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Strips

gordon bennett ao, 2005

Navn Klasse Dato
gordon bennett ao, Strips (2005), Souls Grown Deep. Reproduceret til referenceformål; alle rettigheder er forbeholdt rettighedshaveren.

Fakta om værket

Kunstner
gordon bennett ao artsdot.com/da/artists/gordon-bennett-ao/
Kunstnerens levetid
1955 – 2014
Malet
2005
Bevægelse
Contemporary Folk Art
Afholdt hos
Souls Grown Deep artsdot.com/da/museums/souls-grown-deep-atlanta_da/

Ophavsret Dette værk er stadig beskyttet af ophavsret. gordon bennett ao døde i 2014; ophavsretten varer 70 år efter kunstnerens død, og er derfor gældende indtil 2084. Billedet vises her som undervisningsmateriale; rettighederne tilhører rettighedshaveren.

Kilde: ArtsDot.com — tilgået 25. august 2026

Strips — gordon bennett ao Del 1 · Kunstværket

I kontekst

Strips — gordon bennett ao

Hvornår er dette malet?

  1. 1950
  2. 1960
  3. 1970
  4. 1980
  5. 1990
  6. 2000
  7. 2010

Skyggelagt: gordon bennett ao' livstid (1955–2014) ▲ dette værk, 2005

Sammenlignelige værker

Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.

Flere værker, der kan placeres ved siden af dette: artsdot.com/da/art/similar/gordon-bennett-ao-strips-D4D69B-en/

Farver

Målt ud fra billedet

    Hovedfarve

    Black #151514

    Gemt palet

    • #151514
    • #F8F8F9
    • #931D09
    • #3A528D
    Farvepalette
    Neutrals Den dominerende farvefamilie i billedet.
    Primær farve
    Black
    Intensitet
    Monochromatic Hvor mættede og varierede farverne er, fra en enkelt dæmpet nuance til mange klare nuancer.
    Kontrast
    Statement Hvor meget farverne varierer i lysstyrke og mætning på tværs af billedet.
    Harmoni
    Balanced Harmony Hvor godt farverne spiller sammen, fra modstridende til fuldstændig harmoniske.
    Lysstyrke
    Brilliant Hvor lyst eller mørkt billedet fremstår samlet set, fra dybe skygger til lyse højlys.
    Mætning
    Muted Hvor rene og stærke farverne er, fra næsten grå til fuldt livlige.

    Kilde: ArtsDot.com — tilgået 25. august 2026

    Strips — gordon bennett ao Del 2 · I kontekst

    Om dette kunstværk

    Strips — gordon bennett ao

    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../..

    Kilde: ArtsDot.com — tilgået 25. august 2026

    Strips — gordon bennett ao Del 3 · Om dette kunstværk

    Kunstner og museum

    Kunstner

    gordon bennett ao

    Født i Mount Ommanoo, Australia

    **a pioneering figure in indigenous australian art**

    gordon bennett ao, a prominent australian artist of aboriginal and anglo-celtic descent, left an indelible mark on the contemporary art scene. born on october 9, 1955, in monto, queensland, bennett's life was a testament to his multifaceted identity, which he boldly expressed through his art.

    *early life and career*: before dedicating himself to art, bennett worked at telecom australia until the age of 32. this transition marked the beginning of his prolific artistic journey.

    *artistic style*: known for his vibrant and thought-provoking works, bennett's art challenged perceptions of identity, history, and the construction of knowledge. his bold style, humane in its approach, resonated with audiences worldwide.

    *contribution to indigenous australian art*: as a leading figure in contemporary indigenous australian art, bennett's work not only reflected his heritage but also paved the way for future generations of aboriginal artists.

    **notable works and exhibitions**

    though the exact list of bennett's notable works is not provided here, his contributions to the art world are well-documented on AllPaintingsStore.com. some of his works can be found under the art movements 1/2 section, offering a glimpse into his artistic evolution.

    **legacy and influence**

    - *influence on contemporary art*: bennett's influence extends beyond his own generation, inspiring new artists to explore themes of identity and cultural heritage. - *perpetuating indigenous australian art*: his contributions have ensured the continued relevance and recognition of indigenous australian art on a global scale.

    **remembering gordon bennett ao**

    bennett passed away on june 3, 2014, but his legacy endures. for those interested in exploring more of his work or delving into the world of indigenous australian art, prints that you can afford on AllPaintingsStore.com offers a unique opportunity to experience his art in a tangible, affordable manner.

    *key takeaway*: gordon bennett ao's life and work serve as a powerful reminder of the impact one artist can have on the broader cultural landscape.

    *future directions*: as we move forward, it's essential to continue celebrating and supporting artists who, like bennett, challenge our perceptions and broaden our understanding of the world.

    **conclusion**

    gordon bennett ao's remarkable journey, though cut short, has left an indelible mark on the art world. his legacy serves as a beacon for future generations, inspiring new voices and visions in the ever-evolving landscape of contemporary indigenous australian art.

