Australia, vol. 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.