Gordon Bennett (1955-2014) was born in Monto, Queensland. In 1988 Bennett graduated with a Bachelor of Arts (Fine Arts) from the Queensland College of Art, Brisbane. Bennett’s work examines historical and contemporary constructions of personal and cultural identity.
Gordon Bennett
He was one of Australia’s most prominent and critically engaged artists, whom over the course of his career addressed many issues, with particular focus on the role of language and systems of thought in the development and structuring of identity. He firmly rejected stereotypes relating to race and resisted categorisation as an Indigenous artist through his art and through his creation of his artistic alter ego, John Citizen.
Bennett’s 30 year career saw him achieve significant national and international recognition, with his work featured in biennials in Venice, Sydney, Kwangju, Shanghai, Havana, Prague, Berlin and Yinchuan. In 1999, his first major survey exhibition, curated by Liz Ann McGregor opened at Brisbane City Gallery, Brisbane and toured internationally to Ikon Gallery, Birmingham, United Kingdom; Arnolfini Gallery, Bristol, United Kingdom; and Henie Onstad Kunstsenter, Oslo, Norway. In 2007, the National Gallery of Victoria presented the first retrospective of Bennett’s practice. Curated by Kelly Gellatly, the exhibition comprised 87 significant works from major public and private collections, toured to the Queensland Art Gallery / Gallery of Modern Art, Brisbane and the Art Gallery of Western Australia, Perth. In 2012, a number of works from his Home Decor (After M. Preston) series travelled to Kassel, Germany and were exhibited as part of dOCUMENTA (13), arguably one of the world’s most important exhibitions, curated by internationally renowned Carolyn Christov-Bakargiev. 30 works from his Notepad Drawings, 1995, were exhibited as part of the 8th Berlin Biennale, 2014, curated by Juan Gaitán.
Throughout his career, Bennett was the recipient of major art awards within Australia including the John McCaughey Memorial Art Prize and the Sceggs Redlands/Westpac Art Award (both 1997). In 1991, he was awarded the prestigious Moët & Chandon Australian Art Fellowship, giving him the opportunity to work & travel throughout Europe for 1 year. It was an opportunity for Bennett to consolidate his emerging practice and explore new ideas. In 2014 he was posthumously awarded Griffith University Arts, Education and Law outstanding Alumnus of the Year and Queensland College of Art Outstanding Alumnus of the Year.
Bennett’s work has been collected extensively and is represented in most major public art collections in Australia, as well as a number of significant international collections. In 2016, the Tate Modern, London and Museum of Contemporary Art, Sydney jointly acquired two major works by Bennett as part of a new acquisition fund supported by Qantas. Bennett is published widely with a monograph of his work, published by Craftsman House, entitled, ‘The Art of Gordon Bennett’ and co-authored by Prof Ian McLean and Bennett.
- Born Monto, Queensland, lived and worked in Brisbane.
Education
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
- Awarded the Moet & Chandon Australian Art Fellowship
1993
- Awarded Artist in Residence, University of Melbourne, MacGeorge Fellowship
1994
- Winner of the Contemporary Art Excellence Award, Nudgee College, Brisbane
1995
- Awarded Australian Network for Art and Technology Summer School, Brisbane
- Winner of the Pine Rivers Art Prize
- Winner of the Logan City Painting Prize
1996
- Awarded Anniversary Creative Arts Fellow, Australian National University, Canberra
1997
- Winner of the SCEGGS Redlands/ Westpac Art Award, Sydney
- 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
2021
- Gordon Bennett: Selected Writings edited by Angela Goddard and Tim Riley Walsh - Published by Griffith University Art Museum, Brisbane & Power Publications, Sydney.
Awarded Museum Australia Publication Design Awards (MADPA) Best Book for 2021
Awarded Arts Writing and Publishing Awards - 2021 Best Artist Led Publication
- Unfinished Business: The Art of Gordon Bennett with scholarly texts by Zara Stanhope, Abigail Bernal, J Faith Almiron, Simon Wright and Tim Riley Walsh. Published by Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2020.
