Gordon Bennett
1955-2014
Born Monto, Queensland, lived and worked in Brisbane
1986-88
Bachelor of Arts (Fine Arts), Queensland College of Art, Brisbane
1990
Winner of Aberdare Art Prize, Ipswich City Council Regional Gallery, Ipswich
1991
Awarded the Moet & Chandon Australian Art Fellowship
1993
Awarded Artist in Residence, University of Melbourne, MacGeorge Fellowship
1994
Winner of the Contemporary Art Excellence Award, Nudgee College, Brisbane
1995
Awarded Australian Network for Art and Technology Summer School, Brisbane
1995
Winner of the Pine Rivers Art Prize
Winner of the Logan City Painting Prize
1996
Awarded Anniversary Creative Arts Fellow, Australian National University, Canberra
1997
Winner of the SCEGGS Redlands/ Westpac Art Award, Sydney
1997
Winner of the John McCaughey Memorial Art Prize, National Gallery of Victoria, Melbourne
1998
Winner of the Jacaranda Acquisitive Drawing Award, Grafton Regional Gallery, Grafton
2014
Awarded Griffith University Arts, Education and Law Outstanding Alumnus of the Year and Queensland College of Art Outstanding Alumnus of the Year
2016
Recipient of Tate Modern and the Museum of Contemporary Art inaugural Acquisition Program purchased jointly through the Qantas Foundation
Selected Solo Exhibitions
2020
Unfinished Business: The Art of Gordon Bennett, Gallery of Modern Art, Brisbane (upcoming)
2019
Gordon Bennett: Bloodlines, Milani Gallery, Brisbane
Gordon Bennett: Note Pad Drawings, Sutton Gallery, Melbourne
2016
Gordon Bennett: Home Décor (after Margaret Preston), Sutton Gallery, Melbourne
Gordon Bennett: Home Décor / Ancestor Figures, Milani Gallery, Brisbane
Gordon Bennett: Moving Images Part I, Centre for Contemporary Photography, Melbourne
Gordon Bennett: Moving Images Part II, Sutton Gallery, Melbourne
2015-2018
Gordon Bennett: Be Polite, Institute of Modern Art, Brisbane; Perth Institute of Contemporary Arts, Perth; Contemporary Art Gallery, Vancouver, Canada;
McMaster Museum of Art, McMaster University, Hamilton, Ontario, Canada
2014
In Memoriam Gordon Bennett 1955 – 2014, Milani Gallery, Brisbane
Gordon Bennett in Memoriam, Gertrude Contemporary, Melbourne
2013
Gordon Bennett, The Australian Club, Melbourne
Gordon Bennett: Abstractions, Sutton Gallery, Melbourne
2012
Gordon Bennett: Abstraction Citizen, Milani Gallery, Brisbane
Outsider/Insider: The Art of Gordon Bennett, AAMU, Utrecht, The Netherlands.
2011
Gordon Bennett: Abstraction (Citizen), Milani Gallery, Brisbane
Gordon Bennett: Abstraction (Citizen), Sutton Gallery, Melbourne
2010
Gordon Bennett: Home Décor (after Margaret Preston), Sutton Gallery, Melbourne
Gordon Bennett: Abstraction (Citizen), Gallery Barry Keldoulis, Sydney
Gordon Bennett: Home Décor (after Margaret Preston), Milani Gallery, Brisbane
2009
Gordon Bennett: Home Décor(after Margaret Preston), Milani Gallery, Brisbane
Gordon Bennett Retro (Home Décor) Aboriginal Art, Sutton Gallery, Melbourne
2007-2009
Gordon Bennett Survey, National Gallery of Victoria, Melbourne
Queensland Art Gallery/Gallery of Modern Art, Brisbane
Art Gallery of Western Australia, Perth
2008
Gordon Bennett: Shadow Reflection, Milani Gallery, Brisbane
Gordon Bennett, Greenaway Art Gallery, Adelaide
Gordon Bennett: Digital Prints, Sutton Gallery Project Space, Melbourne
2007
Gordon Bennett, Bellas Milani Gallery, Brisbane
Gordon Bennett, Sutton Gallery, Melbourne
The Expiation of Guilt, Museum of Archaeology and Anthropology,
University of Cambridge, United Kingdom
2006
Gordon Bennett “New Prints”, Bellas/Milani Gallery, Brisbane
Gordon Bennett “New Work” Sherman Galleries, Sydney
2005
Gordon Bennett “New Work”, Bellas/Milani Gallery, Brisbane
2004
Gordon Bennett “New Work”, Greenaway Art Gallery, Adelaide
Gordon Bennett “New Work”, Melbourne Art Fair, Sutton Gallery, Melbourne
Out of Print, Dell Gallery, Queensland College of Art travelling exhibition, Brisbane
Gordon Bennett “New Work”, Bellas/Milani Gallery, Brisbane
2003
Gordon Bennett, New works on paper, Bellas Gallery, Brisbane
White Paintings, Sutton Gallery, Melbourne
Figure/Ground (Zero), Sherman Galleries, Sydney
2002
Notes to Basquiat: 9 11, Greenaway Art Gallery, Adelaide
Notes to Basquiat: 9 11 (Part II), Bellas Gallery, Brisbane
Notes to Basquiat: 9 11 (Part III), Sutton Gallery, Melbourne
2001
Notes to Basquiat: The Reverb, Sutton Gallery, Melbourne
Notes to Basquiat: The Reverb, Bellas Gallery, Brisbane
Notes to Basquiat: Modern Art, Sherman Gallery, Sydney
Contemporary Australian Art From the Paul Eliadis Collection, University of Queensland Art Museum, Brisbane
2000
Notes to Basquiat: Subtext, Bellas Gallery, Brisbane
Notes to Basquiat (Samo) Another Millennium, Sutton Gallery, Melbourne
1999-2000
History and Memory in the Art of Gordon Bennett, Brisbane City Gallery, Brisbane
Ikon Gallery, Birmingham, UK
Arnolfini, Bristol, UK
Henie Onstad Kunstsenter, Oslo, Norway
1999
Gordon Bennett, Sutton Gallery, Melbourne
Notes to Basquiat: One Tense Moment, Bellas Gallery, Brisbane
Notes to Basquiat: One Tense Moment (episode two), Sherman Galleries, Sydney
Notes to Basquiat: One tense Moment (episode three), I Feel Better Now, Sutton Gallery, Melbourne
1998
Home Decor (Calculus), Sutton Gallery, Melbourne
Gordon Bennett: Notes to Basquiat, Bellas Gallery, Brisbane
Notes to Basquiat, Gramercy International Art Fair, New York, USA
1997
Home Decor (Algebra), Bellas Gallery, Brisbane
Preston + De Stijl = Citizen (Cold Comfort), Sutton Gallery, Melbourne
1996
Mirror Mirror: The Narcissism of Coloniality, Canberra School of Art Gallery, Canberra
Australiana, Art for the Bridge, Institute of Modern Art, Brisbane
Home Decor (after Margaret Preston), Bellas Gallery, Brisbane
1995
BLACK: Fear of Shadows, Bellas Gallery, Brisbane
Performance with Object for the Expiation of Guilt: Apple Premiere Mix, Noosa
Regional Gallery, Noosa
1994
Mirror Mirror (The Inland Sea), Sutton Gallery, Melbourne
Surface Veil, Bellas Gallery, Brisbane
Dismember/Remember, Bellas Gallery, Brisbane
How to Cross the Void - works on paper, Sutton Gallery, Melbourne
Present Wall, installation, Institute Building, Adelaide
Performance with Object for the Expiation of Guilt, Bellas Gallery, Brisbane
D.U.H! (Down Under Homi), Sutton Gallery, Melbourne
1993
A Black History, Sutton Gallery, Melbourne
Painting History, Contemporary Art Centre of South Australia, Adelaide
Painting History, The Drill Hall, Canberra
