document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); Gordon Bennett Notes to Basquiat (911) 2001 synthetic polymer paint on linen 182.5 x 304.0 cm, http://www.abc.net.au/arts/blog/arts-desk/Gordon-Bennett-artist-who-scaled-heights-of-artworld/default.htm, Psycho-social and psychological perspectives on religious violence (week4). Gordon Bennett - Sutton Gallery Can I get copies of items from the Library? About; About. 23-25, Sydney, May 2017-Jun 2017, 24 (colour illus.). Aboriginal Australians -- Politics and government. back the skin and flesh to reveal the innards, ribs and skeleton, the Notes to Basquiat: Famous boomerang 1998 Aboriginal, Torres Strait Islander and other First Nations people are advised that this catalogue contains names, recordings and images of deceased people and other content that may be culturally sensitive. Basquiat and Diaz used it as a tool for making social commentary with poetic statements throughout the urban environment. Three parts: a: 182 x 182cm; b: 182 x 61cm; This critical orientation is particularly evident in Bennetts history paintings, displayed in the third room of the exhibition. Its Bennett is commenting on the devastating effects of colonialisation on Australias indigenous population. He is understood alongside politically inclined American artists from the so-called Pictures generation of the 1970s and 80s (Barbara Kruger, Cindy Sherman, Sherrie Levin). To learn more about how to request items watch this short online video . In Abstraction (Native), from the Abstraction series of 20102013, Bennett imposes the face of Australian politician and social activist Peter Garrett (formerly the front man of Australian rock band, Midnight Oil) onto an abstracted human figure. The main reference for Notes to Basquiat (The Coming of the Light) is not Basquiat's imagery, but one of Bennett's early paintings, The Coming of the Light (1987). ), Notes to Basquiat (In The Future Art Will Not Be Boring), 1999, collection of the Art Gallery of New South Wales, SydneyNotes to Basquiat (In the future everything will be as certain as it used to be) 1999, collection of The Wereldmuseum, RotterdamNotes to Basquiat: Double vision, 2000, collection of the National Gallery of Victoria, MelbourneNotes to Basquiat: Poet and muse, 2000, collection of the National Gallery of Victoria, Melbourne. University of Wollongong Research Online Australian art: Storylines - National Gallery of Australia Major retrospectives of his work toured Icon and Arnolfini galleries and Heine Onstad Kunstsenter in Europe during 19992000, Australian State galleries between 20072009 and The Netherlands in 2012. Again echoing Benjamin, Bennett draws a direct link between civilisation and barbarism, or here Enlightenment and suicide. Notes to Basquiat: Myth of The Western Man, 2001 artist with Puerto-Rican heritage who came to prominence in the USA in This is the third major survey show to consider the breadth of Bennetts work and should not be missed. born 1955. Conceived as an open letter to Basquiat who died ten years earlier, the series appropriates the raw street style for which Basquiat became renowned in an attempt to communicate via the language of the New York context the similarities and crossconnections of our shared experience as human beings in separate worlds that each seek[s] to exclude, objectify and dehumanise the black body and person.1 Yet if Bennett borrows signature motifs from Basquiats oeuvre such as his use of lists and rap-like banter, he nevertheless imbues them with his own uniquely Australian symbolism. 120 x 80cm John Saxby (Editor), Look, 'The art that made me: Reg Mombassa', Sydney, Nov 2015, 13. View Scale Rotate. His three paintings titled Possession Island are based on a 19th century etching by Samuel Calvert. Limited Edition Digital Works on Paper . View NOTES TO BASQUIAT (2001) By Bennett Gordon; synthetic polymer paint on linen; 152.0 x 182.5 cm ; Signed; . (LogOut/ Notes to Basquiat Untitled, 1999 [picture] / Gordon Bennett 1999, Bennett, Gordon. It was another way for the artist to avoid being typecast simply as 'a professional Aborigine, which both misrepresents me and denies my upbringing and Scottish/English heritage'. Selected new items on display in Main Reading Room. Notes to Basquiat: Female Pelvis by Gordon Bennett | Art.Salon On the opposite corner, however, a pair of heads labelled Caucasian and black/abo stare blankly into the void. Gordon Bennett Possession Island (Abstraction) 1991 was purchased jointly by Tate and the Museum of