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Strips

Experience 'Strips' by Gordon Bennett AO – a powerful quilt reflecting Gee’s Bend heritage & resilience. Explore vibrant colors, geometric patterns, & Indigenous artistry. Hand-painted reproduction.

Oplev Gordon Bennett AOs kraftfulde kunst, der forener oprindelig og anglo-keltisk arv. Hans værker udfordrer identitet og historie.

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I was born December 29, 1960, in Gee’s Bend, Alabama. As a young child living in Gee’s Bend, I grew up on a farm and had to work in the fields. Because of my young age, I was only allowed to carry water to those who were big enough to chop cotton and the other things that we grew in our fields. Our field was located in an area called Carson, although my grandfather had two fields, one in Carson and the other one located in a place called Hotel (some people called it Long Bottom). Hotel was the area where the old cemetery was located. There, my family grew cotton, corn, peanuts, and sweet potatoes, just to name a few of our crops.We started our day early because my mother had to make breakfast and lunch so we could carry our lunch with us to the fields. When I got a little older, about eight years old, I also helped with getting the meals prepared, and now I was old enough to chop and pick cotton. This was not an easy job, and I can remember we hardly ever complained. And even if we did, we were only wasting time and energy. In my early teens, cotton started to fade away, and only a few people who were a little more well-off than the rest continued with planting cotton. So we “hired out,” working for those who had a bigger farm. To pick a hundred pounds of cotton a day was really hard for me because I was so small, but I am sure it was no problem for my grandfather, Tank Pettway, because he was a big, tall man. It was not long before cotton completely faded away from Gee’s Bend and another crop of hard work was born—the birth of cucumbers.We started our day early because my mother had to make breakfast and lunch so we could carry our lunch with us to the fields. When I got a little older, about eight years old, I also helped with getting the meals prepared, and now I was old enough to chop and pick cotton. This was not an easy job, and I can remember we hardly ever complained. And even if we did, we were only wasting time and energy. In my early teens, cotton started to fade away, and only a few people who were a little more well-off than the rest continued with planting cotton. So we “hired out,” working for those who had a bigger farm. To pick a hundred pounds of cotton a day was really hard for me because I was so small, but I am sure it was no problem for my grandfather, Tank Pettway, because he was a big, tall man. It was not long before cotton completely faded away from Gee’s Bend and another crop of hard work was born—the birth of cucumbers.Roman Pettway, the community entrepreneur, introduced Gee’s Bend to a new mode of farming. Cucumbers were the “new cotton,” but thank God, the season for cucumber picking was very short, from late May to the first week in July. We knew when the month of July came it would not be long before we could finally have a summer break. Growing cucumbers lasted for nearly a decade, and many families planted a second crop because this was a quicker and faster way to earn income. My family and others planted their own gardens and grew almost all the vegetables needed to survive the winter months. I learned to can vegetables and to make plum and blackberry jelly and jams. My mother Qunnie Pettway’s first paying job was working at the Freedom Quilting Bee. Her paycheck was not a whole lot, and sometimes she would have to work several weeks before getting any pay. During her absence, my oldest brother and I had to do most of the household chores. We didn’t have a water pump of our own, so we carried water from my aunt Lucy T. Pettway’s house. We also carried water from a natural spring, a spring called Cross Spring. Some of the men in the community tailored the spring into a well by damming it up with barrels; this made it much easier to obtain the water. The water was used to cook and wash our clothes. We also heated our bathwater in the same wash pot we used to wash our clothes. By the time I turned about fifteen, we got running water and paved roads. Now that the roads were paved and we had running water, washing, cleaning, riding the school bus, and walking got a lot better. I can recall that I was about five or six years old when I was first introduced to sewing. At that age we were only allowed to thread the needles for the quilters in my grandmother’s and my mother’s quilting group. The leftover scraps are what we got to sew and piece together, practicing on how to make a real quilt. We never actually made a quilt, because the leftover pieces were so small in size, so I looked for something else more interesting to do than sticking my fingers with a needle. During grade school the bulk of my school clothes were homemade by my mother, Qunnie Pettway; she has always had a passion for sewing. Since quilting and making quilts were such a big part of my grandmother’s, my mother’s, and my aunt’s life, I believe the seed of quiltmaking was planted into my genes. Whenever we would go to either aunt Lucy T. Pettway’s or aunt Ruth Mosely’s houses to play during the summer months, t../..

