Australia 1955 – 2014

  • France 1991-92


Melbourne, Victoria, Australia born 1950

printer, intaglio


Melbourne, Victoria, Australia commenced 1988

print workshop (organisation)

How to cross the void 1993 Description: set of 12 etchings
Place made: Viridian Press, 148 Smith Street, Thornbury, Melbourne, Victoria, Australia
Materials & Technique: prints, ink; paper soft-ground etching, printed in black ink, from one plate Support: Velin Arches 300 gsm paper
Manufacturer's Mark: no manufacturer's mark
Edition State: published state
Impression: printer's proof

Primary Insc: Signed and dated lower right below plate-mark in black pencil, 'G. Bennett '93'. Not titled. Inscribed with edition details lower left below plate-mark in black pencil, 'P.P.'.
Secondary Insc: Print workshop blindstamp lower right corner, 'VP' [within square].
Dimensions: plate-mark 29.3 h x 19.8 w cm sheet 60.4 h x 40.1 w cm
Acknowledgement: Gordon Darling Australia Pacific Print Fund, celebrating the National Gallery of Australia’s 25th anniversary, 2007
Accession No: NGA 2007.1438.1
Image rights: © The Estate of Gordon Bennett. Licensed by John Citizen Arts Pty Ltd and Viscopy
  • Purchased by the National Gallery of Australia, from John Loane, printer and Director of Viridian Press, Canberra, 2007.
  • Bennett drew on Malevich’s Black square across a range of works. The title of these etchings refers to the notion of the void – the point blank or ground zero that Malevich claimed for his Black squares, from which a new, non-representational art would emerge that would enable and embody artistic, personal and social freedom. Bennett questions the idea of freedom apparently embodied in Malevich’s black square. In these etchings, the black square is cast not as a utopian figure of hope, but as an ambivalent villain: the trapdoor or gallows, leading to death or nothingness.

    Text © National Gallery of Australia, Canberra