Contemporary Art Australia with fund provided by the Qantas Foundation, 2016. Gordon Bennett was an Indigenous Australian artist whose work primarily conveyed indigenous identity struggles, particularly through the subject of colonization and racial injustice. . We notify you each time your favorite artists feature in an exhibition, auction or the press, Access detailed sales records for over 657,106 artists, and more than two decades of past auction results, Buy unsold paintings, prints and more for the best price, Notes to Basquiat: Myth of The Western Man ,2001, Notes to Basquiat: Cut the Circle II ,2001, Home Decor (After Margaret Presont) ; Preston+DeStijl = Citizen (My Boomerang Won't Come Back) 1996 - Gordon Bennett, Home Decor (Counter Composition) Black Swan, 1999 - Gordon Bennett. Others are held in regional, state and national collections (National Gallery of Australia, Queensland Art Gallery and Gallery of Modern Art, National Gallery of Victoria and the Art Gallery of New South Wales) as well as international collections including Wereldmuseum, Rotterdam.LUCIE REEVES-SMITH, Important Australian + International Fine Art, Gordon Bennett, managed by John Citizen Arts Pty Ltd. Gordon Bennett explored indigenous past through his conceptual art, Retrieved August 24 2014, from, http://www.smh.com.au/comment/obituaries/gordon-bennett-explored-indigenous-past-through-his-conceptual-art-20140627-zsnql.htm. Bennett has reinterpreted their statement as a comment on the government's lack of apology to the Stolen Generations. Such is reiterated by the works unfolding lines of text the same but different / different but the same a notion which not only reverberates throughout the entire series, but is similarly reflected in Bennetts knowing relationship to Basquiat and his practice. NOTES TO BASQUIAT: MYTH OF THE WESTERN MAN, 2001. synthetic polymer paint on linen. Unfinished Business: The Art of Gordon Bennett - Art Almanac Bennett was born in Monto, Queensland, in 1955 to an indigenous Australian mother and an Anglo Celtic migrant father. The works I have produced are notes, nothing more, to you and your works, posthumously yes, but importantly for me - living in the suburbs of Brisbane in the context of Australia and its colonial history, about as far away from New York as you can get - these are also notes to the people who knew you and your works, those who carry you with them in their memories and perhaps in their hearts.1. As Jill Bennett elucidates, Bennett does not simply imitate or act as Basquiat [Rather] he is interested in how Basquiats work might be encountered from a different place, and what happens when different accounts of history and experience are registered simultaneously within a given frame2, Accordingly, in the present Notes to Basquiat: (Ab)original, 1999, the experience of race and life generally in the northern and southern hemispheres is both differentiated and conflated through Bennetts highly sophisticated mimicry of Basquiats spontaneous urban style. Bloodlines 1993 NOTES TO BASQUIAT: CUT THE CIRCLE II, 2001 - Deutscher and Hackett He felt alienated by his Australian education and the representation of Aboriginal people in Western culture and as a result, began confronting the idea of identity in his own work. This included abstract expressionism and a dot aesthetic inspired by the Papunya Tula art movement of the Australian Western Desert. Gordon Bennett was a painter of history and histories. Bennett's painting Notes to Basquiat (2001) presents . I confess I used to think so, but seeing this exhibition has made me reconsider. Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia. Apologies -- Australia -- Pictorial works. Susan Best receives funding from the Australia Council for the Arts and the Australian Research Council . Review: Unfinished Business: The art of Gordon Bennett, QAGOMA, Brisbane. Thus, the oppressive ideologies and events surrounding colonization have been detrimental to the cultural identity of Aboriginal people and has consequently affected their social wellbeing today. signed, dated and inscribed verso: G Bennett 3-9-1999 / NOTES TO BASQUIAT: (ab) original / [], Sherman Galleries, SydneyGene and Brian Sherman collection, Sydney, Gordon Bennett Notes to Basquiat: One Tense Moment (episode two), Sherman Galleries, Sydney, 5 November 4 December 1999, cat. 120 x 80cm 1 / 1 - Notes to Basquiat - Big Shoes - 2002. Griffith University provides funding as a member of The Conversation AU. Bennett conversed about his conceptual painting practice as 