Mirrorama, Ian Potter Gallery, University of Melbourne, Melbourne
How to Cross the Void, Bellas Gallery, Brisbane
1992
The Colour Black and Other Histories, Bellas Gallery, Brisbane
Relative/Absolute, Bellas Gallery, Brisbane
1991
Gordon Bennett, Bellas Gallery, Brisbane
Dialogues with Self, Art Gallery of Western Australia, Perth
1990
Psycho(d)rama, Institute of Modern Art, Brisbane
1989
Gordon Bennett, Bellas Gallery, Brisbane
Selected Group Exhibitions
2019
Micro Histories, Museum of Brisbane, Brisbane City Hall, Brisbane
IN-Formalism, Casula Powerhouse Arts Centre, Sydney
The Abyss: Strategies in Contemporary Art, Griffith Uni Art Museum, Brisbane
Stopping Time : Material Prints 300 BCE to Now, Gympie Regional Art Gallery, Gympie; Newcastle Art Gallery, Newcastle; Logan Art Gallery, Logan; Grafton Regional Gallery, Grafton
2018
Society for Contemporary Art - Acquisistion Exhibition, Art Institute of Chicago
Colony: Frontier Wars, National Gallery of Victoria, Melbourne
National Picture, National Gallery of Australia, Canberra
Collaborations: Gordon Bennett, Eugene Carchesio, Dale Harding, Milani Gallery
Head to Head: Shifting Perspectives in Australian Portraiture, Flinders University
Art Museum City Gallery, State Library of South Australia, Adelaide
Starting Young, Gallery of Children's Art, Brisbane
2017-19
Artist and Society: Citizens, Natalie Bell Bulding, Level 2 West, TATE Modern, London
2017
The National 2017: New Australian Art, Art Gallery of New South Wales, Sydney
Plain Speak, Art Gallery of Western Australia, Perth
The Dust Never Settles, University of Queensland Art Museum, Brisbane
Collective Vision 130 Years, Bendigo Art Gallery, Bendigo
Restless, Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne
I Can See Russia From Here, TCB Art Inc, Melbourne
Every Brilliant Eye: Australian Art of the 1990’s, National Gallery of Victoria, Melbourne
Call of the Avant-Garde: Constructivism and Australian Art, Heide MOMA, Victoria
Legacy of the Russian-Avant-Garde in Aust’n Art, Art Gallery of New South Wales Sydney
Twighlight of the Idols, Milani Gallery, Brisbane
Me, Myselfie and I, Gallery of Modern Art, Children’s Art Centre, Brisbane
Australian Collection Permanent Exhibtion, Queensland Art Gallery, Brisbane
2016
Black, White and Restive, Newcastle Regional Art Gallery, Newcastle
With Secrecy and Despatch, Campbelltown Arts Centre, Campbelltown
Shut Up and Paint, NGV International, Melbourne
Beyond The Tower: 40 Years and Counting, University of Qld Art Museum, Brisbane
Today Tomorrow Yesterday, Museum of Contemporary Art Australia, Sydney
For Country: For Nation, Australian War Memorial, Canberra
1st Yinchuan Biennale, Museum of Contemporary Art, People’s Republic of China
Dissenting Voices, Art Gallery of Western Australia, Perth
Sugar Spin: You, Me, Art, and Everything, Gallery of Modern Art, Brisbane
2015
Loose Canon: Works from the Collection, Artbank, Sydney
Cross Pose: Body Language Against the Grain, University of Qld Art Museum, Brisbane
9/11, Moana Art Gallery, Perth
21, Casula Powerhouse Arts Centre, Sydney
Brutal Truths, Griffith University Art Gallery, Brisbane
On the Beach, Mornington Peninsula Regional Gallery, Melbourne
Propositions Three, Milani Gallery, Brisbane
2014
8th Berlin Biennale for Contemporary Art, Museen Dahlem, Staatliche Museen zu Berlin
Conflict: Contemporary Responses to War, University of Qld Art Museum, Brisbane
An Appetite for Painting, National Museum, Oslo, Norway
Sublime: Contemporary works from the Collection, Qld Art Gallery, Brisbane
Notes to GB, Sutton Gallery, Melbourne
Taking it all Away, Museum of Contemporary Art, Sydney
2013
Mix Tape 1980’s: Appropriation, Subculture, Critical Style,
The Ian Potter Centre, National Gallery of Victoria, Melbourne
Art Dubai International Fair, Dubai, United Arab Emirates
Debil Debil, Anna Schwartz Gallery, Sydney
Australia, The Royal Academy of the Arts, London
(What’s so Funny ‘Bout) Peace, Love and Understand…?
Bayside Arts & Cultural Centre, Brighton, Victoria
My Country, I Still Call Australia Home: Contemporary Art From Black Australia,
Gallery of Modern Art, Brisbane
Voice and Reason, Gallery of Modern Art, Brisbane
Collective Identities, Lake Macquarie City Art Gallery, Booragul
Vivid Memories: An Aboriginal Art History, Musee d’Aquitaine, Bordeaux, France
2012
Documenta 13, Kassel, Germany
Volume One: MCA Collection, Museum of Contemporary Art, Sydney
Making Change, The National Art Museum of China, Beijing, touring to Australian Centre
for Photography, University of New South Wales College of Fine Arts, Sydney
2011
House Inspection: Interior Motives, Griffith University Art Gallery, Brisbane
Ten Years of Contemporary Art: The James C Sourris AM Collection,
Gallery of Modern Art, Brisbane.
Forever Young: 30 Years of the Heide Collection, Heide Museum of Modern Art, Bulleen.
2010
Afterglow: Performance Art & Photography, Monash Gallery of Art, Melbourne
Roundabout (International touring exhibition), City Gallery, Wellington, New Zealand
Time Travel: Reimaging the Past, Tweed River Art Gallery
100 Years: Highlights from the UQ Art Museum, University of Qld Art Museum, Brisbane
Suburbia, Redcliffe Regional Gallery, Redcliffe
Views from the Vanishing Point, Project Space, Sutton Gallery, Melbourne
C20 – 100 Years of Australian Art from the TMAG Collection, Tasmania
Pulp, Sutton Gallery, Melbourne
Redlands Westpac Art Prize – Celebrating 15 Years, Mosman Art Gallery, Mosman
New 2010: Selected Recent Acquisitions, University of Qld Art Museum, Brisbane
Multiplicities: Self Portraits from the UQ Art Museum Collection, University of Queensland Art Museum, Brisbane
2009
Cubism and Australian Art, Heide Museum of Modern Art, Bulleen, Victoria
Avoiding Myth and Message: Australian Artists and the Literary World, Museum of Contemporary Art, Sydney
I Have Not Been Myself Lately…, Queensland College of Art Gallery, Brisbane
Black and White: Documenting Indigenous Australia, Wilbow Gallery, Monash Gallery of Art, Victoria
2008
Biennale of Sydney: Revolutions – Forms that Turn, Art Gallery of NSW, Sydney
Through Artists’ Eyes: Tracey Moffat and Gordon Bennett - Highlights from the University’s National Collection of Artists’ Self Portraits, University of Queensland Art Museum, Brisbane
Someone’s Universe: The Art of Eugene Carchesio, Gallery of Modern Art, Brisbane