Awarded Arts Writing and Publishing Awards - 2021 Best Large Exhibition Catalogue
Solo Exhibitions
2024
- Gordon Bennett: Divided Unity, Milani Gallery, Meeanjin, Brisbane
2023
- This World is Not My Home, Sutton Gallery, Melbourne
- From the Collection: Gordon Bennett, Museum of Brisbane, Brisbane
2020-2021
- Unfinished Business - The Art of Gordon Bennett, QAGOMA, Brisbane
2020
- Gordon Bennett: Figure of Speech - Sutton Gallery Online, Viewing Room, Melbourne
2019
- Gordon Bennett: Bloodlines, Milani Gallery, Brisbane
- Gordon Bennett: Note Pad Drawings, Sutton Gallery, Melbourne
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, 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: Abstraction Citizen, 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 New 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
- 2000.Notes to Basquiat (Samo) Another Millennium, Sutton Gallery, Melbourne
- Notes to Basquiat: Subtext, Bellas Gallery, Brisbane
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
- Notes to Basquiat: One Tense Moment (episode three) I Feel Better Now, Sutton Gallery, Melbourne
1998
- Home Decor (Calculus), Sutton Gallery, Melbourne
- Gordon Bennett: Notes to Basquiat, 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
2024
- Artist, Activist, Archivist: Bernhard Lüthi Invites, Fondation Opale, Lens, Switzerland
2023
- Thin Skin, Monash University Museum of Art, Melbourne
- Perspectives of Brisbane, Museum of Brisbane, Brisbane
- Gordon Bennett: Nuance, James Barth: Earthbound, Hoda Afshar: Undone, Milani Gallery, Meeanjin, Brisbane
- The Local, Museum of Brisbane, Brisbane
- Vision Splendid: Highlights from the University of Wollongong Art Collection, Hazelhurst Arts Centre, South Sydney
2022
- Espressioni Con Frazioni, Castello di Rivoli Museo d'Arte Contemporanea, Rivoli-Torino, Italy
- XXX: Celebrating 30 Years of Sutton Gallery, Sutton Gallery, Melbourne
- Propositions, Milani Gallery, Brisbane
- Courage and Beauty: The James C Sourris AM Collection, GOMA, Brisbane
2021-2022
- A Year in Art: Australia 1992, TATE Modern, London
- Australian Art: Storylines, National Gallery of Australia, Canberra
- HOTA Collects, Collide: Maverick Minds, HOTA, Gold Coast
2021
- On Fire: Climate and Crisis, Institute of Modern Art, Brisbane; Gertrude Contemporary, Melbourne
- A Brisbane Collecting Family 1980-2020, Members Art Series, The Brisbane Club, Brisbane
- Octopus 21: On Fire, Gertrude Contemporary, Melbourne
2020-2021
- Bodied, Art Gallery of Western Australia, Perth
2020
- Towards Regrowth: Art Aid for Fire Relief, Sutton Gallery, Melbourne
- 20/20: Shared Visions. 40 Years of Australian Contemporary Art, Artbank, Sydney.
- In the Hold: Decolonising Cook in Contemporary Australian Art, Flinders University Museum of Art, Flinders University, Bedford Park, South Australia
- Notes on Perception, Milani Gallery, Brisbane
- Reconciliation Illuminations, National Carillon, Canberra
- Up from the Vaults, Potter Museum of Art, The University of Melbourne, Melbourne
2019
- Micro Histories, Museum of Brisbane, Brisbane City Hall, Brisbane
- IN-Formalism, Casual Powerhouse Arts Centre, Sydney
- The Abyss: Strategies in Contemporary Art, Griffith University Art Museum, Brisbane
- Stopping Time : Material Prints 300 BCE to Now, Gympie Regional Art Gallery, Gympie; Newcastle Art Gallery, Newcastle; Logan Art Gallery, Logan; Grafton Regional Gallery, Grafton
2018
- Society for Contemporary Art - Acquisition Exhibition, Art Institute of Chicago
- Colony: Frontier Wars, National Gallery of Victoria, Melbourne
- National Picture, National Gallery of Australia, Canberra
- Collaborations: Gordon Bennett, Eugene Carchesio, Dale Harding, Milani Gallery
- Head to Head: Shifting Perspectives in Australian Portraiture, Flinders University Art Museum City Gallery, State Library of South Australia, Adelaide
- Starting Young, Gallery of Children’s Art, Brisbane
- Land & Title, MAMA, Murray Art Museum, Albury
2017-2020
- Artist and Society: Citizens, Natalie Bell Building, Level 2 West, TATE Modern,
London
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, Brisbane
- Australian Collection Permanent Exhibition, Queensland Art Gallery, 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 Zealan