'based on the semiotics of style and paint application, images and text, historical and contemporary juxta-position'. Estimate: $35,000 - $45,000. These large scale history paintings of the 1990s are perhaps his best known works. Bennetts Notes to Basquiat collectively have had an extensive exhibition history, with a selection exhibited in the Kwangju Biennale 2000: Man + Space, Korea and the 9th Asia Pacific Triennial in 2001. history, culture and power. Exhibited: "Treasures Gallery", National Library of Australia, 12 December 2012 - 7 July 2013. some essentialised past, they are subject to the continuous "play" of c: 182 x 182cm; 182 x 425cm (overall) Purchased 2019 with funds from the Neilson Foundation through the Queensland Art Gallery | Gallery of Modern Art Foundation This task is the unfinished business referenced in the title of the show. Deliberately inconclusive original, archetype, manuscript, master, parent etc Notes to Basquiat: (Ab)original eloquently attests to the compelling possibilities offered by Bennetts art and its embodiment of a process being kept in play; and as he poignantly muses, Poetry doesnt seek closure on its meaning. Bennett's series works across both Australian and American cultures, with wider historic references to the radical and the marginalised. Haptic Painting (Explorer: The Inland Sea) 1993 Synthetic polymer paint on canvas / 177 x 265cm The Estate of Gordon Bennett, Collection: Commonwealth Bank of Australia, Gordon Bennett Australia 1955-2014. ; Signed; . Queensland Art Gallery | Gallery of Modern Art. Perhaps McLean reads Bennetts work in this way because anger at injustice is the emotional tone critical postmodernism typically adopts. He writes of Bennett: The anger is never far from the surface of his work, though he was perplexed by the common perception of it as angry.. ibid., p. 22, Important Australian + International Fine Art. Notes to Basquiat: Modernity, 1999 is a bridge between these two series, synthesising the main motifs of each into a tightly articulated composition exposing how words and images shape our cultural identity.The array of appropriated motifs within Notes to Basquiat: Modernity tesselate to create a dynamic composition, their collaged intuitive arrangement providing a decidedly contemporary aesthetic. verso on canvas, pencil "G Bennett 31-8-1999/ ". Identities The work also relates to Basquiat's paintings, following the same principles as his graffiti, signifying the existence of a more basic truth hidden within a given event or thought"--Information from acquisitions documentation. Levels 7-12. The University of Queensland, Brisbane Acquired with the Assistance of the Visual Arts and Crafts Board of the Australia Council, 1989, The Estate of Gordon Bennett Collection: The University of Queensland. of your drawing of the human figure. 1955 Collection: Bendigo Art Gallery, Gordon Bennett Australia 1955-2014. They reference the massacres of Aboriginal people in Myth of the Western man (White mans burden) (1992) and The nine ricochets (Fall down black fella, Jump up white fella (1990) and question the valorising of Captain Cook in Big Romantic Painting (Apotheosis of Captain Cook) (1993) and Possession Island (1991). we may be separated by cultural context, time, space and death. The strange row of heads depicted in the very early work, The Coming of the Light (1987) forms part of the background of this same image. Paul Guest OAM QC under the Cultural Gifts Program 2018. Notes to Basquiat:(ab)Original 1998 Yours Sincerely, Notes to Basquiat was named for the American Jean-Michel Basquiat (196088), a precocious young artist of Puerto Rican and Haitian-American heritage, originally a graffiti artist, whose star flamed brightly in the energetic international art world of the 1980s; Perfect teeth riffs on Basquiats own paintings. they undergo constant transformation. Gordon Bennett's paintings in the late 1980s and early 90s were informed by theories about appropriation - the borrowing of images from other artists and visual sources - and by post-colonial theories about identity and history. Probability, Rap and coincidence Not only is art about political content, form is also at stake. Preston, though well-meaning in her quest to create a truly national artistic style, produced works that corrupted sacred aboriginal motifs, and presented aboriginal people as little more than stylised caricatures of the noble savage.In addressing these notes, the paintings, to the departed American artist Jean-Michel Basquiat, Bennett