Open Daze, Dell Gallery @ Queensland College of Art, Brisbane
The Tallis Foundation 2008 National Works on Paper award exhibition, Mornington Peninsula Regional Gallery, Mornington
Lines in the Sand: Botany Bay Stories from 1770, Hazelhurst Regional Art Gallery, Sydney
The Pine Rivers Art Award Winner’s Retrospective 1993 – 2007,
Pine Rivers Regional Art Gallery, Strathpine
Conflicts: 1945 to Today, Australian War Memorial, Canberra
Gifted: New to the Griffith University Art Collection, Dell Gallery, Brisbane
In a Different Light: artists portrayed, Monash Gallery of Art, Melbourne
2007
Artist Makes Video: Art Rage Survey1994-1998, Dell Gallery @ QCA, Brisbane
Eye to I, Potter Gallery, Ballarat Fine Art Gallery, Ballarat
2006
Queensland Live! Contemporary Art on Tour, Queensland Art Gallery Touring Exhibition, Brisbane
Photographic Portrait Prize, Art Gallery New South Wales, Sydney
Bangu Yilbara: Works from the MCA Collection, Museum of Contemporary Art, Sydney
A Man’s World, Museum of Brisbane, Brisbane
Colonial to Contemporary – Queensland College of Art 125 Years, Dell Gallery, Brisbane
Prism: Contemporary Australian Art, Bridgestone Museum of Art, Ishibashi Foundation, Japan
New to the Modern: Heide Twenty-Five Years on, Heide Museum of Modern Art, Melbourne
2005
International Biennale of Contemporary Art in Prague 2005, The National Gallery in Prague, Czech Republic
The Plot Thickens: Narratives in Australian Art, Heide Museum of Modern Art, Melbourne
Future Tense: Security and Human Rights, Dell Gallery and Galleria Space, Queensland College of Art, Griffith University, Brisbane
Cook’s Sites, Museum of Sydney, Sydney
after Van Gogh: Australian artists in homage to Vincent, Mornington Peninsula Regional Gallery, Melbourne
ARC Biennial, Brisbane City Hall, Brisbane
Unscripted: Language in Contemporary Australian Art, Art Gallery of New South Wales, Sydney
2004 – 05
Three Colours, Gordon Bennett and Peter Robinson, Heide Museum of Modern Art Touring Exhibition, Melbourne
Disobedience, Ivan Dougherty Gallery, Sydney
2004
Likan Mirri - Connections. The AIATSIS Collection of Art, Drill Hall Gallery, Australian National University, Canberra
Place made: Australian Print Workshop, National Gallery of Australia, Canberra
Heavenly Creatures, Heide Museum of Modern Art, Melbourne
Terra Alterius: Land of Another, Ivan Dougherty Gallery Touring Exhibition, The University of New South Wales, College of Fine Arts, Sydney
One Of (unique-state photographic works), Festivus 04, Sherman Galleries, Sydney
Home & Away (Place and Identity in Recent Australian Art), Museum of Art, Monash University
2003
Isle of Refuge, Ivan Dougherty Gallery Touring Exhibition, The University of New South Wales, College of Fine Arts, Sydney
Synergies, Drill Hall Gallery, Australian National University, Canberra
Many Happy Returns: Celebrating Heide’s 21st Birthday, Heide Museum of Modern Art, Melbourne
When I was Young – Impressions of Childhood, Global Arts link, Ipswich
War Without Boundaries – Australia and the War Against Terrorism, Australian War Memorial, Canberra
2002
No Shame No More, Sotheby’s Galleries, Sydney
Other Views, Works from the University Collection, Griffith University, Brisbane
Deeper Places, Casula Powerhouse Arts Centre, Sydney
Fieldwork, Works from the Collection, The Ian Potter Centre, National Gallery of Victoria, Federation Square, Melbourne
Sublime, Wesfarmers Collection, Art Gallery of Western Australia, Perth
The Big River Show – Murrumbidgee Riverine, Wagga Wagga Regional Art Gallery
Ponts of View, University of Technology, Syndey
2001
Our Place: Issues of Identity in Recent Australian Art, Monash University Museum of Art, Prato, Italy
Transit Narratives, Villa Letizia, Treviso, Italy
366/2000, Auckland Museum, New Zealand
Imaging, Identity and Place, Grafton Regional Gallery, (two year touring exhibition to Australian regional galleries)
2000
Kwangju Biennale 2000, Korea
Shanghai Biennale, China
Crossing the Ocean, Central Academy of Fine Artists, Beijing, China
Mirror with a Memory, National Portrait Gallery, Canberra
On the brink; Abstraction of the 90s, Heide Museum of Modern Art, Melbourne
12th Biennale of Sydney, Museum of Contemporary Art, Sydney
1999-2000
New Republics, Contemporary art from Australia, Canada & South Africa, Canada House Gallery, London; Edmonton Art Gallery, Edmonton; Australian Centre for Contemporary Art, Melbourne; Johannesburg Art Gallery, Johannesburg
1999
Perspecta 99, Museum of Contemporary Art, Sydney
A Letter to Picasso: The Stamp in Contemporary Art, Post Master Gallery, Melbourne; curated by Merryn Gates
Commissions Exhibition, Tasmanian Museum and Art Gallery, Hobart
Conceptualist Art: Points of Origin 1950’s – 1980’s, Queens Museum of Art, New York; Walker Art Centre, Minneapolis
Body of Information: 99 Dong ALG International Festival of Comics and Information, Seoul, Korea
Third Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane
Sydney 2000: Limited Edition Artists’ Prints, Museum of Contemporary Art, Sydney
Art – Worlds in Dialogue, Ludwig Museum, Cologne, Germany
Crossing the Ocean, The Central Academy of Fine Art, Beijing, China
People, Places, Pastimes: Challenging Perspectives of Ipswich, Global Arts Link, Ipswich
1998
Remanence, Old Magistrates’ Court, Melbourne Festival
National Works on Paper, Mornington Peninsula Regional Gallery, Victoria
The Great Australian Teapot, Distelfink Gallery, Melbourne
Telling Tales, Ivan Dougherty Gallery, Sydney, Neue Galerie, Graz, Austria
Foldback, Ngapartji Co-operative Multimedia Centre, Adelaide, South Australia
Proof Positive- a selection of prints from the archive of the Australian Print Workshop, Carnegie Gallery, Hobart City Council, Tasmania
Jacaranda Acquisitive Drawing Award, Grafton Regional Gallery, (touring regional galleries)
Flesh and Blood, Museum of Sydney, NSW
The Australian Drawing Biennale, The ANU, Drill Hall Gallery, Canberra (touring exhibition)
Episodes, Glen Eira Arts Complex, Caulfield, Victoria
1997
Landmarks - Contemporary Visions of the Australian Landscape, Campbelltown City Bicentennial Art Gallery, Campbelltown
Video Positive ‘97: Escaping Gravity, Open Eye Gallery, Liverpool, England
In Place (Out of Time): Contemporary Art in Australia, Museum of Modern Art, Oxford, England
Breaking Borders, St. Norbert Arts and Cultural Centre, Manitoba, Canada.