- 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, Queensland Art Gallery, Brisbane
- Open Daze, Dell Gallery @ Queensland College of Art, Griffith University, 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 and Arts Centre, Gymea, New South Wales
- The Pine Rivers Art Award Winner’s Retrospective1993 – 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, Queensland College of Art, Griffith University, 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": The Self in Recent Art, Potter Gallery, Ballarat Fine Art Gallery, Ballarat
2006-2008
- Queensland Live! Contemporary Art on Tour, (touring exhibition), Queensland Art Gallery | Gallery of Modern Art, Brisbane
2006
- 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, Mornington
- ARC Biennial, Brisbane City Hall, Brisbane
- Unscripted: Language in Contemporary Australian Art, Art Gallery of NSW, Sydney
- Disobedience, Ivan Dougherty Gallery, University of New South Wales, Sydney
2004-2005
- 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
2003-2004
- Home & Away (Place and Identity in Recent Australian Art), Monash UniversityMuseum of Art, Melbourne
2003
- Isle of Refuge, (touring exhibition), Ivan Dougherty Gallery, 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
2002-2003
- Transit Narratives, (touring exhibition), Centro per la Cultura e le Arti Visive Le Venezie, Villa Letizia, Treviso, Italy; Queensland College of Art, Griffith University; Victorian College of the Arts, Melbourne; Tasmanian School of Art, Hobart
2002
- No Shame No More, Sotheby’s Galleries, Sydney
- Other Views: Works from the University Collection, Griffith University Art Museum, Brisbane
- Deeper Places, Casula Powerhouse Arts Centre, Sydney
- Fieldwork: Works from the Collection, National Gallery of Victoria, Melbourne
- Sublime: 25 Years of the Wesfarmers Collection of Australian Art, Art Gallery of Western Australia, Perth
- The Big River Show: Murrumbidgee Riverine, Wagga Wagga Regional Art Gallery
- Points of View, University of Technology, Sydney
2001-2003
- Imaging, Identity and Place, (touring exhibition), Grafton Regional Gallery, Grafton
2001
- Our Place: Issues of Identity in Recent Australian Art, Monash University Museum of Art, Melbourne, Palazzo Vaj, Prato, Italy
- 366/2000, Auckland Museum, New Zealand
2000-2002
- Federation: Australian Art & Society 1901-2001, (national touring exhibition), National Gallery of Australia, Canberra
2000
- Kwangju Biennale 2000, Korea
- Shanghai Biennale, People's Republic of China
- Crossing the Ocean, Central Academy of Fine Artists, Beijing, People's Republic of China
- Mirror with a Memory, National Portrait Gallery, Canberra
- On the Brink; Abstraction of the 90's, 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, Canada; Australian Centre for Contemporary Art, Melbourne; Johannesburg Art Gallery, Johannesburg, South Africa
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, People's Republic of China
- People, Places, Pastimes: Challenging Perspectives of Ipswich, Global Arts Link, Ipswich
1998
- Remanence, Old Magistrates’ Court, Melbourne Festival, Melbourne
- National Works on Paper, Mornington Peninsula Regional Gallery, Mornington
- The Great Australian Teapot, Distelfink Gallery, Melbourne
- Telling Tales, Ivan Dougherty Gallery, University of New South Wales, College of Fine Arts, 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, (regional touring exhibition), Grafton Regional Gallery, Grafton
- Flesh and Blood: A Sydney Story 1788-1998, Museum of Sydney, Sydney
- The Australian Drawing Biennale, (touring exhibition), Drill Hall Gallery, Australian National University, Canberra
- Episodes, Glen Eira Arts Complex, Caulfield, Victoria
- Close Quarters, Monash University Gallery, Melbourne; ACCA, Melbourne
1997
- Landmarks: Contemporary Visions of the Australian Landscape, Campbelltown City Bicentennial Art Gallery, Campbelltown
- Video Positive ‘97: Escaping Gravity, Open Eye Gallery, Liverpool, United Kingdom
- In Place (Out of Time): Contemporary Art in Australia, Museum of Modern Art, Oxford, United Kingdom
- 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
- Before The Bus Stops, Australian Print Workshop Inc, Melbourne
