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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.

Explore a arte de Gordon Bennett AO, que une raízes indígenas e anglo-celtas. Suas obras desafiam identidade e história.

A obra de arte exibida nesta página é protegida por leis de direitos autorais, o que significa que não podemos criar ou vender legalmente uma reprodução idêntica. Esta proteção é aplicada por meio de acordos internacionais, tais como a Convenção de Berna e pelas leis nacionais, incluindo as estabelecidas por Lei de Direitos Autorais dos EUA - Título 17.

Este método cumpre plenamente as regulamentações de direitos autorais, pois não envolve a cópia ou duplicação da obra protegida. Em vez disso, trata-se de uma reinterpretação criativa — uma nova pintura que é influenciada pela original, mas não idêntica a ela.

Giclée / Impressão de Arte

Impressão giclée ou em tela de qualidade de museu, com produção rápida e opções flexíveis de acabamento. ( Comprar pintura feita à mão Alternar para Imagem Digital)

Corner sample of the P118B picture frame: poliestireno moldado, 5 cm wide and 3 cm thick
P118B €10
Corner sample of the P118H picture frame: poliestireno moldado, 5 cm wide and 3 cm thick
P118H €10
Corner sample of the P118W picture frame: poliestireno moldado, 5 cm wide and 3 cm thick
P118W €10
Corner sample of the P438Z picture frame: poliestireno moldado, 5.5 cm wide and 3.5 cm thick
P438Z €10
Corner sample of the P508JH picture frame: poliestireno moldado, 7 cm wide and 3.5 cm thick
P508JH €12
Corner sample of the P508YH picture frame: poliestireno moldado, 7 cm wide and 3.5 cm thick
P508YH €12
Corner sample of the P805H picture frame: poliestireno moldado, 5 cm wide and 3.5 cm thick
P805H €10
Corner sample of the P805Z picture frame: poliestireno moldado, 5 cm wide and 3.5 cm thick
P805Z €10
Corner sample of the P919BZ picture frame: poliestireno moldado, 7 cm wide and 3.5 cm thick
P919BZ €10
Corner sample of the P919G picture frame: poliestireno moldado, 7 cm wide and 3.5 cm thick
P919G €10
Corner sample of the P919XJ picture frame: poliestireno moldado, 7 cm wide and 3.5 cm thick
P919XJ €10
Corner sample of the P959ZH picture frame: poliestireno moldado, 5 cm wide and 3 cm thick
P959ZH €10
Corner sample of the P968JZ picture frame: poliestireno moldado, 6 cm wide and 4 cm thick
P968JZ €12
Corner sample of the W106C picture frame: madeira maciça, 5 cm wide and 3 cm thick
W106C €8
Corner sample of the W218G picture frame: madeira maciça, 5 cm wide and 3 cm thick
W218G €10
Corner sample of the W218JH picture frame: madeira maciça, 5 cm wide and 3 cm thick
W218JH €8
Corner sample of the W218Y picture frame: madeira maciça, 5 cm wide and 3 cm thick
W218Y €10
Corner sample of the W307PJ picture frame: madeira maciça, 6 cm wide and 3 cm thick
W307PJ €10
Corner sample of the W316G picture frame: madeira maciça, 6 cm wide and 3 cm thick
W316G €10
Corner sample of the W316PJ picture frame: madeira maciça, 6 cm wide and 3 cm thick
W316PJ €8
Corner sample of the W316Y picture frame: madeira maciça, 6 cm wide and 3 cm thick
W316Y €10
Corner sample of the W398PJ picture frame: madeira maciça, 5 cm wide and 3 cm thick
W398PJ €8
Corner sample of the W4111J picture frame: madeira maciça, 6.5 cm wide and 3.5 cm thick
W4111J €10
Corner sample of the W500HY picture frame: madeira maciça, 7 cm wide and 5 cm thick
W500HY €15
Corner sample of the W500JH picture frame: madeira maciça, 7 cm wide and 5 cm thick
W500JH €15
Corner sample of the W692G picture frame: madeira maciça, 8 cm wide and 4 cm thick
W692G €12
Corner sample of the W849H picture frame: madeira maciça, 5 cm wide and 3 cm thick
W849H €8
Corner sample of the W940BG picture frame: madeira maciça, 7.5 cm wide and 4.5 cm thick
W940BG €15
Corner sample of the W953PJ picture frame: madeira maciça, 6 cm wide and 3.5 cm thick
W953PJ €8

Tamanho padrão
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Entrega mundial () em 2 semanas, em vez das 4/5 semanas padrão. (7 Novembro)

Envio expresso gratuito para todo o mundo
Tela de Linho de Alta Qualidade
Seguro de transporte completo
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Preço Total

€ 56

Strips

Giclée / Impressão de Arte

Tamanho da Reprodução

-

Preço Total

€ 56

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../..

