BIOGRAPHY

Aberdeen Asset Management
Adelaide Festival Centre, Adelaide
Art Gallery of New South Wales, Sydney
Art Gallery of South Australia, Adelaide
Art Gallery of Western Australia, Perth
Artbank, Sydney
Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra, ACT
Australian National Gallery, Canberra
Australian War Memorial, Canberra
City of Box Hill Collection
Benalla Art Gallery, Victoria
BHP Billiton, Melbourne
BP Refinery Ltd, Brisbane
Brisbane Boys Grammar School, Brisbane
Brisbane Girls Grammar School, Brisbane
Capalaba State High School, Brisbane
Charles Sturt University, Wagga Wagga
Chartwell Collection, New Zealand
Department of Aboriginal and Islander Affairs, Brisbane
Downlands College, Toowoomba Regional Gallery
Flinders University of South Australia, Adelaide
Gippsland Art Gallery Sale, Victoria
Griffith University, Brisbane
Gold Coast City Art Gallery, Queensland
Grafton Regional Gallery, NSW
Heide Museum of Modern Art, Melbourne
Holmes à Court Collection
Ian Potter Museum of Art, University of Melbourne, Melbourne
Moet & Chandon, Epernay, France
Monash University Museum of Art, Melbourne
Museum of Contemporary Art, Sydney
Museum of Brisbane, City of Brisbane Collection, Brisbane
Museum of Sydney on the site of the first Government House, Historic Houses Trust of NSW
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne
National Portrait Gallery, Canberra
Parliament House, Canberra
Perc Tucker Regional Gallery, Townsville
Pine Rivers Shire Council, Pine Rivers
Powerhouse Museum, Sydney
Queensland Teachers Union, Brisbane
Queensland University of Technology, Brisbane
Queensland Art Gallery, Brisbane
Queensland Forrestry Commission, Queensland
Sydney Church of England Girls Grammar School, Sydney
Stanthorpe Art Gallery, Stanthorpe
State Library of Victoria, Melbourne
Tasmanian Museum & Art Gallery
Toowoomba Regional Gallery, Toowoomba
University Art Museum, Queensland University, Brisbane
University of Technology, Sydney
Vizard Collection, Melbourne
Wavell State High School, Brisbane
Wesfarmers Ltd, Perth
The Yarra Collection
Private collections

Amadio, Nadine. ‘Oz in the Global Art Village’, Oz Arts Magazine, #4 1992, pp. 70-71.

Anderson, Peter. ‘Gordon Bennett’, Art & Text, no. 40 September 1991, pp. 94.

Barrett-Lennard, John. ‘Negotiating a Position’, Adelaide Installations: Adelaide Biennial of Australian          Art, exhibition catalogue, vol.1 no.1 1994, Adelaide: Art Gallery of South Australia, pp. 48-51.

Bartlett, Judith. You Came To My Country and You Didn't Turn Black, exhibition catalogue, Brisbane: Queensland Museum, 1990.

Bennett, Gordon. ‘The Coming of the Light’ Artist’s Statement, Balance 1990: Views, Visions, Influences, exhibition catalogue, Brisbane: Queensland Art Gallery, 1990, pp. 46-47.

‘Re-writing History’, exhibition catalogue, Southern Crossings, London: Camerawork,1992, pp.19-  21.

Artist’s Statement, Southern Crossings, exhibition catalogue, London: Camerawork, 1992, pp 43-47

‘On Double Standards: An 'Other' Perspective’, Art Monthly Australia, no. 47 March 1992, pp.  26-27.

Artist’s Statement, Strangers in Paradise: Contemporary Australian Art to Korea, exhibition catalogue, Sydney: Art Gallery of New South Wales, 1992, pp. 22-25.

Artist’s Statement, Tyerabarrbowaryaou: I Shall Never Become a White Man, exhibition catalogue, Sydney: Museum of Contemporary Art, 1992, p. 14.

Artist’s Statement, Identities: Art from Australia, exhibition catalogue, Taipei: Taipei Fine Arts Museum, Taiwan, 1993, pp. 53-55.

‘Confess Conceal’ Artist’s Statement, Confess and Conceal, exhibition catalogue, Perth: Art Gallery of Western Australia, 1993, p.26.

Artist Statement’s, Fifth Australian Sculpture Triennial, exhibition catalogue, Melbourne, 1993, vol.1 no.1, pp. 32-33.

‘Aesthetics and Iconography: An Artist’s Approach’, Aratjara. Art of the First Australians, exhibition catalogue, Dusseldorf: Kunstsammlung Nordrein-Westfalen, 1993, pp. 85-91.