- Geelong Contemporary Art Prize Exhibition, Geelong Art Gallery, Geelong
- The Rock Building Society Central Queensland Biennial Art Purchase
- Personal Vision Multiple Perspective, (touring exhibition), Queensland University of Technology, 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
- Common Practice, Ecole d'Art, Noumea
1996
- Native Titled Now, (touring exhibition), Tandanya National Aboriginal Cultural Institute, Adelaide
- Blundstone Contemporary Art Award, (touring exhibition), Queen Victoria Museum and Art Gallery, Launceston
- Flagging the Republic, (regional touring exhibition), Sherman Galleries Goodhope in association with New United Kingdom Regional Art Museum, Sydney
- 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 Debtors' Prison, Dublin, Ireland
- The Burbs, Gold Coast City Art Gallery, Gold Coast
- Systems End: Contemporary Art in Australia, (touring exhibition), Korea, Japan, Singapore
- Perception and Perspective, Next Wave Festival, Murdoch Court, 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 Nouville, Noumea
1995
- Interfaces: Art and Technology, (regional touring exhibition), Griffith University, Brisbane
- LINGO Getting the Picture, Brisbane City Hall Art Gallery, Brisbane
- Pathways 1: Changes and Exchanges, 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, (regional touring exhibition), Jewish Museum of Australia, Melbourne,
- TransCulture, Palazzo Giustinian Lolin, Venice Biennale, Venice, Italy; Naoshima Contemporary Art Museum, Naoshima Island, Japan
- Digital Shifts, part of the Zero 1 project, Noosa Regional Gallery, Tewantin
1994-1995
- Antipodean Currents: Ten Contemporary Artists from Australia, John F Kennedy Centre for the Performing Arts, 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: I Shall Never Become a White Man, 5th Havana Biennial, Havana, Cuba; Museum of Contemporary Art, Sydney
- Aussemblage!, Auckland Art Gallery Toi o Tāmaki, Auckland, New Zealand
- Present Wall: Adelaide Installations (Incorporating the 1994 Adelaide Biennial of Australian Art, Institute Building, State Library of South Australia, Adelaide
- Faciality, Monash University Gallery, Melbourne
- Sweet Damper and Gossip - Colonial Sightings from the Goulburn and North East,
Benalla Art Gallery, Victoria; Monash University Gallery, Melbourne; Shepparton Art Gallery, Victoria - Urban Focus: Aboriginal and Torres Strait Islander Art from the Urban Areas of
- Australia, National Gallery of Australia, Canberra
- Faces of Hope, (Amnesty International Australia Mask Project), Art Gallery of NSW, Sydney
- Reference Points III: The Immediate Past, Queensland Art Gallery, Brisbane
- Interfaces: Art and Technology: An Exhibition from the Griffith University Collection, (regional touring exhibition), Griffith University Art Museum, Brisbane
1993-1994
- Identities: Art from Australia: Contemporary Australian Art to Taiwan, (An international Exchange Exhibition between Australia and Taiwan), Taipei Fine Arts Museum, Taiwan; Wollongong City Gallery, New South Wales; Gold Coast City Gallery, Queensland
1993
- Inner-Land. Australian Contemporary Art, Soko Gallery, Tokyo, Japan
- Confess and Conceal: 11 Insights from Contemporary South East Asia and Australia, (touring exhibition), Art Gallery of Western Australia, Perth
- Fifth Australian Sculpture Triennial, Melbourne
- Commitments, Institute of Modern Art, Brisbane; Artspace, Sydney; University of Southern Queensland, Toowoomba; Canberra School of Art Gallery, Canberra
- Aratjara: Art of the First Australians, Kunstsammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum of Contemporary Art, Humlebaek; National Gallery of Victoria, Melbourne
- Prime Television Painting Prize, Newcastle Region Art Gallery, Newcastle, NSW; Gold Coast City Art Gallery, Gold Coast; Dubbo Regional Art Gallery, Dubbo
1992
- 9th Biennale of Sydney: The Boundary Rider, Bond Stores 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 College of Art Artists in the Queensland Art Gallery Collection, Queensland Art Gallery, Brisbane
- Australian Artists In Paris, Galerie Parvi: Pour l'Art Visuel, Paris, France
- Works from the Collection, Museum of Contemporary Art, Brisbane
