I AM GORDON BENNETT

IF 0.1 0 ART
R. Butler
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引用次数: 0

Abstract

In the last room of the Queensland Art Gallery’s 2020 exhibition Unfinished Business—The Art of Gordon Bennett, just before the spectator exited the show, was a page from one of Bennett’s notebooks, blown up and applied to the wall. Unfinished Business was a survey exhibition of Bennett’s work, one of several that have so far taken place since his death, this time with an emphasis on works on paper. These were framed and mounted on walls throughout the exhibition, along with a selection of paintings from throughout Bennett’s career. But this particular page from the notebook was enlarged and applied directly to the wall of the final room, as though to serve as something of an artist’s signature in relation to what had come before—indeed, at the very bottom of the the wall were Bennett’s initials, GB, along with the date on which he originally made the entry, 25 August 1990 (Fig. 1). What we have on that last wall of the gallery is testament to the ongoing importance of language in Bennett’s work. Words enter Bennett’s practice at least as early as 1987 with The Persistence of Language and continue virtually all the way to the end. Indeed, critics would later come up with the evocative term ‘word stack’ to describe a similar run of words in Bennett’s Notes to Basquiat series (1998–2002), which this notebook page is clearly a forerunner to. Earlier in the show, in fact, there was another page from Bennett’s notebook, very similar to the one in the last room, although it was actually framed and mounted on the wall. Its series of statements reads ‘I am Australian’, ‘I am Aboriginal’, ‘I am Human Being’, ‘I am Spiritual Being’, ‘I am Body’ and ‘I am Spirit’, followed by a final ‘I am’, Bennett’s initials and the date on which he made the entry, which is the same as the other page, 25 August 1990. In that version on the final wall, we have in slightly more abbreviated form ‘I am Gordon Bennett’, ‘I am Australian’, ‘I am Human Being’ and ‘I am Spirit’, again followed by a final ‘I am’, Bennett’s initials and the date. But although the two versions have the same date, we might say that the version on the wall comes later, insofar as we do not have that same crossed-out ‘a’ before ‘Human Being’, as though by now Bennett had made up his mind as to its proper formulation (Fig. 2). As we read this series or sequence of categories, just to consider the earlier version mounted on the wall for a moment—Australian, Aboriginal, Human
我是戈登·贝内特
在昆士兰美术馆2020年展览“未完成的事业——戈登·班尼特的艺术”的最后一个房间里,就在观众退出展览之前,有一页班尼特的笔记本,被放大并贴在墙上。“未完成的事业”(Unfinished Business)是贝内特作品的调查展览,这是他去世后举办的几场展览之一,这次展览的重点是纸上作品。在整个展览中,这些作品被装裱起来并挂在墙上,还有贝内特职业生涯中的一些精选画作。但这特定页面的笔记本被放大,直接用于最后的房间的墙壁上,仿佛成为一种艺术家的签名与所before-indeed,在墙的最底部是班纳特的首字母,GB,连同他最初进入的日期,1990年8月25日(图1)。我们画廊的墙上最后证明了正在进行的语言班尼特的工作的重要性。词语至少早在1987年《语言的持久性》一书中就进入了贝内特的实践,并一直延续到最后。事实上,评论家后来提出了一个令人回味的术语“单词堆栈”来描述贝内特的笔记巴斯奎特系列(1998-2002)中类似的单词,这一页显然是一个先驱。事实上,在展览的早些时候,还有贝内特的另一页笔记本,和最后一个房间里的那一页非常相似,尽管它实际上是被裱起来挂在墙上的。它的一系列声明如下:“我是澳大利亚人”、“我是土著人”、“我是人类”、“我是精神存在”、“我是肉体”和“我是精神”,后面是最后一个“我是”,贝内特的首字母缩写和他入栏的日期,与另一页相同,1990年8月25日。在最后一面墙上的那个版本中,我们有稍微缩写的“我是戈登·班尼特”、“我是澳大利亚人”、“我是人类”和“我是精灵”,后面又跟着最后一个“我是”、班尼特名字的首字母和日期。但是,尽管两个版本有相同的日期,我们可以说墙上的版本出现得更晚,因为我们在“人类”之前没有同样的“a”被划掉,似乎到现在班尼特已经决定了它的正确表述(图2)。当我们阅读这一系列或序列的类别时,只是考虑一下墙上的早期版本——澳大利亚人,土著,人类
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CiteScore
0.20
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16
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