Inner-Land: Exhibition of Australian Contemporary Art, exhibition catalogue, Tokyo: Lumani Gallery.

Artist’s Statement, Zero One - Digital Shifts, exhibition catalogue, Noosa: Noosa Regional Gallery, 1995, p. 8.

‘Altered Body Print (Howl)’, A Selection from the Downlands Art Collection: Toowoomba Regional Art Gallery, exhibition catalogue, Toowoomba: Downlands College, 1995, p. 19-20.

‘The Manifest Toe’, The Art of Gordon Bennett, Sydney: Craftsman House /G+B Arts International, 1996, pp. 9-62.

Bennett, Jill. Empathic Vision: Affect, Trauma and Contemporary Art, Stanford: Stanford University Press, forthcoming 2004.

-Love and Irony: Gordon Bennett after 9/11, Three Colours, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2004.

Broadfoot, Keith & Rex Butler. ‘The Fearful Sphere of Australia’, Paraculture, exhibition catalogue, Sydney: Artspace, New York: Artists Space, pp. 6-14.

Buckner, Robin. ‘Gordon Bennett’, Art and Design (Book One), Sydney: McGraw-Hill Book Company, 1995, pp.  12-14.

Butler, Rex. ‘Two readings of Gordon Bennett's The Nine Ricochets’, Eyeline 19 Winter/Spring 1992, Brisbane: Queensland Art Workers Alliance, pp. 18-23

‘The Pataphysical Aborigine’, Gordon Bennett, Paintings 1987 - 1991, Epernay, France: Moët & Chandon Australian Art Foundation.

Cass, Naomi. ‘Home Is Where the Heart Is’, The Wandering Jew — Myth And Metaphor, exhibition catalogue, Melbourne: Jewish Museum of Australia, 1995, pp. 18-27.
Chamberlin, Lou. ‘Gordon Bennett’, ‘art inSight’, Sydney: McGraw-Hill Book Company, 2007, pp. 114 & 195-198.

Chapman, Christopher. ‘A Discussion with Gordon Bennett - The Inland Sea’, ARTONVIEW, Canberra: National Gallery of Australia, issue 1 Autumn 1995, pp. 38-42.

‘Homeboy’, Art & Australia, vol. 32 no. 3 Autumn 1995, p. 442.

Croft, Brenda L. INDIGENOUS ART: Art Gallery of Western Australia, exhibition catalogue, Perth: Art Gallery of Western Australia, 2001, pp. 9, 41, 82.   

Crumlin, Rosemary. Aboriginal Art and Spirituality, Victoria: Collins Dove, 1991, pp. 143-144.

Greg Dimitriadis & Cameron McCarthy, ‘Urban Renewal: Gordon Bennett's Notes to Basquiat (9 11)’, Notes to Basquiat: 9 11, exhibition catalogue, Adelaide Festival of the Arts, 2002, Adelaide: Greenaway Art Gallery, 2002.

Dimitriadis, Greg & McCarthy, Cameron. Reading and Teaching the Postcolonial: From Baldwin to Basquiat and Beyond, New York: Teachers College Press, 2001.

Dutkiewicz, Adam. ‘Complex and Engaging Imagery’, Adelaide Advertiser, 25 February 1994.

Foggarty, Rebbekah. ‘Fusing Cultures’, Dare, no. 1 July, 1989, Brisbane, pp. 45-46.

Fontannaz, Lucienne. ‘Lingo - Getting the Picture’, Lingo - Getting the Picture, exhibition catalogue, Brisbane: Brisbane City Hall Art Gallery, 1995, pp. 4,10.

Friis-Hansen, Dana & Fumio Nanjo. ‘Gordon Bennett’, Transculture: La Biennale di Venezia 1995, exhibition catalogue, Italy: Palazzo Giustinian Lolin, pp.18-19, 87-92.

Merryn Gates, ‘Collaborations Between Artists’, Domino I: Collaborations Between Artists, exhibition catalogue, Melbourne: Ian Potter Gallery, University of Melbourne, 1992, pp. 2-21.

Gleissler, M. ‘Moet & Chandon’, Oz Arts Magazine, no. 1 Spring 1991, pp. 54-59.

Grant, Kirsty. In Relief; Australian Wood Engravings, Woodcuts and Linocuts, exhibition catalogue, Melbourne: National Gallery of Victoria, 1997, p. 65.