- Tyerabarrbowaryaou: I Shall Never Become A White Man, Museum of Contemporary Art, Sydney
- Southern Crossings: Contemporary Australian Photography, (Britain touring exhibition), Camerawork, London, United Kingdom
1991
- Moet & Chandon Australian Art Foundation Touring Exhibition, Australian National Gallery, Canberra;Queensland Art Gallery, Brisbane; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Tasmanian Museum and Art Gallery, Hobart; Westpac Gallery in association with the National Gallery of Victoria, Melbourne
- Aboriginal Art and Spirituality, High Court of Australia, Canberra
- Three Artists, Powell Street Gallery, Melbourne
1990
- Acquisitions 1984-1990, University of Queensland 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
- 1990 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide
- Balance 1990: Views, Visions, Influences, Queensland Art Gallery, Brisbane Moet & Chandon
- Touring Exhibition, Australia
- Paraculture, Tribeca Gallery, Artists’ Space, New York, United States
1989
- Australian Perspecta 1989, Art Gallery of New South Wales, Sydney
- Myriad of Dreaming, Twentieth Century Aboriginal Art, Lauraine Diggins Fine Art Gallery, Melbourne
- Visual Poetics: Concrete Poetry and its Contexts, 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 Centre Trust Collection, Adelaide
- Allied Queensland Coalfields Collection, Ipswich
- Art Gallery of New South Wales, Sydney
- Art Gallery of South Australia, Adelaide
- Art Gallery of Western Australia, Perth
- Artbank, Sydney
- Auckland City Art Gallery, Auckland, New Zealand
- Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra
- Australian National University Art Collection, Canberra
- Australian War Memorial, Canberra
- Baillieu Myer Collection, Melbourne
- Benalla Art Gallery, Victoria
- Bendigo Art Gallery, Victoria
- BHP Billiton Art Collection, Melbourne
- BP Refinery Ltd, Brisbane
- Brisbane Boys Grammar School, Brisbane
- Brisbane City Council, Brisbane
- Brisbane Convention Centre, Brisbane
- Brisbane Girls Grammar School, Brisbane
- Campbelltown, City Art Gallery, Campbelltown
- Capalaba State High School, Brisbane
- Charles Sturt University, Wagga Wagga
- Chartwell Collection, New Zealand
- City of Banyule Art Collection, Rosanna, Victoria
- City of Box Hill Art Collection, Box Hill
- City of Whitehorse Art Collection, Victoria
- Commonwealth Bank of Australia
- Deakin University Art Gallery, Melbourne
- Department of Aboriginal and Islander Affairs, Brisbane
- Downlands College Art Collection, Toowoomba Regional Art Gallery, Toowoomba
- Emerald City Council
- Flinders University Art Museum, Adelaide
- Fondation Opale, Switzerland
- Gippsland Art Gallery Sale, Victoria
- Gold Coast City Art Gallery, Queensland now HOTA, Gold Coast
- Grafton Regional Gallery, New South Wales
- Griffith University Art Collection, Brisbane
- Hebrew University, Melbourne
- Heide Museum of Modern Art, Melbourne
- Henry Walker Eltin Group, Melbourne
- Janet Holmes à Court Collection, Perth
- La Trobe University Art Collection, Melbourne
- Melbourne Grammar School, Melbourne
- 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 Australia, 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 Library of Australia, Canberra
- 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, (SCEGGS) 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 Ian Potter Museum of art, University of Melbourne, Melbourne
- The Macquarie Group Collection
- The University of Western Australia Art Collection, Perth
- Toowoomba Regional Art Gallery, Toowoomba
- University of Queensland Art Collection, Brisbane
- University of Southern Queensland, Toowoomba
- University of Technology, Sydney
- University of Wollongong Art Collection, Wollongong
- Vizard Foundation Art Collection, Melbourne
- Wavell State High School, Brisbane
- Waverly City Gallery, Victoria
- Wereldmuseum, Rotterdam, The Netherlands
- Wesfarmers Collection of Australian Art, Perth
- Wesley College Art Collection, Melbourne
- Yarra City Arts Collection, Melbourne
- And various private collections in Australia and overseas
Selected Bibliography
2024
Butler, Rex. Gordon Bennett, Significant exhibition catalogue, Melbourne: D’Lan Contemporary, 2024, pp 46-49.