In Relief: Australian Wood Engravings, Woodcuts and Linocuts, National Gallery of Victoria, Melbourne
Archives and the Everyday, Installation, Old Parliament House, Canberra
Episodes, Contemporary Art Services Tasmania, Hobart
Bus Stop Art: Limited Edition Prints, Melbourne International Festival, Melbourne
Geelong Contemporary Art Prize Exhibition, Geelong Art Gallery, Geelong
The Rock Building Society Central Queensland Biennial Art Purchase
Personal Vision Multiple Perspective Queensland University of Technology Touring Exhibition, Queensland
Body of Information (Australian Video & Interactive Artwork), Gallery Connexion, Fredericton, Canada
John McCaughey Memorial Art Prize, National Gallery of Victoria, Melbourne
The Real Thing, Museum of Modern Art at Heide, Melbourne
1996
Native Titled Now, Tandanya (National Aboriginal Cultural Institute), Adelaide
Blundstone Prize, National Touring Exhibition, Australia
Flagging the Republic, Sherman Galleries Goodhope, Sydney Regional Touring Exhibition
Sub-Urban, Freemantle Arts Centre, Western Australia
Rites for an Anxious Spring: Selected Acquisitions 1981-1995, Museum of Modern Art at Heide, Melbourne
Face value: Portraits from the Collection, Waverley City Gallery, Melbourne
AERPHOST, The Debtor’s Prison, Dublin, Ireland
The Burbs, Gold Coast City Art Gallery, Gold Coast, Queensland
Systems End: Contemporary Art in Australia, touring exhibition Korea, Japan and Singapore, 1996
Perception and Perspective, Next Wave Festival, National Gallery of Victoria, Melbourne
Inclusion/Exclusion: Art in the Age of Post Colonialism and Global Migration, Künstlerhaus Burgring, Graz, Austria
Colonial Post Colonial, Museum of Modern Art at Heide, Melbourne
Artrage, Artworks for television
Fourth Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide
The Second Biennale of Contemporary Art of Noumea, Theatre de l’Ile, Noumea
1995
Interfaces: Art and Technology, Regional Touring Exhibition, Griffith University, Brisbane
LINGO Getting the Picture, Brisbane City Hall Art Gallery, Brisbane
Pathways 1, Queensland Art Gallery, Brisbane
Sight Seeing; Views, Tourists, Souvenirs, National Philatelic Centre, Melbourne
Seven Histories of Australia, Australian Centre for Contemporary Art, Melbourne
The Wandering Jew - Myth and Metaphor, Jewish Museum of Australia, Melbourne, (regional touring exhibition)
TransCulture, curated by Dana Friis-Hansen, Palazzo Giustinian Lolin,
Venice Biennale, Italy; Naoshima Contemporary Art Museum, Naoshima Island, Japan
Digital Shifts, part of the Zero 1 project, Noosa Regional Gallery, Tewantin
1994/95
Antipodean Currents, John F Kennedy Centre, Washington DC; Guggenheim Museum Soho, New York
Virtual Reality, National Gallery of Australia, Canberra
1994
The Beach, Museum of Modern Art at Heide, Melbourne
Landed, National Gallery of Australia, Canberra
Localities of Desire: Contemporary Art in an International World, Museum of Contemporary Art, Sydney
Tyerabarrbowaryaou II, Museum of Contemporary Art, Sydney
Aussemblage!, Auckland Art Gallery Toi o Tāmaki, New Zealand
Present Wall, The Institute Building, Adelaide Biennial
Fifth Havana Biennial, Cuba
Faciality, Monash University Gallery, Melbourne
Identities: Art from Australia, An International Exchange Exhibition between Australia and Taiwan, Taipei Fine Arts Museum, Taiwan; Wollongong City Gallery, New South Wales; Gold Coast City Gallery, Queensland
Sweet Damper and Gossip - Colonial Sightings from the Goulburn North East,
Benalla Art Gallery, Victoria; Monash University Gallery, Melbourne; Shepparton Art Gallery, Victoria
Adelaide Installations: incorporating the Adelaide Biennial of Australian Art, Adelaide
Urban Focus: Aboriginal and Torres Strait Islander Art from the Urban Areas of Australia, National Gallery of Australia, Canberra
Faces of Hope, (Amnesty International Mask Project), Art Gallery of NSW, Sydney
1993
Inner-Land. Australian Contemporary Art, Soko Gallery, Tokyo, Japan
Confess and Conceal: 11 Insights from Contemporary South East Asia and Australia, Art Gallery of Western Australia, Perth, touring South East Asia
Fifth Australian Sculpture Triennial, Melbourne
Commitments, Institute of Modern Art, Brisbane; Artspace, Sydney; University of Southern Queensland, Toowoomba; Canberra School of Art Gallery, Canberra
Aratjara: Art of the First Australians, Kunstsammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum of Contemporary Art, Humlebaek
Prime Television Painting Prize, Newcastle Region Art Gallery; Gold Coast City Art Gallery
1992
9th Biennale of Sydney: The Boundary Rider, Bond Store 3\4 and Art Gallery of New South Wales, Sydney
Strangers in Paradise: Contemporary Australian Art to Korea, National Museum of Contemporary Art, Seoul
Medium Density: Contemporary Australian Drawings and Photographs,
Australian National Gallery, Canberra
Domino I: Collaborations Between Artists, Ian Potter Gallery, Melbourne
Transgenerations, Queensland Art Gallery, Brisbane
Australian Artists In Paris, Galerie Parvi: Pour l'Art Visuel, Paris
Works from the Collection, Museum of Contemporary Art, Brisbane
Tyerabarrbowaryaou: I Shall Never Become A White Man, MCA, Sydney
Southern Crossings: Contemporary Australian Photography, Camerawork Gallery, London, (two year tour of Britain)
1991
Moet & Chandon Touring Exhibition, Australia
Aboriginal Art and Spirituality, High Court of Australia, Canberra
Three Artists, Powell Street Gallery, Melbourne
1990
Acquisitions 1984-1990, University Art Museum, University of Queensland, Brisbane
You Came to My Country and You Didn't Turn Black, Queensland Museum, Brisbane
Taqari Lia: My Family, Contemporary Aboriginal Art 1990- From Australia,Third Eye Centre, Glasgow, Scotland
Young Contemporaries, Irving Galleries, Sydney
Urban Aboriginal Art, Hogarth Galleries, Sydney
Innovations in Aboriginal Art, Hogarth Galleries, Sydney
Only Life, Bellas Gallery, Brisbane
Post-Hillshoistism, Museum of Contemporary Art, Brisbane
Adelaide Biennial, Art Gallery of South Australia, Adelaide
Balance 1990: Views, Visions, Influences, Queensland Art Gallery, Brisbane Moet & Chandon Touring Exhibition, Australia
Paraculture, Artists’ Space, New York
1989
Perspecta, Art Gallery of New South Wales, Sydney
Myriad of Dreaming, Twentieth Century Aboriginal Art, Lauraine Diggins Fine Art Gallery, Melbourne
Visual Poetics, Museum of Contemporary Art, Brisbane
Group Exhibition, Bellas Gallery, Brisbane
Collaborations, Bellas Gallery, Brisbane
1988
Australian Art of the Last Twenty Years, Museum of Contemporary Art, Brisbane
Works From the Collection, Museum of Contemporary Art, Brisbane
1987
Little Masters, THAT Contemporary Artspace, Brisbane
Performances
1992-2014
Non-Performance, consisting of a twenty one year period of systematic non-participation in public lecture programs within Australia
Collections
Aberdeen Asset Management, Sydney
Adelaide Festival Collection, Adelaide
Allied Queensland Coalfields, Ipswich
Art Gallery of New South Wales, Sydney
Art Gallery of South Australia, Adelaide
Art Gallery of Western Australia, Perth
Artbank, Sydney
Auckland City Art Gallery, Auckland, New Zealand
Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra
Australian National University, Canberra
Australian War Memorial, Canberra
Beillieu Myer Collection, Melbourne
Banyule City Council, Melbourne
Benalla Art Gallery, Victoria
Bendigo Art Gallery, Victoria
BHP Biliton, Melbourne
BP Refinery Ltd, Brisbane
Brisbane Boys Grammar School, Brisbane
Brisbane City Council, Brisbane
Brisbane Convention Centre, Brisbane
Brisbane Girls Grammar School, Brisbane
Campbelltown City Art Gallery, Campbelltown
Capalaba State High School, Brisbane
Charles Sturt University, Wagga Wagga
Chartwell Collection, New Zealand
City of Box Hill Collection, Box Hill
City of Whitehorse Art Collection, Victoria
Commonwealth Bank of Australia
Deakin University, Melbourne
Department of Aboriginal and Islander Affairs, Brisbane
Downlands College, Toowoomba Regional Gallery, Toowoomba
Emerald City Council
Flinders University of South Australia, Adelaide
Gippsland Art Gallery Sale, Victoria
Gold Coast City Art Gallery, Queensland
Grafton Regional Gallery, New South Wales
Griffith University, Brisbane
Hebrew Univeristy, Melbourne
Heide Museum of Modern Art, Melbourne
Henry Walker Eltin Group, Melbourne
Holmes à Court Collection, Perth
La Trobe University Museum of Art, Melbourne
The Ian Potter Museum of Art, University of Melbourne, Melbourne
The National Library of Australia, Canberra
The Yarra Collection, Melbourne
Melbourne Grammar School, Melbourne
Moet & Chandon, Epernay, France
Monash University Museum of Art, Melbourne
Murdoch University Art Collection, Perth
Murray Art Museum, Albury
Museum of Brisbane, City of Brisbane Collection, Brisbane
Museum of Contemporary Art, Sydney
Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand
Museum of Sydney on the site of the first Government House, Historic Houses Trust of NSW, Sydney
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne
National Portrait Gallery, Canberra
Newcastle Regional Art Gallery, Newcastle
Parliament House Art Collection, Canberra
Peggy Scott & David Teplitzky Collection
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, Gallery of Modern Art, Brisbane
Queensland Forestry Commission, Brisbane
Sydney Church of England Girls Grammar School, Sydney
Stanthorpe Regional Art Gallery, Stanthorpe
State Library of Victoria, Melbourne
Tasmanian Museum & Art Gallery, Hobart
Tate Modern, London, United Kingdom
The National Library of Australia, Canberra
TEWRR Collection, Brisbane/London
The Macquarie Group Collection
Toowoomba Regional Gallery, Toowoomba
University Art Museum, University of Queensland, Brisbane
University of Southern Queensland, Toowoomba
University of Technology, Sydney
Vizard Foundation for Melbourne University, Melbourne
Wavell State High School, Brisbane
Waverly City Gallery, Victoria
Wereldmuseum, Rotterdam, The Netherlands
Wesfarmers Collection of Australian Art, Perth
Wesley College, Melbourne
The Yarra Collection, Melbourne
Private collections
Selected Bibliography
2019
Manderson, Desmond. Bennett’s Laws: Colonial Time, Danse Macabre: Temporalities of Law in the Visual Arts, UK: Cambridge University Press, 2019, pp. 157-194
Reeves-Smith, Lucie. Gordon Bennett: Works from the pARTners Collective 2006-2016, Deutscher & Hackett: Important Australian & International Fine Art auction catalogue, Sydney, 28 August 2019, pp. 130-131.