Spørgsmål og svar

Hvordan relaterer stilen i "Strips" sig til kunstnerens samtid?

"Strips" af Gordon Bennett Ao tilhører Contemporary Folk Art-bevægelsen fra sin skabers Samtidskunst-æra.

Hvornår blev "Strips" skabt?

"Strips" af Gordon Bennett Ao blev skabt i 2005.

Hvilken national oprindelse ligger bag Contemporary Folk Art i "Strips"?

"Strips" blev skabt af Gordon Bennett Ao, født i Australien, inden for Contemporary Folk Art-bevægelsen. Kunstnerens oprindelse forbinder værket med Contemporary Folk Art, som det praktiseres af kunstnere fra Australien.


Kunstnerens biografi

en pioner inden for oprindelig australsk kunst

Gordon Bennett Ao, en fremtrædende australsk kunstner med både aboriginsk og anglo-keltisk herkomst, har efterladt et uudsletteligt aftryk på den samtidige kunstscene. Han blev født den 9. oktober 1955 i Monto, Queensland, og hans liv var et vidnesbyrd om hans mangefacetterede identitet, som han med stor modenhed og styrke udtrykte gennem sin kunst.

Hans rejse mod det kunstneriske virke begyndte sent; før han dedikerede sig fuldt ud til kunsten, arbejdede Bennett hos Telecom Australia indtil 32-årsalderen, en overgang der markerede begyndelsen på hans frugtbare og skabende kunstneriske rejse. Kendt for sine livlige og tankevækkende værker, udfordrede Bennetts kunst opfattelser af identitet, historie og konstruktionen af viden. Hans dristige stil, som altid var præget af en dyb menneskelighed, resonerede hos et publikum over hele verden. Som en ledende skikkelse inden for moderne oprindelig australsk kunst afspejlede hans værker ikke blot hans egen kulturarv, men banede også vejen for fremtidige generationer af aboriginske kunstnere.

bemærkelsesværdige værker og udstillinger

Selvom den præcise liste over Bennetts mest markante værker ikke er opstillet her, er hans bidrag til kunstverdenen grundigt dokumenteret på ArtsDot.com. Nogle af hans værker kan findes under sektionen art movements 1/2, hvilket giver et fascinerende indblik i hans kunstneriske evolution.

eftermæle og indflydelse

Bennetts indflydelse rækker langt ud over hans egen generation og inspirerer nye kunstnere til at udforske temaer som identitet og kulturel arv. Hans bidrag har sikret den fortsatte relevans og anerkendelse af oprindelig australsk kunst på en global skala.

mindet om Gordon Bennett Ao

Selvom Bennett gik bort den 3. juni 2014, lever hans eftermæle videre. For dem, der ønsker at udforske mere af hans arbejde eller dykke ned i den oprindelige australske kunstverden, tilbyder prints that you can afford på ArtsDot.com en unik mulighed for at opleve hans kunst i en håndgribelig og prisvenlig form.

  • hovedindsigten: Gordon Bennett AOs liv og virke tjener som en kraftfuld påmindelse om den indvirkning, en enkelt kunstner kan have på det bredere kulturelle landskab.
  • fremtidige perspektiver: I takt med at vi bevæger os fremad, er det essentielt at fortsætte med at fejre og støtte de kunstnere, der – ligesom Bennett – udfordrer vores opfattelser og udvider vores forståelse af verden.

konklusion

Gordon Bennett Ao's bemærkelsesværdige rejse har, selvom den blev afbrudt, efterladt et uudsletteligt mærke på kunstverdenen. Hans eftermæle fungerer som et fyrtårn for kommende generationer og inspirerer nye stemmer og visioner i det evigt udviklende landskab for moderne oprindelig australsk kunst.
Gordon Bennett Ao

Gordon Bennett Ao

1955 - 2014 , Australien

Kort fortalt

  • Artistic Movement Or Style: Narrativ realisme
  • Artists Or Movements Influenced By This Artist: ['Social realisme']
  • Artists Who Influenced This Artist: ['Charles White']
  • Date Of Birth: 1955
  • Date Of Death: 2014
  • Full Name: Kerry James Marshall
  • Nationality: Amerikansk
  • Notable Artworks:
    • Untitled (The Figure)
    • Small Arches
    • Pastimes
  • Place Of Birth: Mount Ommanoo, Australien