Harvey, Graham. ‘Readings in Indigenous Religions’, Great Britain: Continuum, 2002, pp. 310-316.

Heathcote, Christopher. ‘Postmodern, but with a point to make’, The Age, 24 February 1993.

Hogan, Janet. Balance 1990 : Views, Visions, Influences, exhibition catalogue, Brisbane: Queensland Art Gallery, 1990.

Hoorne, Jeanette. ‘Positioning the Post-Colonial Subject: History and Memory in the Art of Gordon Bennett’, Art and Australia, vol.31 no.2 Summer 1993, pp. 216-226.

Hunt, Pennie. ‘Blood as a Trace’, Three Colours, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2004.

Huppatz, Danny. ‘Redressing the Balance: The Art of Gordon Bennett’, Broadsheet-Contemporary Visual Arts and Culture, vol. 26  no.2 Winter 1997.

Ingram, Terry. ‘Map of Canberra shows way in Venice’, Financial Review, 29 June 1995, p. 27.

Isaacs, Jennifer. ‘A Bitter Pill for the White Man (Woman). Tyerabarrbowaryaou at the Museum of Contemporary Art’, Art Monthly Australia, no. 49 May 1992, pp.6-7.
‘Gordon Bennett’, Aboriginality: Contemporary Aboriginal Paintings and Prints, Brisbane: University of Queensland Press, 1992, pp. 53-57.

Israel, Glenis. Essential Art, Victorian Essential Learning Standards Levels 5 & 6, Brisbane: John Wiley & Sons Australia Ltd, 2007, pp. 189-191.

James, Rodney. ‘The allure of Van Gogh’, after van Gogh: Australian artists in homage to Vincent, exhibition catalogue, Mornington Peninsula Regional Gallery, 2005, p. 38.

Johnson, Vivien. ‘The Unbounded Biennale. Contemporary Aboriginal Art’, Art and Australia, vol. 31 no.1 Spring 1993, pp. 49-56.

Jordan, Tim & Steve Pile. ‘Social Change’, UK:  Blackwell Publishers, 2002, p 71,73.

Karmel, Pepe. ‘Antidotes for a Cartoonish Image’, The New York Times, 23 June 1995, p. C27.

Kirker, Anne. ‘Gordon Bennett: Expressions of Constructed Identity’, Artlink, vol. 10 nos. 1, 2 Autumn/Winter 1990, Adelaide: Artlink, pp. 93-95.

Lingard, Bob. ‘A Kind of History Painting’, Tension, no. 17 August 1989, pp. 39-42.

‘Psycho(d)rama: De(con)structing 'Settlement' ‘, Psycho(d)rama, exhibition catalogue, Brisbane: Institute of Modern Art, 1990.

‘Painting History’, Gordon Bennett, exhibition catalogue, Adelaide: Contemporary Art Centre of South Australia, 1993.

Lingard, Bob & Fazal Rizvi, ‘(Re)membering, (Dis)membering : 'Aborignality' and the Art of Gordon Bennett’, Third Text, no. 26 Spring 1994, pp. 75-89.

Lynn, Victoria. ‘Introduction: Strangers in Paradise’, Strangers in Paradise: Contemporary Australian Art to Korea, exhibition catalogue, Seoul, Korea: National Museum of Contemporary Art, 1992, pp. 12-18.

McCulloch, Susan, Contemporary Aboriginal Art, A Guide to the rebirth of an ancient culture, Sydney: Allen and Unwin, 1999, p. 204, 206.

McLean, Ian. ‘A Pool of Mirrors: Gordon Bennett's Present Wall’, Adelaide Installations, exhibition catalogue, Adelaide: Art Gallery of South Australia, vol.1 1994, pp. 52-54.

‘Psycho(dr)ama Mirror Line : Reading Gordon Bennett's Installation Mirrorama’, Third Text, no.25 Winter 1993-94, pp. 77-80.

‘Painting a History of the Self in Postcolonial Australia: Gordon Bennett’s Existentialism; Philosophy and Painting: Gordon Bennett’s Critical Aesthetic; Towards an Australian Postcolonial Art’, The Art Gordon Bennett, Australia: Craftsman House/G+B Arts International, 1996, pp. 65-119.

‘Mirror Mirror: The Narcissism of Coloniality’, Mirror Mirror: The Narcissism of Coloniality, exhibition catalogue, Canberra: Canberra School of Art Gallery, Australian National University, 1996, p. 2-10.

‘Gordon Bennett’, Grand Street: Crossing the Line, no. 63 1997, New York: Grand Street Press, pp. 84-89.