Rudolph, Sophie. Tracing the Gap: Constructions of Deficiency and Potential, Unsettling the Gap:
Race, Politics and Indigenous Education, Global Studies in Education, vol. 36, New York: Peter Lang Publishing Inc., 2019, pp. 85-87.
Walsh, Tim Riley. Gordon Bennett’s Holistic World View, The Jeffery Humphreys Collection: Selected Works exhibition catalogue, Brisbane: Jeffery Humphreys, 2019, pp. 9-13.
Wright, Simon. Catalyst: Gordon Bennett, Vault: Australasian Art & Culture, Issue 25, Melbourne: Art Ink, 2019, p. 113.
2018
Bennett, Leanne and Hayward, Fiona, Gordon Bennett, Sotheby's Australia: Important Australian & New Zealand Art auction catalogue, Sydney, 16 May 2018, pp. 44-45.
Hughes, Helen and Plagne, Francis. Two Readings of Gordon Bennett 's The Nine Ricochets. Double Displacement: Rex Butler on Queensland Art, Brisbane: Institute of Modern Art, 2018, pp. 21-31.
Hughes, Helen and Plagne, Francis. The Revolutionary Colouring History. Double Displacement: Rex Butler on Queensland Art, Brisbane: Institute of Modern Art, 2018, pp. 133-136
Reeves-Smith, Lucie, Gordon Bennett, Deustcher and Hackett: Important Fine Art & Indigenous Art auction catalogue, Sydney, 18 April 2018, p. 23.
Ross, Joan. The Art That Made Me, Look: Art Gallery Society of New South Wales, Sydney: Art Gallery of New South Wales, March-April 2018. p. 23.
2017
Deakin University Art Collection. A Selection of Works, Melbourne: Deakin University, 2017, p. 97.
Heraclitus’ River, Narcissus’ Pool, Plato’s Cave and Gordon Bennett’s Citizen, Minus Plato The
Classical in Contemporary Art, 27 May 2017, http://minusplato.com/2017/05/heraclitus-river-
narcissus-pool-platos-cave-and-gordon-bennetts-citizen.html.
Hughes, Helen. ‘Upside down/right way up: Historiography of contemporary ‘Australian’ art’, The National: New Australian Art exhibition catalogue, Sydney: Art Gallery of New South Wales, Carriageworks and Museum of Contemporary Art Australia, 2017, pp. 44-49.
Jaspers, Anneke. ‘Past Origins, Present Politics’, The National: New Australian Art exhibition
catalogue, Sydney: Art Gallery of New South Wales, Carriageworks and Museum of Contemporary Art Australia, 2017, pp. 16-21.
McLean, Ian. ‘Gordon Bennett: Untitled (re) Construction 1995’, Call of the Avant-Garde: Constructivism & Australian Art exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2017, pp. 124-125.
McLean, Ian. ‘Into the Transpocene: The Future of Indigenous Art’, Artlink, Issue no. 37:2, June 2017, pp. 28-34.
Rowse, Tim. Indigenous and Other Australians Since 1901, Sydney: University of New South Wales Press Ltd, 2017, cover.
Sequeira, David. Restless exhibition catalogue, Melbourne: Victorian College of the Arts, The University of Melbourne, 2017.
Speck, Catherine. ‘For Country, For Nation’, Artlink, Issue no. 37, March 2017.
Tamati-Quennell, Megan. "Gordon Bennett: Abstraction (ethnic)." Ten X Ten: Art at Te Papa, edited by Athol McCredie, Te Papa Press, Wellington, New Zealand, 2017, pp. 180-181, 269.
Tunnicliffe, Wayne. ‘Gordon Bennett’, The National: New Australian Art exhibition catalogue,
Sydney: Art Gallery of New South Wales, Carriageworks and Museum of Contemporary Art
Australia, 2017, pp. 58-59.
Van Straaten, Evert and Anthonissen, Anton. De Stijl – 100 Jaar Inspiratie, Waanders & De Kunst, Zwolle, 2017, pp. 258-259, 311.
Walsh, Tim. ‘Notes on Perception: Gordon Bennett and Daniel Boyd’, Art Monthly Australia, issue no. 298, May 2017, pp. 46-55.
Wright, Simon. ‘Gordon Bennett: The Coming of the Light, 1987’, Artlines, Issue 1, Mar/Apr/May, 2017, Brisbane: QAGoMA, pp. 50-51, 71.
2016
Angelatos, Veronica. ‘Notes to Basquiat: (Ab)Original 1999’, Important Australian and International Art – Featuring The Gene & Brian Sherman Capsule Collection II, Melbourne: Deutscher and Hackett, 4 May 2016, pp. 22-23.
Bowden, Michael & Hannan, Rowena (et al.), ‘Ideas and Styles in Artwork,
Art-isan: Studio Arts for VCE Units 1-4, UK: Cambridge University Press, 2016,
p. 106.
Burns, Aileen & Lundh, Johan. Gordon Bennett: Be Polite, exhibition catalogue, Institute of Modern Art, Brisbane, Berlin: Sternberg Press, 2016, pp. 5-8.
Brand, Sally. ‘Gordon Bennett’, ArtAsiaPacific, No. 97, Mar/Apr 2016, p. 152.
Bullock, Natasha, ‘The MCA Collection: a history of contemporary Australian art’, MCA Collection Handbook, Natasha Bullock (ed.), Sydney: Museum of Contemporary Art Australia, 2016, pp. 12-21.
Giovanangeli, Angela & Snepvangers, Kim. Spaces of Multiplicity: Rethinking Indigenous Perspectives in Australian Tertiary Education Through Altering Teacher Beliefs and Practices, in Geographies of Displacement – Commonwealth Essays and Studies, Vol. 38, No2, Spring 2016, pp. 39-51.
Gumillya-Baker, Ali. ‘Contained and Uncontainable’, Speak to Me: Conversations with the Flinders University Art Collections, Adelaide: Flinders University, 2016, pp. 24-25.
Hughes, Helen. ‘Skin Deep: The Anatomy of Images in the Art of Gordon Bennett’, Gordon Bennett: Be Polite, exhibition catalogue, Institute of Modern Art, Brisbane, Berlin: Sternberg Press, 2016, pp. 29-48.
McLean, Ian. ‘Everything You Wanted to Know About Drawing’, Gordon Bennett: Be Polite, exhibition catalogue, Institute of Modern Art, Brisbane, Berlin: Sternberg Press, 2016,
pp. 125-140.
