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Strips

Gordon Bennett Ao, 2005

Nimi Klass Kuupäev
Gordon Bennett Ao, Strips (2005), Souls Grown Deep. Kasutatud ainult näidises; kõik õigused on kaitstud õiguste valdaja poolt. Vaadake seda künist liikuvas valguses: joon, lakki all asuv tõeline värv ja puhas pigment

Faktid

Kunstnik
Gordon Bennett Ao artsdot.com/et/artists/gordon-bennett-ao_et/
Kunstniku eluaastad
1955 – 2014
Maalatud
2005
Liikumine
Contemporary Folk Art
Toimub kohas
Souls Grown Deep artsdot.com/et/museums/souls-grown-deep-atlanta_et/

Autoriõigused See teos on endiselt kaitse all. Gordon Bennett Ao suri aastal 2014; autoriõigused kestavad 70 aastat pärast kunstniku surma, mistõttu need jäävad kehtivaks kuni 2084. Pilt on siin esitatud vaid õppeotstarbel; kõik õigused jäävad õiguseomanile.

Allikas: ArtsDot.com — vaadatud 10. oktoober 2026

Strips — Gordon Bennett Ao Osa 1 · Teos

Kontekstis

Strips — Gordon Bennett Ao

Millal see maalis on tehtud?

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

Ülemine rida: aastad. Alumine rida: kunstniku vanus iga perioodi alguses ja lõpus — 0 sünni hetkel, 59 surumisel.

Maalatud siis, kui kunstnik oli 50 aastane. Kunstnik elas 59 aastani. 1 meie kataloogis olevatest selle kunstniku 2 dateeritud teosest on loodud varem.

Varjatud: Gordon Bennett Ao eluajal (1955–2014) ▲ see teos, 2005 iga dateeritud maal, aastakümne kaupa

Võrdle teoseid

Vali üks eelnev teos: too kaks asja, mis sellega ühendavad, ja üks asi, mis sellest erineb.

Veel sarnaseid teoseid, mida selle kõrvale asetada: artsdot.com/et/art/similar/gordon-bennett-ao-strips-D4D69B-en/

Värvid

Pildist mõõdetud

    Peavärv

    Black #151514

    Katalogistatud palett

    • #151514
    • #F8F8F9
    • #931D09
    • #3A528D

    Need värvid on osa kunstniku terviklikust paletist Leia teisi maaleid värvi järgi

    Palett
    Neutrals Pildis domineeriv värvigrupp.
    Peavärvi nimi
    Black
    Intensiivsus
    Monochromatic Kui kütkestavad ja mitmekülgsed värvid on, alates ühest peenust toonist kuni paljude ere värvini.
    Kontrast
    Statement Kuidas värvid pildil valguse ja kяmbuse osas erinevad.
    Harmonia
    Balanced Harmony Värvide omavaheline kooskõlevus, alates kontrastsetest kuni täielikult ühtlaste toonidega.
    Heleus
    Brilliant Kuidas pilt üldiselt vaatub – alates sügavast varjust kuni eredast kõrvalvalgusest.
    Kintus
    Muted Värvide puhtus ja intensiivsus ulatub halli lähedastest toonidest kuni täielikult elavate värvide kuni.

    Kus maailmas seda maali vaadatakse?

    • madalaim 1% osa
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% ja rohkem
    Selle maali külastajate arv on dokumenteeritud liiga vähe, et teha kaardi koostamist, seega on plaat kujutanud kõik Gordon Bennett Ao teosed viimase zwölf kuuga — kokku 1 riiki. Kust need numbrid pärinevad

    Kolm kümmet juhtivat riiki

    1. 1 Holland 100,0%100 visits

    Leia kaardilt kolm kõige pimedamat riiki. Kas seda maali hoiustav muuseum asub mõnes neist? Kirjuta üles üks põhjus, miks kauguse poolest inimesed seda vaadata võivad.