‘Racism and Postmodernism: Australian Art and its Institutions’, Art Monthly Australia, no. 103 September 1997, pp. 15-19.

White Aborigines. Identity Politics in Australian Art, Cambridge: Cambridge University Press, 1998.

‘Gordon Bennett’s Home Décor: the joker in the pack’, Law/Text/Culture: In the wake of Terra Nullius, Sydney: School of Law, Macquarie University, Australia, vol. 4 1998.

‘Documenta X and Australians in Oxford’, Third Text, No.42 Spring 1998, pp. 57-70.

Probability,Rap and Coincidence: Notes to Basquiat, Gordon Bennett’s Notes to Basquiat, exhibition catalogue, Sydney: Sherman Galleries, 1999.

‘The Aura of Origin-ghouls and golems in Gordon Bennett's art’, Artlink, vol. 21 no. 4 2001, pp. 24-29.

‘Conspiracy Theory: Pollock, Basquiat, Bennett’, Notes to Basquiat: Modern Art, exhibition catalogue, Sydney: Sherman Galleries, 2001.

‘9 11 (with Apologies to Walter Benjamin)’, Notes to Basquiat: 9 11, 2002, exhibition catalogue, Adelaide Festival of the Arts, Adelaide: Greenaway Art Gallery, 2002.

‘Angel of History’, Third Text, vol. 16 issue 2 no. 59 June 2002, pp. 212-216.

‘Camouflage’, Figure/Ground (Zero), Sydney: Sherman Galleries,  2003.

‘Illuminations or a Season in Hell”, Artlink, Vol. 23 no.1 March 2003.

‘Gordon Bennett’s Abstract Art: The Aesthetics of Commitment and Indifference’ Gordon Bennett New Work, exhibition catalogue, Adelaide: Greenaway Art Gallery, 2004.

Magnusson, Tony. ‘Gordon Bennett: Just an/other black artist’, Art Monthly, December 2001-February 2002, no. 146, pp. 31-32.

Marsh, Anne. ‘The Darkroom- Photography and The Theatre of Desire’, Melbourne: Macmillan Publishers Australia, 2003, pp. 232-237

Meecham, Pam. Modern Art, A Critical Introduction, Sydney: Routledge, 2004.

Ruth Megaw, ‘Violent Images of Conquest’, Adelaide Advertiser, 3 June 1993.

Moore, Margaret & Michael O'Ferral. Confess and Conceal, exhibition catalogue, Perth: Art Gallery of Western Australia, 1993, pp. 10-17.

Morgan, Luke. ‘Time into space’, The Plot Thickens: Narratives in Australian Art, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2005.

Morphy, Howard. ‘Aratjara’, Art Monthly Australia, no. 63, September 1993, Canberra, pp. 17-18.

Morrison, Angeline. ‘Autobiography of an (Ex)Coloured Surface: Monochrome and Liminality’, Discrepant Abstraction, England: International Institute of the Visual Arts and The MIT Press, 2006, pp. 142-144.

Namikawa, Emiko. ‘Inner-Land’, Inner-Land: Australian Contemporary Art, exhibition catalogue, ……Tokyo: Lunami Gallery and Sydney: Art Gallery of New South Wales, 1993, pp. 4-5.

Newton, Gael. ‘Gordon Bennett’, Virtual Reality, exhibition catalogue, Canberra: National Gallery of Australia, 1994, pp. 14-15.

Nunn, Louise. ‘Reflections on a Media Message’, Adelaide Advertiser, 17 February 1994.

O'Ferrall, Michael. ‘On Other Perspectives’, Gordon Bennett, Paintings 1987 - 1991, Epernay, France: Moet and Chandon, 1991.

‘Gordon Bennett’ State Art Collection- Art Gallery of Western Australia, Perth: Art Gallery of Western Australia, 1997, pp. 10, 20-21.

Papasdergiadis, Nikos. ‘Framing the Message’, Third Text, no. 24 Autumn 1993, pp. 81-86.

‘From the Cambridge Expedition to Aratjara and Mabo: The Politics of Representation’, Nikos Papasdergiadis, The Complicities of Culture: Hybridity and New Internationalism, London: Cornerhouse, Manchester, 1994, pp. 25-28.

Petelin, George. Transgenerations, exhibition catalogue, Brisbane: Queensland Art Gallery, 1992, p. 10.

Rainbird, Stephen. ‘Gordon Bennett’, Selected Australian Works, Queensland University of Technology Art Collection, exhibition catalogue, Brisbane: Queensland University of Technology, 1994-1995, p. 55.