McLean, Ian. ‘Post-Identity: Urban Indigenous Art, 1987-2015’, Rattling Spears: A History of Indigenous Australian Art, London: Reaktion Books, 2016, pp. 223-233.
McDowell, Tara. ‘The Post-Occupational Condition’, Australian and New Zealand Journal of Art, Vol 16, Issue 1, 2016, pp. 22-38.
McDowell, Tara. ‘Gordon Bennett’, MCA Collection Handbook, Natasha Bullock (ed.), Sydney: Museum of Contemporary Art Australia, 2016, pp. 62-65.
Nagam, Julie. ‘Be Polite….Because the Settlers Might be Listening and Watching’, Gordon Bennett:
Be Polite, exhibition catalogue, Institute of Modern Art, Brisbane, Berlin: Sternberg Press, 2016, pp. 173-179.
2015
Brown, Phil. ‘Frontier artist unplugged’, Courier Mail, 17 October 2015.
Croggon, Nicholas, David Homewood & Helen Hughes, ‘Editorial’, Discipline No. 4, 2015, pp. 4-6.
McGregor, Elizabeth Ann. ‘Remembering Gordon’, Eyeline, No. 82, 2015, p. 53.
McLean, Ian. ‘The Eternal Return of Irony: Gordon Bennett (1955–2014)’, Discipline No. 4, 2015, pp. 170-82.
Smith, Terry. ‘Australia’s Anxiety Again: Remembering the Art of Gordon Bennett’, Eyeline, No. 82, 2015, pp. 40-52.
2014
Albert, Tony. ‘Tony Albert on Gordon Bennett’, ArtAsiaPacific, No. 90, Sep/Oct 2014, p. 25.
Ansaldo, Carmen. ‘Berlin Biennale 8’, Artlink, vol. 34, no. 3, pp. 82-83.
Brown, Phil. ‘Artist let his work do all the talking’, Courier Mail, 16 June 2014.
Devery, Jane. ‘Intersections: The 8th Berlin Biennale for Contemporary Art’, Art Monthly Australia,
no. 275, November 2014, pp. 18-19.
Eccles, Jeremy. ‘Conceptual artist rejected racial labels’, The Sydney Morning Herald, 28 June 2014.
Gellatly, Kelly. ‘Gordon Bennett, 1955 – 2014’, Art Monthly Australia, No. 273, pp. 64.
Hauser, Kitty. ‘Public Works’, The Australian, 16 August 2014.
Hoffie, Pat. ‘Notes to Bennett’, Artlink, vol. 34, no. 3, pp. 75-77.
Lingard, Bob. ‘The Art of Gordon Bennett’, Arena Magazine, No. 132, Oct/Nov 2014, pp. 44-46.
McLean, Ian. ‘Double Desire: Transculturation and Indigenous Contemporary Art’, United Kingdom:
Cambridge Scholars Publishing, 2014.
McLean, Ian. ‘Gordon Bennett, an artist who scaled the heights of the art world’, ABC Arts,19 June 2014, online.
McLean, Ian. ‘Post-Western Poetics: Postmodern Appropriation Art in Australia’, Art History,
Vol. 37, Iss. 4, 09/2014.
Rainforth, Dylan. ‘Around the galleries’, The Age, 19 November 2014.
2013
Fehily, Toby. What’s So Funny ‘Bout Peace, Love and Understanding exhibition catalogue, The Gallery @ Bayside Arts & Cultural Centre, Brighton, Victoria, 2013, pp. 5-6, 18.
Geczy, Adam. 'Outside/Insider: The Art of Gordon Bennett', Art Monthly, No. 260, June 2013, pp. 26 - 28.
McLean, Ian. ‘Contemporaneous Traditions: The World in Indigenous Art/Indigenous Art in the World’, Humanities Research, Vol XIX, No. 2, 2013.
2012
Krischer, Olivier, ‘Gordon Bennett: Fields of Disturbance’, ArtAsiaPacific, No. 78, May/Jun 2012, pp. 120-31.
McLean, Ian. ‘Gordon Bennett in a global perspective: aesthetic theory and the politics of recovery’, Outsider/Insider: The Art of Gordon Bennett, 2012, AAMU Museum of Contemporary Aboriginal Art, The Netherlands, pp. 27-41.
Petitjean, Georges. ‘An introduction to the art of Gordon Bennett’, Outsider/Insider: The Art of Gordon Bennett, 2012, AAMU Museum of Contemporary Aboriginal Art, The Netherlands, pp. 17 -21.
Zijlmans, Kitty. ‘Challenge the box!’, Outsider/Insider: The Art of Gordon Bennett, 2012, AAMU Museum of Contemporary Aboriginal Art, The Netherlands, pp. 23 -25.
2010
Camouflage and/or Ambiguity, Iconophilia, 21 May 2010, www.iconophilia.net/camouflage-andor-ambiguity/.
McKenzie, Janet, Studio International - Visual Arts, Design and Architecture, Scotland, 2010.
McLean, Ian. ‘9 Shots 5 Stories’, Art Monthly Australia, Issue 229, May 2010, pp. 12-16.
2009
Heartney, Eleanor. ‘Identity and Locale: Four Australian Artists’, Art in America. May, 2009.
McLean, Ian. ‘Judgement Day: The Art of Gordon Bennett in Perspective’, Australian Aboriginal Art, Iss. 2, June/July/August 2009, pp. 131-133.
Nugent, Maria. ‘Repainting History’, Captain Cook Was Here, Port Melbourne: Cambridge University Press, 2009, pp. 129-131.
Parker, Francis. Review - Gordon Bennett: Retro (Home Décor) Aboriginal Art & John Citizen: Interiors, Eyeline Contemporary Visual Arts, #69, 2009. Brisbane: Eyeline Publishing Ltd.
2008
Bourke, Ace. ‘Lines in the Sand’, Lines in the Sand exhibition catalogue, Sydney: Hazelhurst
Regional Gallery & Arts Centre, 2008, pp 23-24, 30, 38-39.
McLean, Ian. ‘The Restless Cosmopolitan’, Gordon Bennett exhibition catalogue, Adelaide: Greenaway Art Gallery, 2008.
McLean, Ian. ‘Face to Face: Gordon Bennett’s Shadow Reflections’, Gordon Bennett Shadow Reflections exhibition catalogue, Brisbane: Milani Gallery, 2008.
2007
Butler, Rex. ‘The revolutionary colouring history’, The Australian, 31 August 2007.
Chamberlin, Lou. ‘Gordon Bennett’, ‘Art inSight’, Sydney: McGraw-Hill Book Company, 2007, pp. 114, 195-198.
Clemens, Justin. ‘The Analphabeast: Identity and Relation in the Work of Gordon Bennett’, Gordon Bennett exhibition catalogue, Melbourne: National Gallery of Victoria, 2007,
pp.106-110.
Gellatly, Kelly. ‘Citizen in the Making: The Art of Gordon Bennett’, Gordon Bennett exhibition catalogue, Melbourne: National Gallery of Victoria, 2007, pp. 8-24.
Israel, Glenis. Essential Art, Victorian Essential Learning Standards Levels 5 & 6, Brisbane:
John Wiley & Sons Australia Ltd, 2007, pp. 189-191.
Thomas, Nicholas. Gordon Bennett: The Expiation of Guilt, Gordon Bennett: The Expiation of Guilt exhibition catalogue, United Kingdom: Museum of Archaeology and Anthropology, University of Cambridge, 2007.
Wright, William. ‘Conversation: Bill Wright talks to Gordon Bennett’, Gordon Bennett Survey exhibition catalogue, Melbourne: National Gallery of Victoria, 2007, pp. 96-105.
2006
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.
Wright, Simon. ‘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.
2005
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.
Morgan, Luke. ‘Time into space’, The Plot Thickens: Narratives in Australian Art, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2005.