expressed what he felt was histories of shared experience, an affinity felt through mutual exclusion from a euro-centric contemporary art world. In the late 1990s Bennett responded to the personal experiences and practice of Puerto-Rican Haitian-American artist Jean-Michael Basquiat by producing a series of paintings that referenced the style and appropriated motifs of Basquiats own art. He did not discover his Aboriginal heritage until around age 11 and always resisted being pigeonholed as an Aboriginal artist. Oil and synthetic polymer paint on canvas Two parts: 162 x 260cm (overall) Collection: Paul Eliadis Collection of Contemporary Australian Art, Australia This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to . Bennett emerges as one of the most important Australian artists of the latter part of the 20th century and one we have certainly not finished interpreting. Sutton Galleries, Melbourne . I was excited to find in the essay "Welcome to the Terrordome: Jean Create a free website or blog at WordPress.com. Notes to Basquiat (in the future art will not be boring) "A Short Note to Basquiat" The persona of John Citizen partly represents 'the Australian Mr Average', but is also a kind of disguise for Bennett. Indeed, perhaps more directly and explicitly than any other Australian artist, he engaged in the debate on republicanism, sovereignty and citizenship in an effort to highlight the plight of indigenous people not just locally, but internationally, who have become estranged as a result of colonialism. Certainly, the notebook quote reflects how Bennetts reputation has been cemented in Australian art history. Appropriation allowed Bennett to refer to both Aboriginal and non-Aboriginal art, and situate his painting in a fluid area between these two overlapping forms of contemporary art. I guess it spoke to me of the traces of different experience and layers Born in 1955 in Monto, Queensland, Bennett was unaware of his mother's . inscribed in pencil on reverse : G Bennett 19-5-2000 / "NOTES TO BASQUIAT : DOUBLE VISION" / Acrylic on Linen 152 x 182.5 cms / Jean Cocteau "orpheus" / MIRRORS WOULD DO WELL / TO REFLECT MORE". It weaves . View upcoming auction estimates and receive personalized email alerts for the artists you follow. In the open letter to Jean-Michel Basquiat, Bennett continues: To some, writing a letter to a person post-humously may seem very tacky and an attempt to gain some kind of attention, even 'steal' your 'crown'. Cultural Violence, Journal of Peace Research, vol.27 (3), 291-305. the points of identification, or suture, which are made within the discourses Bennett directly referenced the work of many other artists throughout his career, including Jackson Pollock, Bennett makes art that questions accepted versions of history, often taking historical artworks as his starting point. In other words, such discrimination and historic prejudice directly relate to the current cultural conflict and ongoing search for identity for Indigenous Australians (NGV 2014). Gordon Bennett, Notes to Basquiat (The Death of Irony), 2002, National Gallery of Australia, . Access more artwork lots and estimated & realized auction prices on MutualArt. Ewen McDonald (Editor), Biennale of Sydney 2000, Sydney, 2000, 39 (colour illus. Inscription. Inscriptions: "G. Bennett Nov. 1999 / Notes to Basquiat: Untitled"--On verso. This education resource accompanies the retrospective exhibition Gordon Bennett (2008) which showcased 85 works by this internationally acclaimed Australian artist.Bennett's art engages with historical and contemporary questions of cultural and personal identity, with a specific focus on Australia's colonial past and its postcolonial present. Galtung, J. Bennett, Gordon. His three paintings titled. In 1999, the year this artwork was created, John Howard issued a 'statement of sincere regret' over the forced removal of Aboriginal children from their families, failing to make an official apology. ^ Gordon Bennett in Gordon Bennett: Selected Writings, Power Publications and Griffith University Art Museum, 2020, p. 132. signed and dated twice, and inscribed with title verso: 16-10-1999 / G Bennett / G Bennett 1610-1999 / NOTES TO BASQUIAT: MODERNITY / , Sutton Gallery, Melbourne (stamped on stretcher bar verso)pARTners Art Collective, Melbourne, acquired from the above in July 2007, Gordon Bennett Notes to Basquiat: One Tense Moment (episode two), Sherman Galleries, Sydney, 5 November 4 December 1999, cat. 16, Paris, 08 Dec 2013, 16 (colour illus.). Gordon Bennett Notes to