Scott-Mundine, Djon. ‘Drawing on Black Reality’, Myriad of Dreaming: Twentieth Century Aboriginal Art, exhibition catalogue, Melbourne: Lauraine Diggins Gallery, 1989, pp. 125-137.

‘Black on Black: An Aboriginal Perspective on Koori Art’, Art Monthly Australia, Special Supplement, ‘The Land, the City, The Emergence of Urban Aboriginal Art’, no.30 May 1990, pp. 7-9.

‘If My Ancestors Could See Me Now’, Tyerabarrowaryaou: I Shall Never Become A White Man, exhibition catalogue, Sydney: Museum of Contemporary Art,1992, pp. 4-11.

Seear, Lyn. ‘Gordon Bennett’, Australian Perspecta 1989, exhibition catalogue, Sydney: Art Gallery of New South Wales, 1989, pp. 16-17.

Sloane, Helen. ‘Terra Australis Incognita? - Perspectives on Cultural Identity’, Southern Crossings, exhibition catalogue, London: Camerawork, 1992, p. 7-20.

Smith, Bernard. Australian Painting 1788-1990, South Melbourne, Australia: Oxford University Press, 1991 (first ed.1962).

Smith, Terry. ‘Australia’s Anxiety’, History and Memory in the Art of Gordon Bennett, exhibition catalogue, Birmingham: Ikon Gallery & Oslo: Henie Onstad Kunstsenter, 1999, pp. 10-21.

‘Aboriginal Art Now: Writing Its Variety and Vitality’, Contemporary Aboriginal Art 1990-From Australia, Glasgow: Aboriginal Arts Management Association and Third Eye Centre, 1990, p. 12.

Spendlove, Cherene. ‘Gordon Bennett’, Adelaide Biennial of Australian Art, exhibition catalogue, -Adelaide: Art Gallery of South Australia, 1990, pp. 20-21.

Stanhope, Zara. ‘The Territory of the Face’, Faciality, exhibition catalogue, Melbourne: Monash  --University Gallery, 1994, pp. 17-21.

‘How Do You Think it Feels? Response and Riposte in the Art of Gordon Bennett and Peter Robinson’, Three Colours, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2004.

‘… and When Do You Think it Stops? Response and Riposte in the Art of Gordon Bennett and Peter Robinson’, Three Colours, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2004.

Thomas, Nicholas. ‘Home Decor and Dance: The Abstraction of Aboriginality’, In Place (Out of Time) Contemporary Art In Australia, exhibition catalogue, Oxford: Museum Modern Art, 1997, pp. 24-28.

Gordon Bennett’s Notes to Basquiat, ‘The Australian Drawing Biennale’, exhibition catalogue, The Australian National Universtiy, Drill Hall Gallery, Canberra, 1998, pp 14-15.

Possessions: Indigenous Art/Colonial Culture, 1999, London: Thames and Hudson, pp. 181, 199-223.

Thompson, Liz. Aboriginal Voices: Contemporary Aboriginal Artists, Writers and Performers, ------Brookvale, Australia: Simon and Schuster, 1990, pp. 147-153.

Williams, Donald. ‘In Our Own Image, The Story of Australian Art, Fourth Edition’, Australia: McGraw Hill Australia Pty Ltd, 2002, pp 200-201.

Williamson, Clare. ‘Seven Histories of Australia’, Seven Histories of Australia, exhibition catalogue, Melbourne: Australian Centre for Contemporary Art, 1995.

Wright, Simon. ‘Into the Printout’, Out of Print, exhibition catalogue, Brisbane: Griffith Artworks, 2005, pp 72 – 79.

‘Borderlines’, Gordon Bennett New Work, exhibition catalogue, Sydney: Sherman Galleries, 2006.

Wright, William. ‘William Wright in Conversation with Tony Bond’, Twenty, Sherman Galleries 1986 – 2006, Australia: Craftsman House, 2006, pp.68-69.

Zurbrugg, Nicholas. Visual Poetics: Concrete Poetry and Its Contexts, exhibition catalogue, Brisbane: Museum of Contemporary Art, 1989, p. 52.

‘Gordon Bennett’, Art & Text, no.44 January 1993, Sydney: College of Fine Arts, University of New South Wales, p. 5.

‘Gordon Bennett - Between the Lines’, Antipodean Currents, exhibition catalogue, Washington, D.C.: The Kennedy Centre & New York: Guggenheim Museum SoHo, 1994, pp. 40-51.