2004
Bennett, Jill. Empathic Vision: Affect, Trauma and Contemporary Art, Stanford: Stanford University Press, 2004.
Bennett, Jill. Love and Irony: Gordon Bennett after 9/11, Three Colours, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2004.
Churcher, Betty. ‘Gordon Bennett: Notes to Basquiat 9:11’, The Art of War, Melbourne: Melbourne University Publishing Ltd, 2004, pp. 130-133.
Hunt, Pennie. ‘Blood as a Trace’, Three Colours, exhibition catalogue, Melbourne: Heide Museum of Modern Art, 2004.
McLean, Ian. ‘Gordon Bennett’s Abstract Art: The Aesthetics of Commitment and Indifference’ Gordon Bennett New Work, exhibition catalogue, Adelaide: Greenaway Art Gallery, 2004.
Meecham, Pam. Modern Art, A Critical Introduction, Sydney: Routledge, 2004.
Stanhope, Zara. ‘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.
Stanhope, Zara. ‘… 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.
Wright, Simon. ‘Into the Printout’, Gordon Bennett: Out of Print, exhibition catalogue, Brisbane: Dell Gallery at Queensland College of Art, Griffith University, 2004. pp. 72-80.
2003
McAuliffe, Chris. ‘Treasures: highlights of the cultural collections of the University of Melbourne’, Melbourne: The Miegunyah Press/Melbourne University Publishing, 2003.
McLean, Ian. ‘Camouflage’, Figure/Ground (Zero), exhibition catalogue, Sydney: Sherman Galleries, 2003.
McLean, Ian. ‘Illuminations or a Season in Hell’, Artlink, Vol. 23, no. 1, March 2003.
Marsh, Anne. ‘The Darkroom- Photography and The Theatre of Desire’, Melbourne: Macmillan Publishers Australia, 2003, pp. 232-237.
2002
Dimitriadis, Greg & McCarthy, Cameron. ‘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.
Harvey, Graham. ‘Readings in Indigenous Religions’, Great Britain: Continuum, 2002,
pp. 310-316.
Jordan, Tim & Steve Pile. ‘Social Change’, UK: Blackwell Publishers, 2002, p 71,73.
McLean, Ian. ‘9 11 (with Apologies to Walter Benjamin)’, Notes to Basquiat: 9 11, exhibition catalogue, Adelaide Festival of the Arts, Adelaide: Greenaway Art Gallery, 2002.
McLean, Ian. ‘Angel of History’, Third Text, vol. 16, issue 2, no. 59, June 2002, pp. 212-216.
Williams, Donald. ‘In Our Own Image, The Story of Australian Art’, Fourth Edition, Australia: McGraw Hill Australia Pty Ltd, 2002, pp. 200-201.
2001-02
Magnusson, Tony. ‘Gordon Bennett: Just an/other black artist’, Art Monthly, December 2001-February 2002, no. 146, pp. 31-32.
2001
Croft, Brenda L. Indigenous Art: Art Gallery of Western Australia, exhibition catalogue, Perth:
Art Gallery of Western Australia, 2001, pp. 9, 41, 82.
Dimitriadis, Greg & McCarthy, Cameron. Reading and Teaching the Postcolonial: From Baldwin to Basquiat and Beyond, New York: Teachers College Press, 2001.
McLean, Ian. ‘The Aura of Origin-ghouls and golems in Gordon Bennett's art’, Artlink, vol. 21, no. 4, 2001, pp. 24-29.
McLean, Ian. ‘Conspiracy Theory: Pollock, Basquiat, Bennett’, Notes to Basquiat: Modern Art, exhibition catalogue, Sydney: Sherman Galleries, 2001.
1999
McCulloch, Susan, Contemporary Aboriginal Art, A Guide to the Rebirth of an Ancient Culture, Sydney: Allen and Unwin, 1999, p. 204, 206.
McLean, Ian. Probability, Rap and Coincidence: Notes to Basquiat, Gordon Bennett’s Notes to Basquiat, exhibition catalogue, Sydney: Sherman Galleries, 1999.
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.
Thomas, Nicholas. Possessions: Indigenous Art/Colonial Culture, 1999, London: Thames and Hudson, pp. 181,199-223.
1998
McLean, Ian. White Aborigines. Identity Politics in Australian Art, Cambridge: Cambridge University Press, 1998.
McLean, Ian. ‘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.
McLean, Ian. ‘Documenta X and Australians in Oxford’, Third Text, No. 42, Spring 1998, pp. 57-70.
Thomas, Nicholas. Gordon Bennett’s Notes to Basquiat, ‘The Australian Drawing Biennale’, exhibition catalogue, Canberra: The Australian National Universtiy, Drill Hall Gallery, 1998, pp. 14-15.
1997
Grant, Kirsty. In Relief; Australian Wood Engravings, Woodcuts and Linocuts, exhibition catalogue, Melbourne: NGV, 1997, p. 65.
Huppatz, Danny. ‘Redressing the Balance: The Art of Gordon Bennett’, Broadsheet-Contemporary Visual Arts and Culture, vol. 26, no. 2, Win 97.
McLean, Ian. ‘Gordon Bennett’, Grand Street: Crossing the Line, no. 63, New York: Grand Street Press, 1997, pp. 84-89.
McLean, Ian. ‘Racism and Postmodernism: Australian Art and its Institutions’, Art Monthly Australia, no. 103, September 1997, pp. 15-19.
O’Ferrall, Michael. 'Gordon Bennett’, State Art Collection- Art Gallery of Western Australia,
Perth: Art Gallery of Western Australia, 1997, pp. 10, 20-21.
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.
1996
Bennett, Gordon. ‘The Manifest Toe’, The Art of Gordon Bennett, Sydney: Craftsman House / G+B Arts International, 1996, pp. 9-62.
McAuliffe, Chris. ‘Interview with Gordon Bennett’, What Is Appropriation? An anthology of writings on Australian art in the 1980s and 1990s, edited collection of essays, Institute of Modern Art & Power Books, 1996, pp. 271-79.
McLean, Ian. ‘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.
McLean, Ian. ‘Mirror Mirror: The Narcissism of Coloniality’, Mirror Mirror: The Narcissism of Coloniality, exhibition catalogue, Canberra: Canberra School of Art Gallery, Australian National University, 1996, pp. 2-10.
McLean, Ian. ‘Shadow Time’, 1996 Adelaide Biennial of Australian Art, exhibition catalogue, Adelaide: Art Gallery Board of South Australia, 1996, pp. 48-49.
1995
Bennett, Gordon. Inner-Land: Exhibition of Australian Contemporary Art, exhibition cat, Tokyo: Lumani Gallery.
Bennett, Gordon. Artist’s Statement, Zero One - Digital Shifts, exhibition catalogue, Noosa: Noosa Regional Gallery, 1995, p. 8.
Bennett, Gordon. ‘Altered Body Print (Howl)’, A Selection from the Downlands Art Collection: Toowoomba Regional Art Gallery, exhibition catalogue, Toowoomba: Downlands College, 1995, pp. 19-20.
Buckner, Robin. ‘Gordon Bennett’, Art and Design (Book One), Sydney: McGraw-Hill Book Company, 1995, pp. 12-14.
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.
Chapman, Christopher. ‘A Discussion with Gordon Bennett - The Inland Sea’, Artonview, Canberra: National Gallery of Australia, issue no.1, Autumn 1995, pp. 38-42.
Chapman, Christopher. ‘Homeboy’, Art & Australia, vol. 32, no. 3, Autumn 1995, p. 442.
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.
Ingram, Terry. ‘Map of Canberra shows way in Venice’, Financial Review, 29 June 1995, p. 27.
Karmel, Pepe. ‘Antidotes for a Cartoonish Image’, The New York Times, 23 June 1995, p. C27.
Williamson, Clare. ‘Seven Histories of Australia’, Seven Histories of Australia, exhibition catalogue, Melbourne: Australian Centre for Contemporary Art, 1995.
