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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.

Istražite moćnu umetnost Gordona Beneta Ao – australijskog umetnika koji spaja autohtono i anglo-keltsko nasleđe. Njegova dela izazivaju misao.

Nabavite datoteku spremnu za štampu koja nudi znatno veći kvalitet od onlajn pregleda. Svaka digitalna slika koju nudimo potiče iz visokorezolucičnog master fajla iz naše baze — obično širine od 5.000 do 15.000 piksela — što vam omogućava štampu u velikom formatu, precizno kadriranje ili bezbrižnu reprodukciju najfinijih detalja.

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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../..

Pitanja i odgovori

Na koji način se stil dela "Strips" odnosi na epohu njegovog tvorca?

„Strips”, autor Gordon Bennett Ao pripada Contemporary Folk Art pravcu, unutar Savremeno doba ere svog tvorca.

U kojoj godini je nastalo "Strips"?

Delo „Strips”, autor Gordon Bennett Ao nastalo je 2005.

Na koji način se nacionalni poreklom povezuje sa Contemporary Folk Art dela "Strips"?

Delo "Strips" delo je Gordon Bennett Ao, rođenog u Australija, u okviru pokreta Contemporary Folk Art. Poreklom umetnika, ovo delo se povezuje sa Contemporary Folk Art stilom kakav su zastupali umetnici iz Australija.


Biografija umetnika

**pionirska figura u autohtonoj australijskoj umetnosti**

Gordon Bennett Ao, istaknuti australijski umetnik aboriginalskog i anglo-keltskog porekla, ostavio je neizbrisiv trag u savremenoj umetničkoj sceni. Rođen 9. oktobra 1955. godine u Montu, u Kvinslendu, Benetov život bio je svedočanstvo njegovog višestranog identiteta, koji je odvažno izražavao kroz svoju umetnost.

Njegov put ka umetničkoj slavi bio je neobičan; pre nego što se potpuno posvetio umetnosti, Bennett je radio u kompaniji Telecom Australia sve do svoje 32. godine. Ova tranzicija označila je početak njegovog plodnog umetničkog putovanja.

Poznat po svojim vibrantnim i promišljenim delima, Benetova umetnost je prkosila uobičajenim percepcijama identiteta, istorije i konstruisanja znanja. Njegov odvažan stil, human u svom pristupu, pronašao je odjek kod publike širom sveta. Kao vodeća figura savremene autohtone australijske umetnosti, njegova dela nisu samo odražavala njegovo nasleđe, već su i otvorila put budućim generacijama aboriginalskih umetnika.

**značajna dela i izložbe**

Iako ovde nije navedena tačna lista njegovih najznačajnijih dela, njegov doprinos svetu umetnosti detaljno je dokumentovan na stranici ArtsDot.com. Neka od njegovih dela mogu se pronaći u sekciji art movements 1/2, pružajući uvid u njegovu umetničku evoluciju.

**nasleđe i uticaj**

Benetov uticaj prevazilazi njegovu sopstvenu generaciju, inspirišući nove umetnike da istražuju teme identiteta i kulturne baštine. Njegov doprinos je osigurao kontinuiranu relevantnost i priznatost autohtone australijske umetnosti na globalnom nivou.

**sećanje na Gordona Beneta Ao**

Bennett je preminuo 3. juna 2014. godine, ali njegovo nasleđe živi. Za one koji su zainteresovani da istraže više njegovih radova ili da zaronite u svet autohtone australijske umetnosti, prints that you can afford na ArtsDot.com nude jedinstvenu priliku da doživite njegovu umetnost na opipljiv i pristupačan način.

  • **ključna poruka**: život i rad Gordona Beneta Ao služe kao moćni podsetnik na uticaj koji jedan umetnik može imati na širi kulturni pejzaž.
  • **budući pravci**: dok koračamo napred, neophodno je nastaviti da slavimo i podržavamo umetnike koji, poput Beneta, izazivaju naše percepcije i šire naše razumevanje sveta.**

**zaključak**

Izuzetan put Gordon Bennett Ao, iako prerano prekinut, ostavio je neizbrisiv pečat u svetu umetnosti. Njegovo nasleđe služi kao svetionik za buduće generacije, inspirišući nove glasove i vizije u neprestano evoluirajućem pejzažu savremene autohtone australijske umetnosti.
Gordon Bennett Ao

Gordon Bennett Ao

1955 - 2014 , Australija

Kratke informacije

  • Artistic Movement Or Style: Narativni realizam
  • Artists Or Movements Influenced By This Artist: ['Socijalni realizam']
  • Artists Who Influenced This Artist: ['Charles White']
  • Date Of Birth: 1955
  • Date Of Death: 2014
  • Full Name: Kerry James Marshall
  • Nationality: Amerikanc
  • Notable Artworks:
    • Bez naslova (Figura)
    • Mali lukovi
    • Zabave
  • Place Of Birth: Mount Ommanoo, Australija