Answer & Explanation:I have tried to work on my comparative study, just need it to look much better and to add more meat in my power point. There is an example PDF of how it supposed to look. I have picked my 2 artists and my 3 artworks that I need to analyze, The pages submitted examine and compare at least three artworks at least two of which need to be by different artists.
The work selected for comparison should come from contrasting contexts (local, national, international and/or intercultural). Ideally students should see one of the works firsthand.
Acknowledge sources!10-15 PagesThe text in bold are the things i need to do and completeI have gave you 2 documents below.One is my power point and the work that needs to be done.the 2nd is the sample PDF of a perfect comparative study.Things that need to be fixed:Please find a better Introduction picture.Everything in the slide should be visually balancedYou may want to change the background of the slidesinclude what the artists did when the art piece was created.Find more sources.
comparative_study_sample_b_hl.pdf
css_rough_draft_v3.1___moved_to_ppt__.pptx
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Visual arts
Compara’ve study
Student B (HL)
Please note that these sample materials have been fabricated to
allow for transla’on and copyright issues. These samples are not
intended to prescribe how materials should be presented for
assessment.
Annota-ng Gordon Benne3’s
The Outsider 1988
This compara’ve study examines links between Gordon BenneB’s The Outsider and the
Van Gogh imagery appropriated in it. It looks at connec’ons to Indigenous Australian art
of the Central Desert and explores the themes of iden’ty and isola’on.
5. The blood erup’ng from the neck spurts
upward into a sky that simultaneously
resembles van Gogh’s Starry Night 1889, but
also the pain’ngs of the Indigenous people
of the Australian Western desert.
Benne3, Gordon (Australian, b.1955)
The Outsider 1988
Oil, synthe’c polymer on Canvas 290cm x 180cm
University Art Museum Collec’on, University of
Queensland, Brisbane
4. A central decapitated male figure is visible in
the room, behind van Gogh’s iconic bed. It is
violent – it represents a loss of iden’ty.
2. Unlike van Gogh’s bedroom, the
window is ajar in BenneB’s work.
Does this suggest a disturbance?
7. The male figure has an apparent
dark complexion and has the
iden’fiable markings of tradi’onal
Aboriginal ceremonial body paint.
The figure is an Australian
Aboriginal male.
1. BenneB appropriates van Gogh’s
Bedroom at Arles (specifically the
second version completed in 1889
in which van Gogh uses a blue-‐
green in the ‘mber floor boards)
8. Looking closely at the hands, they are outlined
(in black) in such a way as to be able to see the
bedhead through them. The wrists are bloodied
as if the hands have been dismembered. The
hands appear ghost-‐like.
3. Again, unlike van Gogh’s bedroom,
the chair has been knocked over,
possibly from a struggle or
intrusion.
9. Two plaster or marble heads in the Classical
Greco or Roman style rest on the bed. The
two hands appear to reach down to take one
of the sculptural heads. The heads are
symbolic of Western Culture. The figure is
aBemp’ng to take on a Western iden’ty to
replace his decapitated Aboriginal iden’ty.
6. Bloody hand prints line the walls,
resembling a violent homicide
scene, but also the hand prints
found in the tradi’onal Eastern
Australian Aboriginal rock pain’ng .
© c/o Pictoright Amsterdam 2013
Visual Arts: Comparative study. SB (HL) Page 1
Contextualising Gordon Benne3’s The Outsider 1988
According to Adrian Newstead of the Australian Indigenous Art Market Top 100 (hBp://
www.aiam100.com/profile.php?id=BenneBGordo last visited 16/02/2013), Gordon
BenneB’s prolific art career began at the age of 33 afer gradua’ng from the
Queensland College of Art, Brisbane, in 1988. The Outsider (1988) is one of a number of
his early works that reflect the slow realiza’on of his shame at age 11 of his part-‐
Aboriginal heritage was a result of a white working-‐class upbringing. This led
increasingly to BenneB’s dissa’sfac’on with the received histories of Australia and
stereotypical cas’ngs of iden’ty:
© c/o Pictoright Amsterdam 2013
I decided that I was in a very interes6ng posi6on: My mind and body had been effec6vely colonised by Western
culture, and yet my Aboriginality, which had been historically, socially and personally repressed, was s6ll part of
me and I was obtaining the tools and language to explore it on my own terms. In a conceptual sense I was
liberated from the binary prison of self and other; the wall had disintegrated but where was I? In a real sense I was
s6ll living in the suburbs, and in a world where there were very real demands to be one thing or the other. There
was s6ll no space for me to simply ‘be’.