1994-95
Rainbird, Stephen. ‘Gordon Bennett’, Selected Australian Works, Queensland University of Technology Art Collection, exhibition catalogue, Brisbane: Queensland University of Technology, 1994-1995, p. 55.
1994
Barrett-Lennard, John. ‘Negotiating a Position’, Adelaide Installations: Adelaide Biennial of Australian Art, exhibition catalogue, vol. 1, no. 1, Adelaide: Art Gallery of South Australia, 1994, pp. 48-51.
Dutkiewicz, Adam. ‘Complex and Engaging Imagery’, Adelaide Advertiser, 25 February 1994.
Lingard, Bob & Fazal Rizvi, ‘(Re)membering, (Dis)membering : 'Aborignality' and the Art of Gordon Bennett’, Third Text, no. 26, Spring 1994, pp. 75-89.
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.
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.
Papasdergiadis, Nikos. ‘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.
Stanhope, Zara. ‘The Territory of the Face’, Faciality, exhibition catalogue, Melbourne:
Monash University Gallery, 1994, pp. 17-21.
Zurbrugg, Nicholas. ‘Gordon Bennett - Between the Lines’, Antipodean Currents, exhibition catalogue, Washington, D.C.: The Kennedy Centre & New York: Guggenheim Museum SoHo, 1994, pp. 40-51.
1993-94
McLean, Ian. ‘Psycho(dr)ama Mirror Line : Reading Gordon Bennett's Installation Mirrorama’, Third Text, no. 25, Winter 1993-94, pp. 77-80.
1993
Bennett, Gordon. Artist’s Statement, Identities: Art from Australia, exhibition catalogue, Taipei: Taipei Fine Arts Museum, Taiwan, 1993, pp. 53-55.
Bennett, Gordon. ‘Confess Conceal’ Artist’s Statement, Confess and Conceal, exhibition catalogue, Perth: Art Gallery of Western Australia, 1993, p.26.
Bennett, Gordon. Artist Statement’s, Fifth Australian Sculpture Triennial, exhibition catalogue, Melbourne, 1993, vol. 1, no. 1, pp. 32-33.
Bennett, Gordon. ‘Aesthetics and Iconography: An Artist’s Approach’, Aratjara: Art of the First Australians, exhibition catalogue, Dusseldorf: Kunstsammlung Nordrein-Westfalen, 1993, pp. 85-91.
Heathcote, Christopher. ‘Postmodern, but with a point to make’, The Age, 24 February 1993.
Hoorn, 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.
Hoorn, Jeanette. ‘Mirrorama’, Gordon Bennett: Mirrorama, exhibition catalogue, Melbourne: The University of Melbourne Museum of Art - Ian Potter Gallery, 1993.
Johnson, Vivien. ‘The Unbounded Biennale. Contemporary Aboriginal Art’, Art and Australia, vol. 31, no. 1, Spring 1993, pp. 49-56.
Lingard, Bob. ‘Painting History’, Gordon Bennett, exhibition catalogue, Adelaide: Contemporary Art Centre of South Australia, 1993.
Megaw, Ruth. ‘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.
Morphy, Howard. ‘Aratjara’, Art Monthly Australia, no. 63, September 1993, Canberra, pp. 17-18.
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.
Papasdergiadis, Nikos. ‘Framing the Message’, Third Text, no. 24 Autumn 1993, pp. 81-86.
Zurbrugg, Nicholas. ‘Gordon Bennett’, Art & Text, no. 44, January 1993, Sydney: College of Fine Arts, University of New South Wales, p. 5.
1992
Amadio, Nadine. ‘Oz in the Global Art Village’, Oz Arts Magazine, #4, 1992, pp. 70-71.
Bennett, Gordon. ‘Re-writing History’, exhibition catalogue, Southern Crossings, London: Camerawork,1992, pp.19- 21.
Bennett, Gordon. Artist’s Statement, Southern Crossings, exhibition catalogue, London: Camerawork, 1992, pp 43-47.
Bennett, Gordon. ‘On Double Standards: An 'Other' Perspective’, Art Monthly Australia, no. 47 March 1992, pp. 26-27.
Bennett, Gordon. Artist’s Statement, Strangers in Paradise: Contemporary Australian Art to Korea, exhibition catalogue, Sydney: Art Gallery of New South Wales, 1992, pp. 22-25.
Bennett, Gordon. Artist’s Statement, Tyerabarrbowaryaou: I Shall Never Become a White Man, exhibition catalogue, Sydney: Museum of Contemporary Art, 1992, p. 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.
Butler, Rex. ‘The Pataphysical Aborigine’, Gordon Bennett, Paintings 1987 - 1991, Epernay, France: Moët & Chandon Australian Art Foundation, 1992.
Gates, Merryn. ‘Collaborations Between Artists’, Domino I: Collaborations Between Artists, exhibition catalogue, Melbourne: Ian Potter Gallery, University of Melbourne, 1992, pp. 2-21.
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.
Isaacs, Jennifer. ‘Gordon Bennett’, Aboriginality: Contemporary Aboriginal Paintings and Prints, Brisbane: University of Queensland Press, 1992, pp. 53-57.
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.
O'Ferrall, Michael. ‘On Other Perspectives’, Gordon Bennett, Paintings 1987 - 1991, Epernay, France: Moet and Chandon, 1992.
Petelin, George. Transgenerations, exhibition catalogue, Brisbane: Queensland Art Gallery, 1992, p. 10.
Scott-Mundine, Djon. ‘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.
Sloane, Helen. ‘Terra Australis Incognita? - Perspectives on Cultural Identity’, Southern Crossings, exhibition catalogue, London: Camerawork, 1992, p. 7-20.
1991
Anderson, Peter. ‘Gordon Bennett’, Art & Text, no. 40, September 1991, p. 94.
Crumlin, Rosemary. Aboriginal Art and Spirituality, Victoria: Collins Dove, 1991, pp. 143-144.
Gleissler, M. ‘Moet & Chandon’, Oz Arts Magazine, no. 1, Spring 1991, pp. 54-59.
Smith, Bernard and Terry Smith. Australian Painting 1788-1990, South Melbourne, Australia: Oxford University Press, 1991 (first ed.1962).
1990
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.
Broadfoot, Keith & Rex Butler. ‘The Fearful Sphere of Australia’, Paraculture, exhibition catalogue, Sydney: Artspace, New York: Artists Space, 1990, pp. 6-14.
Hogan, Janet. Balance 1990 : Views, Visions, Influences, exhibition catalogue, Brisbane: Queensland Art Gallery, 1990.
Kirker, Anne. ‘Gordon Bennett: Expressions of Constructed Identity’, Artlink, vol. 10, nos. 1, 2, Autumn/Winter 1990, Adelaide: Artlink, pp. 93-95.
Lingard, Bob. ‘Psycho(d)rama: De(con)structing 'Settlement' ‘, Psycho(d)rama, exhibition catalogue, Brisbane: Institute of Modern Art, 1990.
Scott-Mundine, Djon. ‘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.
Smith, Terry. ‘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.
Thompson, Liz. Aboriginal Voices: Contemporary Aboriginal Artists, Writers and Performers, Brookvale, Australia: Simon and Schuster, 1990, pp. 147-153.
1989
Foggarty, Rebbekah. ‘Fusing Cultures’, Dare, no. 1, July 1989, Brisbane, pp. 45-46.
Lingard, Bob. ‘A Kind of History Painting’, Tension, no. 17 August 1989, pp. 39-42.
Scott-Mundine, Djon. ‘Drawing on Black Reality’, Myriad of Dreaming: Twentieth Century Aboriginal Art, exhibition catalogue, Melbourne: Lauraine Diggins Gallery, 1989, pp. 125-137.
Seear, Lyn. ‘Gordon Bennett’, Australian Perspecta 1989, exhibition catalogue, Sydney: Art Gallery of New South Wales, 1989, pp. 16-17.
Zurbrugg, Nicholas. Visual Poetics: Concrete Poetry and Its Contexts, exhibition catalogue, Brisbane: Museum of Contemporary Art, 1989, p. 52.