Gordon Bennett, from Notes to Basquiat, 2002. Inkjet print on paper. Courtesy the artist and DELL Gallery at QCA. Reviewed in Eyeline contemporary visual arts magazine, issue 55.

Gordon Bennett, from Notes to Basquiat, 2002. Inkjet print on paper. Courtesy the artist and DELL Gallery at QCA. Reviewed in Eyeline contemporary visual arts magazine, issue 55.

Gordon Bennett, Notes to Basquiat: Family. Inkjet print on paper. Courtesy the artist and DELL Gallery at QCA. Reviewed in Eyeline contemporary visual arts magazine, issue 55.

Gordon Bennett, Notes to Basquiat: Family. Inkjet print on paper. Courtesy the artist and DELL Gallery at QCA. Reviewed in Eyeline contemporary visual arts magazine, issue 55.

Michael Nelson Jagamara, Big lightning (15 panels), 2000, acrylic on linen, 210x250cm. From Weather Patterns II at Fireworks Gallery.

Michael Nelson Jagamara, Big lightning (15 panels), 2000, acrylic on linen, 210x250cm. From Weather Patterns II at Fireworks Gallery.

Naomi Hobson, High Pine, 2015. Synthetic polymer paint on linen, 200 x 200cm. Review The Alice Prize, Eyeline contemporary visual arts, issue 85.

Naomi Hobson, High Pine, 2015. Synthetic polymer paint on linen, 200 x 200cm. Review The Alice Prize, Eyeline contemporary visual arts, issue 85.

Peter Mungkuri, Ngura (Country), 2015. Acrylic on canvas, 167 x 243cm. Review The Alice Prize, Eyeline contemporary visual arts, issue 85.

Peter Mungkuri, Ngura (Country), 2015. Acrylic on canvas, 167 x 243cm. Review The Alice Prize, Eyeline contemporary visual arts, issue 85.

BELL invites, 2016. Stedelijk Museum Bureau Amsterdam. Installation view. Photograph Ernst van Deursen.  Review, Eyeline contemporary visual arts, issue 85.

BELL invites, 2016. Stedelijk Museum Bureau Amsterdam. Installation view. Photograph Ernst van Deursen. Review, Eyeline contemporary visual arts, issue 85.

Yvonne Koolmatrie. Installation by Jonathan Jones. Photograph Jeremy Eccles.  Tarnanthi review, Eyeline contemporary visual arts, issue 85.

Yvonne Koolmatrie. Installation by Jonathan Jones. Photograph Jeremy Eccles. Tarnanthi review, Eyeline contemporary visual arts, issue 85.

Installation view Tarnanthi: Festival of Aboriginal and Torres Strait Islander Art. Featuring Yhonnie Scarce, Thunder raining poison and Tony Albert, We can be heroes. Photograph Janelle Low. Tarnanthi review, Eyeline contemporary visual arts, issue 85.

Installation view Tarnanthi: Festival of Aboriginal and Torres Strait Islander Art. Featuring Yhonnie Scarce, Thunder raining poison and Tony Albert, We can be heroes. Photograph Janelle Low. Tarnanthi review, Eyeline contemporary visual arts, issue 85.

Alair Pambegan, Wik-Mungkan people, Queensland, Walkaln-aw (Bone Fish Story Place) 2, 2014. Ochre on canvas. Acquisition through Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art supported by BHP Billiton. Art Gallery of South Australia, Adelaide. Image courtesy the artist. Tarnanthi review, Eyeline contemporary visual arts, issue 85.

Alair Pambegan, Wik-Mungkan people, Queensland, Walkaln-aw (Bone Fish Story Place) 2, 2014. Ochre on canvas. Acquisition through Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art supported by BHP Billiton. Art Gallery of South Australia, Adelaide. Image courtesy the artist. Tarnanthi review, Eyeline contemporary visual arts, issue 85.

Ngarra, Andinyin/Gija people, Western Australia, Ngarrangkarni Changeover Times, 1998-89. Text drawing. Photograph Jeremy Eccles. Tarnanthi review, Eyeline contemporary visual arts, issue 85.

Ngarra, Andinyin/Gija people, Western Australia, Ngarrangkarni Changeover Times, 1998-89. Text drawing. Photograph Jeremy Eccles. Tarnanthi review, Eyeline contemporary visual arts, issue 85.


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Elements of Abstract Art roll the dice game.

Art Lesson: Elements Abstracts

"Quite apart from Pollock’s probable genuine interest in Navaho ground painting, we have the myth of the sophisticated and civilised ‘white’ artist who discovers something of value in the art of ‘primitive’ indigenes and brings it back to enrich the lives and cultivated sensibilities of ‘real’ artists and ‘ART’."                                                  - Gordon Bennett

"Quite apart from Pollock’s probable genuine interest in Navaho ground painting, we have the myth of the sophisticated and civilised ‘white’ artist who discovers something of value in the art of ‘primitive’ indigenes and brings it back to enrich the lives and cultivated sensibilities of ‘real’ artists and ‘ART’." - Gordon Bennett

Hey Kids, Meet Wassily Kandinsky | 5 Free Resources for Teaching Your Kids About Art - MakingArtFun.com

Hey Kids, Meet Wassily Kandinsky | 5 Free Resources for Teaching Your Kids About Art - MakingArtFun.com

Australian contemporary art; Gordon Bennett

Australian contemporary art; Gordon Bennett

Detail. Possession Island, 1991: Born in Queensland in 1955, Gordon Bennett is an Aboriginal allegorical painter, mostly in oil. He studied at Queensland College of Fine Art

Detail. Possession Island, 1991: Born in Queensland in 1955, Gordon Bennett is an Aboriginal allegorical painter, mostly in oil. He studied at Queensland College of Fine Art

Kandinsky Abstract Painting. A favorite by art teachers and kids alike. Download the plan here.

Kandinsky Abstract Painting. A favorite by art teachers and kids alike. Download the plan here.

PDF Shop from Art Projects for Kids - so many awesome large murals I want to have the kids do and fill a window or two...or four...

PDF Shop from Art Projects for Kids - so many awesome large murals I want to have the kids do and fill a window or two...or four...

Texture! http://media-cache-ak0.pinimg.com/originals/01/9f/6d/019f6deb34a949a7e0efb25eee44231b.jpg

Texture! http://media-cache-ak0.pinimg.com/originals/01/9f/6d/019f6deb34a949a7e0efb25eee44231b.jpg

Gordon Bennett is one of Australia’s most well-known Indigenous artists.

Gordon Bennett is one of Australia’s most well-known Indigenous artists.

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