    Museum

    Souls Grown Deep

    Udstillet i Atlanta, USA

    A Testament to Resilience: The Soul of the American South

    In the heart of Atlanta, where the urban pulse meets the quiet strength of the Appalachian foothills, lies a sanctuary for voices that have long echoed from the margins of history.

    Souls Grown Deep

    is far more than a mere repository of objects; it is a profound, living testament to the enduring legacy of African American artistic expression. The museum’s very name, drawn from the evocative imagery of Langston Hughes’ poem,

    "The Negro Speaks of Rivers,"

    serves as a guiding light for an institution dedicated to the idea that creativity, much like a river, possesses an infinite and deepening capacity to carry the weight of human experience. Here, the art does not merely sit in silence; it speaks of survival, of spiritual depth, and of a cultural heritage that has flourished even amidst the harshest landscapes of adversity.

    The collection is a breathtaking tapestry of medium and meaning, anchored by the legendary

    Gee’s Bend quilts

    . These are not simply textiles, but improvisational masterpieces born from the Alabama landscape. Characterized by bold, geometric abstractions and a vibrant, rhythmic use of color, these quilts represent a singular contribution to the global canon of modern art. To stand before them is to witness a visual language of storytelling, where every stitch and patch reflects the resourcefulness and communal spirit of the women who crafted them. Alongside these textile wonders, the museum presents a powerful dialogue through

    assemblage art

    . Sculptures by titans such as

    Thornton Dial

    and

    Lonnie Holley

    command the space, utilizing repurposed materials and found objects to construct monumental narratives. These works confront themes of poverty, justice, and perseverance, transforming the discarded into the divine, and forcing a confrontation with the social complexities of the American South.

    The architecture of Souls Grown Deep is an intentional extension of its curatorial mission. Designed to harmonize with its environment, the building utilizes natural light and organic materials to create a sense of transparency and connection between the viewer and the art. This deliberate design choice mirrors the very essence of the artists it celebrates—individuals who draw their inspiration from the earth, the community, and the ancestral traditions that surround them. The museum’s atmosphere is one of reverence and discovery, where the boundaries between formal art history and folk tradition dissolve, allowing for a more holistic understanding of American creativity.

    What truly distinguishes this institution is its unwavering commitment to the

    self-taught artist

    . In an era where art institutions often prioritize academic pedigree, Souls Grown Deep champions those who have forged their own paths outside the confines of formal training. By elevating wood carvings, mixed-media constructions, and paintings on unconventional surfaces, the museum ensures that the singular visions of these masters are recognized as vital components of our shared cultural identity. For the collector seeking depth, the designer searching for soul, or the art lover yearning for authenticity, Souls Grown Deep offers an encounter with art that is not merely aesthetically pleasing, but profoundly transformative—a reminder that even in the most challenging circumstances, the human spirit continues to grow deep, like the rivers.

    Her kan du læse mere

    Findes online

    QR-kode med link til downloadside for Strips

    artsdot.com/da/art/download/gordon-bennett-ao-strips-D4D69B-en/

    Kildehenvisning til dette kunstværk

    MLA
    ao, gordon bennett. Strips. 2005, Souls Grown Deep. https://artsdot.com/da/art/gordon-bennett-ao-strips-D4D69B-en/
    APA
    ao, gordon bennett (2005). Strips [Painting]. Souls Grown Deep. https://artsdot.com/da/art/gordon-bennett-ao-strips-D4D69B-en/
    Chicago
    gordon bennett ao. Strips. 2005. Souls Grown Deep. https://artsdot.com/da/art/gordon-bennett-ao-strips-D4D69B-en/
    Harvard
    ao, gordon bennett (2005) Strips. Souls Grown Deep. Available at: https://artsdot.com/da/art/gordon-bennett-ao-strips-D4D69B-en/

    Kilde: ArtsDot.com — tilgået 25. august 2026

    Strips — gordon bennett ao Del 4 · Kunstner og museum

    Kig nærmere efter

    Strips — gordon bennett ao

    Kig nærmere

    Svar med dine egne ord. Der er ingen forkerte svar her – kun svar, som du kan forklare.

    1. Hvad fanger dit øje først, og hvorfor?
    2. Hvilke farver eller former skaber stemningen — og hvad er den stemning?
    3. Vores katalog klassificerer dette værk under: gee's bend quilting, alabama textiles, geometric patterns. Er du enig? Hvad ville du tilføje eller fjerne?
    4. Se tilbage på Home décor (Preston + de Stijl = Citizen) Panorama (1997) tidligere i denne guide. Nævn to ting, som det har til fælles med dette værk, og én ting, der er forskellig.
    5. gordon bennett ao var omkring 50 år gammel, da dette blev skabt. Hvad i værket ligner arbejdet fra en kunstner på det stadie?

    Dit svar

    Skriv et kort afsnit om dette kunstværk. Brug fakta fra de tidligere dele af denne guide samt dine svar ovenfor.