    Gordon Bennett Ao kõige vaatamistundlikumad teosed (kokku 2)

    1. 1 Home décor (Preston + de Stijl = Citizen) Panorama, 1997 100,0%100 visits
    2. — Strips, 2005 see maalaus 0,0%0 visits

    Koos kattavad need teosed 100,0% kogu sellest tähelepanust, mida selle kunstniku maalid möödunud zwölf kuud on saanud. Kataloogis on 3 seda kunstnikku kuuluvat teost, millest 1 on vähemalt üks kord vaadatud. Seda teost ei ole antud perioodil veel vaadatud — see lõpetab nimekirja ilma reitinguta. Sama arv, kuu-kuu põhjal

    Tugid mõõdavad tähelepanu, mitte kvaliteeti. Valige tippkohtadel olevad teosed ja see üks: nimetage üks asi, mis võib muuta maali kuulsaks lisaks sellele, kui hästi on see maalitud.

    Allikas: ArtsDot.com — vaadatud 10. oktoober 2026

    Strips — Gordon Bennett Ao Osa 2 · Kontekstis

    Teose info

    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../..

    Allikas: ArtsDot.com — vaadatud 10. oktoober 2026

    Strips — Gordon Bennett Ao Osa 3 · Teave teose kohta

    Kunstnik ja muuseum

    Kunstnik

    Gordon Bennett Ao

    Sündinud koht: 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.

    Muuseum

    Souls Grown Deep

    Näitustel asuvas koht Atlanta, Ameerika Ühendriikid

    Vastutus vastupanu vastu: Ameerika Lõunahing

    Atlantas, kus linna pulss kohtub Appalatsuse jalamu rahuliku tugevusega, asub pühakoda häältele, mis on ammuunud ajaloo marsinalidest kaja.

    Souls Grown Deep

    on palju enamat kui pelgalt anumestik; see on sügav, elav tunnistus afroamerika kunstilise avalduskuju püsivale pärandile. Institutsiooni nimi, mis on lahti tõlgitud Langston Hughesi lummavast luuletest

    "The Negro Speaks of Lohus,"

    toimib kui kujutav valguse allikas missioonile, mis on pühendunud ideele, et loovus, sarnaselt jõele, omab lõnetamatut ja süvenevat võimekust kanda inimkogemuse raskust. Siin ei seisa kunst pelgalt vaikuses; see räägib ellujäämisest, vaimsest sügavusest ja kultuuri pärandist, mis on õitnenud isegi kõige karmimates vastupanu maastikes.

    Kollektsioon on hinget lõikav tekstuur meediumist ja tähendusest, mille aluseks on legendarne

    Gee’s Bend quiltid

    . Need ei ole lihtsalt tekstiilid, vaid improvisatsioonilised meistriteosed, mis on sündinud Alabama maastikust. Olles iseloomulised julged geomeetrilised abstraktsioonid ja vibrantne, rütmiline värvikas penggunaan, esindavad need quiltid ainulaadset panust kaasaegse kunsti globaalsesse kanooni. Nende ees seismine on visuaalse jutustamise keele kättesaamine, kus iga õmblus ja lapp peegeldab nende loojate naiste sagivaldust ja kogukondlikku vaimu. Lisaks neile tekstiilimägedele pakub institutsioon võimsat dialoogi läbi

    assemblage-kunsti

    . Skulptuurid selliste titanide loomingust nagu

    Thornton Dial

    ja

    Lonnie Holley

    valivad ruumi, kasutades korduvkasutatavaid materjale ja leitud esemeid monumentaalsete narratiivide ehitamiseks. Need teosed seisavad silmitsi vaesuse, õiglustunne ja vastupanu teemadega, muutes äravisatud asjad pühasaks.

