Gordon Bennett Essay

The following contemporary inventionists both represent their naturalizes in a post-modern frame. Post-modern can include irony and paradox, appropriation and pastiche and intersexuality. Gordon bennett and Fiona Hall vista into one of these categories. Bennetts pain bottomg Outsider, cover and acrylic on canvas, 1988 is a lurid create utilise appropriation of Vincent van van Goghs art acidulate, and the treatment of aboriginals in straighta behaviors society. Fiona Halls sculpture of the Nelumbo nucisera, lotus, elum, tham ari, aluminium and steel, 1999 is make up of a sardine tin rolled d decl be revealing a bare stomach, and plant leaves.Bennetts make believe can be seen as post-modern as Bennett takes Van Goghs noted images and recreates them in his own manner. Bennetts painting Outsider, is a violent painting using appropriation of Vincent Van Goghs ar dickensrk Vincents Bedroom in Arles, 1888 and comet-like Night, 1889, and the treatment of aboriginals in todays so ciety. He fits into the category of appropriation where he uses an new(prenominal)s work in a new context, with the determination of altering its meaning. He seizes copies and replaces the original mental imagery of Gough, by interpreting it in his own way. He uses cultural aspects of aboriginal art and is in search for meaning and identity.Bennett identifies with the manhood through plurality, events and issues involving the aboriginal people. His work is political about both indigenous and European-Australian history. It helps him and his people to redress the disparity between the two farmings. Many of his views about Aboriginal culture have been understandably formulated from a European perspective. His shocking, violent and traumatic work was painted while Bennett was still at art school. The painting raises many issues from Aboriginal deaths in custody to Bennetts sense of touch of isolation. Frustration is also evident with the hypnotism that it can lead people to se lf-annihilation or self-mutilation, as in the faux pas of both Van Gogh and the mental image in the picture.The Aboriginal identification number commit with ceremonial paint is frustrated and confused, that his theme explodes, with blood whirling into Van Goghs turbulent sky. The classical heads with eyeball closed, whitethorn relate to Europe, or the famed Greek marbled heads, blind to the consequences of its actions and unvoluntary to acknowledge the blood on its hands. They are humming or dreaming to leave out the exploding head. Bennett figuratively displays his own predicament of violently contested genealogies. The hands on the figure reach towards or grow away from the closed eyed heads on the bed. The red hands on the fence represent the hands of the white people. It may suggest that the white people are caught red handed by the way they react to the mutilated figure.The red in the painting is strong and contrasting with the other natural tones the equivalent re d is taken from the bed cover, and used in the handprints on the wall and the blood on the wrists and recognize of the figure. The window seems to be a window to the opaque swirls of the shadow, which may represent death. The figures head is almost exploding into the dark metaphysical zone, here drawn from Starry Night. For Van Gogh the starry darkness was a forbidding of death and pass on to an ultimate peace for which he longed. Bennet seems to deliberately take on this same theme. The dots, dashes and roundels in Bennetts starry night may suggest Western repudiate Aboriginal paintings.