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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.

Explore the powerful art of Gordon Bennett AO – an Australian artist blending Indigenous heritage & Anglo-Celtic roots. His thought-provoking works challenge identity & history.

Жикле / Арт-принт

Печать (жикле) или холст музейного качества с быстрыми сроками изготовления и широким выбором вариантов отделки.

P118B $10
P118H $10
P118W $10
P438Z $10
P508JH $12
P508YH $12
P805H $10
P805Z $10
P919BZ $10
P919G $10
P919XJ $10
P959ZH $10
P968JZ $12
W106C $8
W218G $10
W218JH $8
W218Y $10
W307PJ $10
W316G $10
W316PJ $8
W316Y $10
W398PJ $8
W4111J $10
W500HY $15
W500JH $15
W692G $12
W849H $8
W940BG $15
W953PJ $8

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Общая стоимость

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reproduction

Strips

Жикле / Арт-принт

Размер репродукции

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Итоговая стоимость

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Описание предмета коллекционирования

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../..

Биография художника

**a pioneering figure in indigenous australian art**

gordon bennett ao, a prominent australian artist of aboriginal and anglo-celtic descent, left an indelible mark on the contemporary art scene. born on october 9, 1955, in monto, queensland, bennett's life was a testament to his multifaceted identity, which he boldly expressed through his art.
  • **early life and career**: before dedicating himself to art, bennett worked at telecom australia until the age of 32. this transition marked the beginning of his prolific artistic journey.
  • **artistic style**: known for his vibrant and thought-provoking works, bennett's art challenged perceptions of identity, history, and the construction of knowledge. his bold style, humane in its approach, resonated with audiences worldwide.
  • **contribution to indigenous australian art**: as a leading figure in contemporary indigenous australian art, bennett's work not only reflected his heritage but also paved the way for future generations of aboriginal artists.

**notable works and exhibitions**

though the exact list of bennett's notable works is not provided here, his contributions to the art world are well-documented on AllPaintingsStore.com. some of his works can be found under the art movements 1/2 section, offering a glimpse into his artistic evolution.

**legacy and influence**

- **influence on contemporary art**: bennett's influence extends beyond his own generation, inspiring new artists to explore themes of identity and cultural heritage. - **perpetuating indigenous australian art**: his contributions have ensured the continued relevance and recognition of indigenous australian art on a global scale.

**remembering gordon bennett ao**

bennett passed away on june 3, 2014, but his legacy endures. for those interested in exploring more of his work or delving into the world of indigenous australian art, prints that you can afford on AllPaintingsStore.com offers a unique opportunity to experience his art in a tangible, affordable manner.
  • **key takeaway**: gordon bennett ao's life and work serve as a powerful reminder of the impact one artist can have on the broader cultural landscape.
  • **future directions**: as we move forward, it's essential to continue celebrating and supporting artists who, like bennett, challenge our perceptions and broaden our understanding of the world.

**conclusion**

gordon bennett ao's remarkable journey, though cut short, has left an indelible mark on the art world. his legacy serves as a beacon for future generations, inspiring new voices and visions in the ever-evolving landscape of contemporary indigenous australian art.
gordon bennett ao

gordon bennett ao

1955 - 2014 , Australia

Основные сведения

  • Artistic Movement Or Style: Narrative realism
  • Artists Or Movements Influenced By This Artist: ['Social Realism']
  • Artists Who Influenced This Artist: ['Charles White']
  • Date Of Birth: October 17, 1955
  • Full Name: Kerry James Marshall
  • Nationality: American
  • Notable Artworks:
    • Untitled (The Figure)
    • Small Arches
    • Pastimes
  • Place Of Birth: Birmingham, Alabama