I decided that I would aJempt to create a space by adop6ng a strategy of interven6on and disturbance in the field
of representa6on through my art.
Gordon BenneB, ‘The manifest toe’ in Ian McLean & Gordon BenneB, The Art of Gordon Benne7, Crafsman House,
1996, pp. 32–33
Visual Arts: Comparative study. SB (HL) Page 2
Contextualising Gordon Benne3’s The Outsider 1988
© c/o Pictoright Amsterdam 2013
The Outsider (1988) was created in the year of Australia’s Bicentennial, celebra’ng the
200 years of European colonisa’on of Australia. Kelly Gellatly, curator of the Gordon
BenneB exhibi’on at the Na’onal Gallery of Victoria, suggests that it was not merely
coincidental, but that the work was indeed fuelled by the unfolding na’onal
celebra’ons. This was a ‘me when ques’ons surrounding Australia’s colonial history
were hotly contested and debated.
Gellatly argues that as an indigenous Australian who had a “strictly Euro-‐Australian
upbringing and educa’on” and who was unaware of his own indigeneity as a child,
BenneB’s early interroga’ons of the construc’on of iden’ty, both personal and cultural
con’nue to be themes that are a ongoing concern in his work, although represented
with greater subtlety in his more recent work. His interest in labelling or categorisa’on
and his own iden’ty as an ar’st opera’ng between Western ar’s’c tradi’ons and
indigeneity is powerfully conveyed in The Outsider, from the ‘tle itself, to BenneB’s
associa’on with and appropria’on of van Gogh.
Gellatly, Kelly “Ci’zen in the Making” in Gordon Benne7 (2007) Na’onal Gallery of Victoria: Australia pp. 9 – 11
Visual Arts: Comparative study. SB (HL) Page 3
Applying McFee King’s conceptual framework to Gordon Benne3
AUDIENCE
Australia 1988:
Mul’cultural, celebra’ng
200 years of European
colonisa’on / white
invasion. 200 years of
systema’c aliena’on of its
indigenous popula’on,
ini’ally through the no’on
of Terra Nullis, then
decima’on through exo’c
disease brought by first
seBlers and later through
government determina’on
of assimila’on which
resulted in half-‐caste
children being abducted
from Aboriginal families
and placed in care of white
families (Stolen
Genera’on)
Would most likely
recognise the appropriated
imagery from van Gogh.
Some would be familiar
with BenneB being
Aboriginal:
“I think people knowing
my Aboriginality does have
a large bearing on how
[the audience] read the
work. I don’t know if that
is fortunate or not. It’s just
a fact that these things do
have an effect” Gordon
BenneB cited in Gellatly p.
9
ARTWORK
© c/o Pictoright Amsterdam 2013
AUDIENCE’S
WORLD
ARTIST
ARTIST’S
WORLD
Discovered his Aboriginal
heritage as an adolescent
and was ashamed of it.
Wrestles with his cultural
and professional iden’ty:
Aboriginal?
Australian?
Contemporary Ar’st?
Aboriginal Ar’st?
( not a“Professional
Aborigine”)
Euro-‐Australian middle
class upbringing and
educa’on.
Formal training at
Queensland College of Art
Immersed in
postmodernism,
postcolonial theory
Benne3, Gordon
The Outsider 1988
Oil, synthe’c polymer on Canvas 2
90cm x 180cm
University of Queensland, Brisbane
Visual Arts: Comparative study. SB (HL) Page 4
Benne3 and van Gogh as “outsiders”.
Kelly Gellatly concludes that BenneB’s appropria’on of van Gogh’s Bedroom
at Arles 1889 and Starry Night 1889 was deliberate and considered. It
purposefully evokes the clichéd but long-‐held no’ons of the tortured ar’st
and connec’ons between ar’s’c “genius” and insanity.
Gellatly, Kelly “Ci’zen in the Making” in Gordon Benne7 (2007) Na’onal Gallery of Victoria: Australia pp. 9 – 11
It is only too true that a lot of ar6sts are mentally ill-‐ it’s a life which, to put
it mildly, makes one an outsider. I’m all right when I completely immerse
myself in work, but I’ll always remain half crazy.