2023
- Fiske, Eden. Gordon Bennett, This World is Not My Home; Mia Boe, Suspicion is Proof Enough, Memo, 22 July 2023, https://memoreview.net/reviews/gordon-bennett-this-world-is-not-my-home-and-mia-boe-suspicion-is-proof-enough-by-eden-fiske
- Manderson, Desmond. Possession: Art, Myth and the Colonial Imaginary, Griffith Review 76 – Acts of Reckoning, Brisbane: Griffith University, 2023.
- Walsh, Tim. The Future of Nostalgia: Gordon Bennett and Mia Boe, This World is Not My Home, exhibition catalogue, Melbourne: Sutton Gallery, 2023
2022
- Ewing, Madeleine, Carter, Anne & Osmond, Gillian, Conservation of a Termite-Damaged Acrylic Painting: Treatment Solutions for Gordon Bennett's Number Three (2004), AICCM Bulletin, Volume 42, Issue 2, 2021, pp 118 - 131.
- Hill, Wes. Gordon Bennett: Selected Writings, Artlink: Contemporary Art and Ideas from Australia and the Asia-Pacific, book review, Issue 42:1, Autumn-Winter/2022, pp. 96-103.
- Robinson, Scott. Fugitive Abstraction: Gordon Bennett's Stripe Series, Index Journal, Issue No. 4, Secession, University of Melbourne, Devember 2022. https://index-journal.org/issues/secession/fugitive-abstraction-in-gordon-bennett-s-stripe-series-by-scott-robinson.
- Stanhope, Zara. Gordon Bennett, The Heide Collection, Bulleen: Heide Museum of Modern Art,
2022, pp. 106-107.
2021
- Butler, Rex and Simmons, Laurence. Victory over Death: The Art of Colin McCahon. Clayton, Victoria: Monash University Publishing, 2021. pp.25-27, 120 (e).
- Land, Clare; Balla, Paola and Golding, Kate. Looking Back on Cook, Blak Cook Book: New Cultural Perspectives on Cook's Cottage, Melbourne: The City of Melbourne, 2021, pp. 38-39.
- Walsh, Tim Riley. Figure/Ground (Zero): The Camouflage Works of Gordon Bennett and Andy Warhol, di'van Art Journal, Sydney: University of NSW Art & Design, 2021, pp. 68-79.
- Wood, Paul and Wainwright, Leon with Harrison, Charles. Art in Theory: The West in the World. An Anthology of Changing Ideas. UK: John Wiley & Sons Ltd, 2021, pp 897-899.
2020
- Almiron, J Faith. I am the Black Gold of the Sun: Signifying Bennett and Basquiat, Unfinished Business - The Art of Gordon Bennett, exhibition catalogue, Brisbane: QAGOMA, 2020, pp. 100-107.
- Bernal, Abigail. The Colour Black and Other Histories: Gordon Bennett and Jackson Pollock, Unfinished Business - The Art Of Gordon Bennett, exhibition catalogue, Brisbane: QAGOMA, 2020, pp. 66-83.
- Best, Susan. Unfinished Business - The Art of Gordon Bennett, exhibition review, The Conversation, 2020.
- Hill, Wes. Unfinished Business - The Art of Gordon Bennett, exhibition review, Artlink: Contemporary Art and Ideas from Australia and the Asia-Pacific, 30 November 2020.
- Manderson, Desmond. Fabulous Retroactivity: Time and Colonialism in Gordon Bennett's Possession Island, Australian & New Zealand Journal of Art, Melbourne: CoVA, Faculty of Fine Arts and Music, University of Melbourne, Volume 20, Issue 2, 2020, pp. 253-267.
- Stanhope, Zara. Unfinished Business - The Art of Gordon Bennett, Unfinished Business - The Art of Gordon Bennett, exhibition catalogue, Brisbane: QAGOMA, 2020, pp. 14-31.
- Walsh, Tim Riley. A Transient Separation: Gordon Bennett's Abstract Art, Unfinished Business - The Art of Gordon Bennett, exhibition catalogue, Brisbane: QAGOMA, 2020, pp. 138-145.
- Walsh, Tim Riley. Uncertain Words: The Writing of Gordon Bennett, Gordon Bennett Selected Writings, Power Publications and Griffith Art Museum, 2020, pp. 187-201.
- Wright, Simon. The Gordon Bennett Studio, Unfinished Business - The Art of Gordon Bennett, exhibition catalogue, Brisbane: QAGOMA, 2020, pp. 128-135.