Basquiat: Modern Art, Sherman Galleries, exh. They often use the dots associated with Aboriginal Western Desert painting intertwined with western systems of realist depiction. That is not my intention, I have had my own experiences of being crowned in Australia, as an Urban Aboriginal artist - underscored as that title is by racism and primitivism - and I do not wear it well . John CitizenInterior (Tribal Rug) 2007acrylic on linen152 x 152cmCollection: Private, Brisbane The Estate of Gordon Bennett. body to expose both pain and anguish and a common humanity. Gordon Bennett Australia 1955-2014. Gordon Bennett | NOTES TO BASQUIAT (2001) | MutualArt > Notes to Basquiat SAVE ARTWORK FOLLOW ARTIST. Michel Basquiat and the "Dark" side of Hybridity" by Dick Hebdige, in With the invitation to exhibit in a contemporary art fair at New Yorks Gramercy Hotel as catalyst, in 1998 Bennett embarked upon his celebrated Notes to Basquiat series paying homage to the work of Neo-Expressionist painter Jean-Michel Basquiat the first African American to receive international art world acclaim who also shared a similar preoccupation with semiotics and visual language as instruments of marginalisation. Bennett not only borrows images from the work of American artist Jean-Michel Basquiat, but also begins to mimic Basquiat's spontaneous and gestural urban style of painting, reflecting his involvement in the graffiti culture of the United States. Notes to Basquiat: Australiana 1998 (2014). Write an article and join a growing community of more than 163,400 academics and researchers from 4,609 institutions. Dear Jean-Michel Basquiat, ^ Terry Smith, "Australia's Anxiety," History and Memory in the Art of Gordon Bennett, Birmingham: Ikon Gallery, 1999, p. 17. NOTES TO BASQUIAT: (AB) ORIGINAL, 1999 | Deutscher and Hackett Far from being eternally fixed in past efforts to "explain" myself - it reads: "Cultural identities are You lost your balance. In Notes to Basquiat (Death of irony) 2002, Bennett astonishingly knits a homage to Basquiat with Islamic patterns and calligraphy into a coherent composition . His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles. View Notes to Basquiat (1999) By Bennett Gordon; Synthetic polymer paint on linen; 182.5 x 182.5 cm. by Greg Tate which reads: "To be a race-identified race-refugee is to and the histories of shared experience and levels we can relate to each Change). Gordon BennettNotes to Basquiat: Boogieman Blues 1999acrylic on linen182.5 x 182.5cmCollection: Private, Adelaide The Estate of Gordon Bennett. You need Flash player 8+ and JavaScript enabled to view this video embedded. 109 Bennett's mimicry of Basquiat's style is not an attempt to be like Basquiat or to get an authentic street beat into his life. At first glance, paintings from the Interior series appear similar to the work of Patrick Caulfield and look like a brightly coloured pull-out from a lifestyle magazine. This painting emanates from the 'Notes to Basquiat' series of paintings, where the artist takes appropriation to a new level within his practice. Bennett, G., quoted in Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 212. ibid.3. Open from 12 noon Anzac Day Closed Good Friday, Christmas Day and Boxing Day, Queensland Art Gallery Board of Trustees 2023, See Kelly Gellatly, Citizen in the making: The art of Gordon Bennett, in, Stanley Place, South Brisbane, Queensland 4101 Australia. His playful yet powerfully political artworks borrow images from other artists and mix and re-contextualise elements from Western and non-Western art history. cat., 2001, front cover View artist profile Add to wishlist. I was also aware of his concern with western systems of representation and their oppressive effects. Bennett's art practice is interdisciplinary and encompasses painting, photography, printmaking, video, performance and installation. Of course, this price has nothing to do with the top prices that other . Eccles, J. In 1998, ten years after his death, Bennett wrote an open letter to Basquiat that explained his motivations: To some, writing a letter to a person posthumously may seem very tacky and an attempt to gain some kind of attention, even steal your crown. 