    Valgusest ja maast pühakoda

    Souls Grown Deep arhitektuur on tema kuraatorliku missiooni teadlik laiendamine. Kujundatud ühtluse saavutamiseks oma keskkonnaga, kasutab hoone loomulikku valgust ja organiskeedseid materjale, et luua läbipaistvust ja seost vaataja ning kunsti vahel. See teadlik disainivalik peegeldab täpselt neid kunstnikke, keda see tähistab — inimesi, kes ammutavad inspiratsiooni maast, kogukonnast ja enda ümbritsevustest esivanemate traditsioonidest. Atmosfäär on austuslik ja avastustähistatud, kus piirid ametliku kunstilo history ja rahvatraditsiooni vahel hävanevad, võimaldades holistilisemat arusaama Ameerika loovusest.

    See, mis seda institutsiooni tõeliselt eristab, on selle vankumatu pühendumus

    omategelikule kunstnikule

    . Ajastul, kus kunstiasutused eelistavad sageli akadeemilist päritolu, puolutab Souls Grown Deep neid, kes on rajaneud oma teid väljaspool ametlikku koolitust. tõstes esile puidust üleskulptuure, segatehnika konstruktsioone ja maale unconventional pindade peal, tagab muuseum, et nende meistrite ainulaadsed visioonid tunnustatakse kui meie ühise kultuurilise identiteedi elutavad komponendid. Kollektorile, kes otsib sügavust, disainerile, kes otsib hingedust või kunstihuvilisele, kes ihlab autentsust, pakub Souls Grown Deep kohtumist kunstiga, mis ei ole pelgalt esteetiliselt meeldiv, vaid sügavalt transformatiivne — meeldetuletus sellest, et isegi kõige keerulistes ol circumstances jätkub inimvaim kasvama sügavale, nagu jõed.

    Loe lähemalt siit

    Leidke seda internetist

    QR-kood, mis viib Strips allalaadimislehele

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

    Viige seda teost allintena

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

    Allikas: ArtsDot.com — vaadatud 10. oktoober 2026

    Strips — Gordon Bennett Ao Osa 4 · Kunstnik ja muuseum

    Vaata lähedalt

    Strips — Gordon Bennett Ao

    Vaata lähemalt

    Vasta oma sõnadega. Siin ei ole vale vastuseid — on vaid vastuseid, mida saad selgitada.

    1. Mis esimesena silma kõige rohkem paneb ja miks?
    2. Millised värvid või kujundid loovad meeleolu — ja milline see meeleolu on?
    3. Meie kataloog liigitab seda teost kategooria gee's bend quilting, alabama textiles, geometric patterns alla. Olete nõus? Mida te lisaksin või eemaldasite?
    4. Vaadake tagasi selle juhendi alguses esitatud teosele Home décor (Preston + de Stijl = Citizen) Panorama (1997). Tooge kaks asja, mis seda teost sellega ühendavad, ning üks erinevus.
    5. Gordon Bennett Ao oli seda teost luues umbes 50 aastane. Mis selles teoses viitab kunstniku sellel kujumisel etapel olnud tööle?

    Teie vastus

    Kirjutage sellest teosest lühike lõik, kasutades selle juhendi varasemate osade fakte ja eelmist annetud vastuseid.

    Allikas: ArtsDot.com — vaadatud 10. oktoober 2026

    Strips — Gordon Bennett Ao Osa 5 · Vaata lähemalt

    Korduvad küsimused

    Mis on teose „Strips“, autor Gordon Bennett Ao loomisaeg?

    Teos "Strips" on pärit aastast 2005. See ajastu aitab mõista teost Gordon Bennett Ao karjääri ja selle ajastu kontekstis.

    Kes lõi teose "Strips" ja millal?

    Gordon Bennett Ao loob teose "Strips" aastal 2005.

    Milline värv domineerib teose „Strips“, autor Gordon Bennett Ao kompositsioonis?

    Teose „Strips“, autor Gordon Bennett Ao domineeriv värv on Black (#151514).