2019
- Manderson, Desmond. Bennett’s Laws: Colonial Time, Danse Macabre: Temporalities of Law in the Visual Arts, UK: Cambridge University Press, 2019, pp. 157-194
- McLean, Ian. Gordon Bennett: Self Portrait (But I Always Wanted to be One of the Good Guys), Aboriginal Art, New York: Sothebys, 2019, pp. 38-43.
- Reeves-Smith, Lucie. Gordon Bennett: Works from the pARTners Collective 2006-2016, Deutscher & Hackett: Important Australian & International Fine Art auction catalogue, Sydney, 28 August 2019, pp. 130-131.
- Rudolph, Sophie. Tracing the Gap: Constructions of Deficiency and Potential, Unsettling the Gap: Race, Politics and Indigenous Education, Global Studies in Education, vol. 36, New York: Peter Lang Publishing Inc., 2019, pp. 85-87.
- Russell-Cook, Myles. Kool & Blak, Keith Haring & Jean-Michel Basquiat: Crossing Lines exhibition catalogue, Melbourne: Council of Trustees of the National Gallery of Victoria, 2019, pp. 271-272.
- Ryan, Judith. Bearing Witness, Colony: Australia 1770-1861 / Frontier Wars exhibition catalogue, Melbourne: National Gallery of Victoria, 2019, pp. 292-305.
- Smith, Terry. Art to Come: Histories of Contemporary Art, Durham, NC: Duke University Press, 2019.
- Walsh, Tim Riley. Gordon Bennett’s Holistic World View, The Jeffery Humphreys Collection: Selected Works exhibition catalogue, Brisbane: Jeffery Humphreys, 2019, pp. 9-13.
- Walsh, Tim Riley. An Aetiology of Racism: Gordon Bennett's Archive and Affective Conceptualism, PhD Thesis, St Lucia: The University of Queensland, 2019.
- Wright, Simon. Catalyst: Gordon Bennett, Vault: Australasian Art & Culture, Issue 25, Melbourne: Art Ink, 2019, p. 113.
2018
- Bennett, Leanne and Hayward, Fiona, Gordon Bennett, Sotheby’s Australia: Important Australian & New Zealand Art auction catalogue, Sydney, 16 May 2018, pp. 44-45.
- Hughes, Helen and Plagne, Francis. Two Readings of Gordon Bennett’s The Nine Ricochets, Double Displacement: Rex Butler on Queensland Art, Brisbane: Institute of Modern Art, 2018, pp. 21-31.
- Hughes, Helen and Plagne, Francis. The Revolutionary Colouring History, Double Displacement: Rex Butler on Queensland Art, Brisbane: Institute of Modern Art, 2018, pp. 133-136.
- Reeves-Smith, Lucie, Gordon Bennett, Deutscher and Hackett: Important Fine Art & Indigenous Art auction catalogue, Sydney, 18 April 2018, pp. 96-97.
- Ross, Joan, The Art That Made Me, Look: Art Gallery Society of New South Wales, Sydney: Art Gallery of New South Wales, March-April 2018, p. 23.
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.
- Tamati-Quennell, Megan. “Gordon Bennett: Abstraction (ethnic).” Ten x Ten: Art at Te Papa, edited by Athol McCredie, Te Papa Press, Wellington, New Zealand, 2017, pp. 180-181, 269.
- 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
- Allas, Ruben. Critical Mass: My Country, I Still Call Australia Home, Art Monthly AustraliaGOMA exhibition review, Issue 264, October 2013, pp. 31-34.
- Butler, Sally. My Country but Not My Style, Eyeline exhibition review, issue 81, 2013, pp. 36-41.
- 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, Bruce. My Country, I Still Call Australia Home: Contemporary Art from Black Australia, exhibition catalogue, Brisbane: Queensland Art Gallery | Gallery of Modern Art, 2013.
- 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.
- McLean, Ian. Appropriation: Back Then, In-between, and Today, Art Bulletin, Vol. 94, Issue 2, 2012, pp. 179-181.
- 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....
- 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.
- Stanhope, Zara. Ganymede and Rosalind, John Citizen AKA Gordon Bennett exhibition catalogue, Sydney: Gallery Barry Keldoulis, 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. - Lowish, Susan. Gordon Bennett: Reading Pictures, Brought to Light II: Contemporary Australian Art 1966-2006, Brisbane: Queensland Art Gallery, 2007, pp. 184-191.