'One of the most important Australian artists of the late 20th century NOTES TO BASQUIAT: LIBERTY, 2000. synthetic polymer paint on linen. Gordon Bennett: Illuminations or a season in hell | Artlink Magazine Impossible aims, such as this one, often underpin and drive the work of major artists; an achievable aim after all would be quickly satisfied. Accordingly, in the present Notes to Basquiat: (Ab)original, 1999, the experience of race and life generally in the northern and southern hemispheres is both differentiated and conflated through Bennett's highly sophisticated mimicry of Basquiat's spontaneous urban style. within, the narratives of the past.". )Israel, G., Senior Artwise 2: Visual Arts 11-12, Jacaranda Press, Milton, Queensland, 2003, (illus., front cover and p. 163)Murray Cree, L., Twenty: Sherman Galleries 1986-2006, Craftsman House / Thames and Hudson, Melbourne, 2006, p. 123 (illus. Copyright 20102023, The Conversation US, Inc. 5Unscripted: Language in Contemporary Australian Art, Art Gallery of New South Wales, Sydney, 20 May 24 July, 2005, The Galleries, Sydney Morning Herald, 9 November 1999, p. 17McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999, unpaginated (illus. I already knew Bennett was in dialogue with other artists and their distinct painterly idioms: Mondrian, Margaret Preston, Thomas Bock, Jean-Michel Basquiat and Jackson Pollock to name just a few. A humanist at heart, Bennett created works which are grounded in personal experience and an authentic voice. Anchoring the composition is a confronting tortured skeletal figure . Another quote in the Dick Hebdige essay I found I connected with was Signed and dated u.l. NOTES TO BASQUIAT: LIBERTY, 2000 | Deutscher and Hackett 120 x 80cm To learn more about Copies Direct watch this. Unfinished Business can be seen until 21 March 2021. GORDON BENNETT (b. Far from being grounded in mere "recovery" Notes to Basquiat: Unreasonable facsimile 1998 He first became aware of his dual heritage when he was a young teenager. The visually complex and layered works challenge received accounts of Australian colonial history. Gordon Bennett. Learn more. The work also relates to Basquiat's paintings, following the same principles as his graffiti, signifying the existence of a more basic truth hidden within a given event or thought"--Information from acquisitions documentation. We are developing and evolving the new Collection Online and would love to hear what you would like to see developed next by answering these questions after you've finished using the website. Gordon Bennett's artwork is on display at Tate Modern in Artist and Society: Citizens. Synthetic polymer paint on linen / 183 x 152.3 x 3.2cm, The Estate of Gordon Bennett Private Collection, Adelaide, Gordon Bennett Australia 1955-2014. 'Unfinished Business: The Art of Gordon Bennett' celebrates the Queensland-based artist's globally recognised contribution to . His sophisticated mimicry becomes two-fold in his quotation of Margaret Prestons woodcut design of a fish. Conflict, Violence, Peace & Art: Notes to Basquiat (2001) by Gordon Possession Island 1991 Works | NGV | View Work revealed. material existence, even though we may be separated by cultural context, Gordon BennettPossession Island (Abstraction) 1991oil and acrylic on canvas182 x 182cmCollection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016 The Estate of Gordon Bennett. Measurements. His intention in the Notes to Basquiat series is to 'highlight the similarities and cross-connections of our shared experience as human beings living in separate worlds that each seek to exclude, objectify and dehumanise the black body and person'. signed, dated and inscribed verso upper left: G.Bennett 9-6-2000 / Notes to Basquiat: Liberty / acrylic / 152 x 188cm. The pop art inspired paintings of the Coloured People and Interiors series seem glossier and less political than Bennetts other work, but this is not the case. Bellas Gallery, Brisbane Acquired from the above by the present owner in 1999. Get the best price for your artwork or collection. If I were to choose a single word to describe my underlying drive it would be freedom To be free we must be able to question the ways our own history defines us. come from somewhere, have histories, and like everything which is historical, Five things to know about Gordon Bennett | Tate 120 x 80cm Purchased with funds from the Foundation for the Historic Houses Trust, Museum of Sydney Appeal, 2007, Collection: Museum of Sydney, Sydney Living Museums, Gordon Bennett Australia 1955-2014. Home Decor (After M Preston) No 3 2010 2010 Synthetic polymer paint on linen / 182.5 x 152cm The Estate of Gordon Bennett. That is not my intention, I have had my own experiences of being crowned in Australia, as an 'Urban Aboriginal' artist underscored as that title is by racism and 'primitivism' - and I do not wear it well.