Perguntas e Respostas

A qual artista "Strips" é atribuída?

"Strips" é atribuída a Gordon Bennett Ao.

"Strips" possui uma prévia em realidade aumentada?

Visualize "Strips", de Gordon Bennett Ao na sua própria parede através da página de Prévia em RA da obra, utilizando realidade aumentada em um dispositivo compatível.

Como "Strips" se posiciona entre os temas recorrentes de Gordon Bennett Ao?

Os temas recorrentes de Gordon Bennett Ao incluem gee's bend legacy, southern folk art, indigenous patterns, textile tradition, black american heritage, geometric abstraction, rural resilience", community expression; "Strips" foca em gee's bend quilting, alabama textiles, geometric patterns, african american art, folk art heritage, textile design”, “southern craft”.


Biografia do Artista

Uma figura pioneira na arte indígena australiana

Gordon Bennett Ao, um proeminente artista australiano de ascendência aborígene e anglo-celta, deixou uma marca indelével na cena artística contemporânea. Nascido em 9 de outubro de 1955, em Monto, Queensland, a vida de Bennett foi um testemunho de sua identidade multifacetada, a qual ele expressou com audácia através de sua arte. Antes de se dedicar inteiramente às artes, Bennett trabalhou na Telecom Australia até os 32 anos, uma transição que marcou o início de sua prolífica jornada artística. Conhecido por suas obras vibrantes e instigantes, a arte de Bennett desafiou percepções sobre identidade, história e a construção do conhecimento. Seu estilo audacoso, de abordagem profundamente humana, ressoou com públicos em todo o mundo. Como uma figura de liderança na arte indígena australiana contemporânea, seu trabalho não apenas refletiu sua herança, mas também pavimentou o caminho para as futuras gerações de artistas aborígenes.

Obras notáveis e exposições

Embora a lista exata das obras notáveis de Bennett não seja detalhada aqui, suas contribuições para o mundo da arte estão bem documentadas em ArtsDot.com. Algumas de suas obras podem ser encontradas na seção de movimentos artísticos 1/2, oferecendo um vislumbre de sua evolução artística.

Legado e influência

A influência de Bennett estende-se para além de sua própria geração, inspirando novos artistas a explorar temas de identidade e herança cultural. Suas contribuições garantiram a relevância contínua e o reconhecimento da arte indígena australiana em escala global.

Lembrando Gordon Bennett Ao

Bennett faleceu em 3 de junho de 2014, mas seu legado perdura. Para aqueles interessados em explorar mais de seu trabalho ou mergulhar no mundo da arte indígena australiana, as impressões acessíveis no ArtsDot.com oferecem uma oportunidade única de vivenciar sua arte de uma maneira tangível e acessível.
  • A lição principal: a vida e a obra de Gordon Bennett Ao servem como um poderoso lembrete do impacto que um artista pode ter no panorama cultural mais amplo.
  • Perspectivas futuras: à medida que avançamos, é essencial continuar celebrando e apoiando artistas que, como Bennett, desafiam nossas percepções e ampliam nossa compreensão do mundo.

Conclusão

A jornada extraordinária de Gordon Bennett Ao, embora interrompida precocemente, deixou uma marca indelével no mundo da arte. Seu legado serve como um farol para as futuras gerações, inspirando novas vozes e visões no cenário em constante evolução da arte indígena australiana contemporânea.
Gordon Bennett Ao

Gordon Bennett Ao

1955 - 2014 , Austrália

Dados Rápidos

  • Artistic Movement Or Style: Realismo narrativo
  • Artists Or Movements Influenced By This Artist: ['Realismo Social']
  • Artists Who Influenced This Artist: ['Charles White']
  • Date Of Birth: 1955
  • Date Of Death: 2014
  • Full Name: Kerry James Marshall
  • Nationality: Americano
  • Notable Artworks:
    • Sem título (A Figura)
    • Pequenos Arcos
    • Passatempos
  • Place Of Birth: Mount Ommanoo, Austrália