- 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
- McLean, Ian. Who is John Citizen,John Citizen Interiors exhibition catalogue, Adelaide: Greenaway Art Gallery, 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.
- Butler, Sally. The Death of Irony: Three Colours, Gordon Bennett and Peter Robinson, Eyeline, exhibition review, Issue 58, 2004, pp. 28-33.
- Churcher, Betty. ‘Gordon Bennett: Notes to Basquiat 9:11’, The Art of War, Melbourne: Melbourne University Publishing Ltd, 2004, pp. 130-133.
- Haley, Stephen. Three Colours: Gordon Bennett and Peter Robinson: At the Heide Museum of Modern Art, Melbourne, Art Monthly Australia, exhibition review, Issue 174, October 2004, pp. 27-31.
- Holubizky, Ihor. Out of Print: Gordon Bennett, Dell Gallery, Griffith University, Brisbane, 4 April - 20 June 2004, Eyeline Contemporary Visual Arts, exhibition review, No. 55, 2004, p. 55.
- 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
- Hallows, Charlotte. Gordon Bennett: Figure Ground (Zero), Eyeline exhibition review, No. 52, 2003, p. 51.
- 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.
2001-2002
- 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.
2000
- Chambers, Eddie. Gordon Bennett,Art Monthly exhibition review, No. 233, February, 2000, pp. 26-27.
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, 1999, pp. 181, 199-223.
- Thomas, Nicholas. Gordon Bennett: The Body's Names: Gordon Bennett's 'Notes to Basquiat', Beyond the Future: The Third Asia-Pacific Triennial of Contemporary Art exhibition catalogue, Brisbane: Queensland Art Gallery, 1999, pp. 174-175.
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. 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
- 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.
- Nicholson, Tom. Bodies of Knowledge: The Memory Painting of Gordon Bennett, Art Monthly Australia, No. 76, December 1994, pp. 37-39.
- 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.
1993-1994
- 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. - Bennett, Gordon. Myth of the Western Man (White Man's Burden), Inner Land: Exhibition of Australian Contemporary Art, exhibition catalogue, Japan: Celebrate Australia, Contemporary Art Exhibition Executive Committee, 1993.
- 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.
Exhibitions
Off-site Exhibitions
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Jun 16 – Nov 10, 2024Gordon Bennett, Richard Bell, Vernon Ah Kee‘ARTIST ACTIVIST ARCHIVIST: BERNHARD LÜTHI INVITES’Fondation Opale![(L-R) Sidney Nolan, Kelly at the Mine 1946–47, Heide Museum of Modern Art, Naarm/Melbourne, purchased from John and Sunday Reed 1980; Gordon Bennett, Wound 1990, Monash University Collection, Naarm/Melbourne, purchased 1990. Installation view: Thin Skin, Monash University Museum of Art, Naarm/Melbourne, 2023. Photo: Christian Capurro]( "(L-R) Sidney Nolan, Kelly at the Mine 1946–47, Heide Museum of Modern Art, Naarm/Melbourne, purchased from John and Sunday Reed 1980; Gordon Bennett, Wound 1990, Monash University Collection, Naarm/Melbourne, purchased 1990. Installation view: Thin Skin, Monash University Museum of Art, Naarm/Melbourne, 2023. Photo: Christian Capurro")
Jul 20 – Sep 23, 2023Gordon Bennett, Rosslynd Piggott, Gareth Sansom‘Thin Skin’Monash University Museum of Art![<span class="artist">Vernon Ah Kee</span><span class="title"> Mick Miller (From What is an Aborigine)</span><span class="year"> 2008</span>, <span class="medium">Charcoal, crayon and acrylic on canvas</span>, <span class="dimen">180 x 240 cm</span>]( "<span class=\"artist\">Vernon Ah Kee</span><span class=\"title\"> Mick Miller (From What is an Aborigine)</span><span class=\"year\"> 2008</span>, <span class=\"medium\">Charcoal, crayon and acrylic on canvas</span>, <span class=\"dimen\">180 x 240 cm</span>")
Apr 24 – Nov 27, 2022Vernon Ah Kee, Richard Bell, Gordon Bennett‘Espressioni Con Frazioni’Castello di Rivoli, Torino, Italy