Vincent van Gogh in a le3er to his brother Theo
In placing the decapitated Aboriginal man within the peaceful sanctuary that
van Gogh is said to have created for fellow ar’st Paul Gauguin, BenneB places
himself, as creator, within the ques’onable parameters of “insanity” and
“genius” and, Gellatly suggests, uses this posi’on and the elements of the
“grotesque” to highlight the violence at the core of Australia’s colonial history
and the related denial and suppression of indigenous culture.
Gellatly, Kelly “Ci’zen in the Making” in Gordon BenneB (2007) Na’onal Gallery of Victoria: Australia pp. 9 – 11
Benne3, Gordon (Australian, b.1955)
The Outsider 1988
Oil, synthe’c polymer on Canvas 290cm x 180cm
University of Queensland, Brisbane
© c/o Pictoright Amsterdam 2013
Visual Arts: Comparative study. SB (HL) Page 5
Evoking “the outsider” through appropria-on
van Gogh, Vincent
(Dutch 1853 – 1890)
Starry Night 1889
73.7 cm × 92.1 cm
Museum of Modern Art , New York City
Benne3, Gordon (Australian, b.1955)
The Outsider 1988
Oil, synthe’c polymer on Canvas 290cm x 180cm
University Art Museum Collec’on, University of
Queensland, Brisbane
van Gogh, Vincent
(Dutch 1853 – 1890)
Bedroom at Arles Second version, September 1889
Oil on canvas, 72 x 90 cm,
Art Ins’tute of Chicago
© c/o Pictoright Amsterdam 2013
Visual Arts: Comparative study. SB (HL) Page 6
Comparing and contras-ng the original and the appropria-on:
Window is closed
Window is ajar
The bedroom interior
scene is the sole
subject ma3er of the
pain-ng
Furniture and
furnishings are -dy –
the bed is neatly
made
Chair upright
Absence of figures
van Gogh, Vincent
(Dutch 1853 – 1890)
Bedroom at Arles Second
version, September 1889
Oil on canvas, 72 x 90 cm,
Art Ins’tute of Chicago
Format of pain-ng is in the
horizontal orienta-on
Recognisable post-‐
impressionist style:
-‐ Broken colour
-‐ Expressive, rather
than mime-c
brushstrokes and
colour
The bedroom interior
scene is just part of a
backdrop for the ac-on
that takes place within
the space
Bloody handprints
line the walls
Single decapitated
Aboriginal figure
Chair knocked
over
Furniture and
furnishing elements
are similar in style
and posi-on
Classical sculptured
heads rest on the bed
Format of pain-ng is in the
ver-cal orienta-on
Furniture and
furnishings are in
disarray
Benne3, Gordon
(Australian, b.1955)
The Outsider 1988
Oil, synthe’c polymer on
Canvas 290cm x 180cm
University Art Museum
Collec’on, University of
Queensland, Brisbane
Visual Arts: Comparative study. SB (HL) Page 7
Van Gogh as the archetypal “outsider”
As previously stated, BenneB’s choice to reference van Gogh in his work
The Outsider 1988 was a considered choice. Van Gogh remains the
archetype of the ar’st as insane genius. It is well documented that van
Gogh was very much the outsider at various stages of his life:
•
His early aspira’ons as a Protestant Minister ended when he failed
the entrance exam in 1877 and failed a three month Theology
Course in 1878
•
In 1879, he was dismissed from a lay (unpaid) missionary role where
he lived and worked among the impoverished coal miners in
Belgium. In living as they did, he was seen to bring “indignity to the
priesthood”.
•
Prac’cing as an ar’st from 1880, van Gogh never sold a single
pain’ng, despite placing his craf above his own physical well-‐being.
•
While exhibi’ng with the Impressionists from 1886, who were his
contemporaries, he remained very much on the outside of the social
circle. His ar’s’c inten’ons diverted significantly from the intent of
the Impressionists of capturing the flee’ng effects of light against a
surface.
van Gogh, Vincent
(Dutch 1853 – 1890)
Bedroom at Arles Second version, September 1889
Oil on canvas, 72 x 90 cm,
Art Ins’tute of Chicago
Hulsker (1990),pp. 60-‐73
Visual Arts: Comparative study. SB (HL) Page 8
Van Gogh as the archetypal “outsider”
Lack of understanding between the public’s lack of
understanding and cri’cal recep’on van Gogh received can,
according to Nathalie Heinich (1996), be explained in terms of
the difference between two levels of recogni’on: a
conven’onal interpreta’on tends to lump the public (or
audience) together in a global manner against the ar’st.
Heinich suggests …
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