Godwin Bradbeer

Godwin Bradbeer

Artist Profile

Biography

In 2014 I visited Crete and the archeological site of Knossos, the capital of ancient Minoan culture. I had a juvenile interest in mural imagery of the Minoan bull jumping that I had seen illustrated in encyclopaedias and art history books in my teens – kilted women facing a charging bull and appearing to leap, or perhaps summersault over the beast. These were images of heightened courage together with grace and an absence of cruelty that stood in stark relief to the bullfighting imagery of now. Poised in their symmetrical design, aspects of this ancient imagery seemed somehow appropriate to contemporary culture.
These images lodged in my mind. In the intervening years between then and now, most of my drawing has addressed men with degrees of pathos and contrition. A cyclical need for manifestly regenerative energy kept bringing me back to this imagery. I began a triptych drawing of a bull – a beast which is already its own exaggeration. Taming such fierce imagery to a calm descriptive neutrality was the challenge.
My studio is no Noah’s ark, but raiding my storage archive I found that in the eighties I had often addressed myself to men and beasts. The wild and the tamed. The two Fall drawings, from 1981 and 1984 are studies of generic man in headlong vertical descent, the second version – by unusual circumstance – torn almost entirely through its three metre length from top to bottom.
This is the nature of Beasts – an exhibition containing many wild works previously caged by studio walls. The Terribilata horse drawing from 1990 has been let out to pasture only once or twice, and the debased crawling man from 1980, comes to light after several decades hidden from view. Or additionally, the unfinished Tyger/Tyger — inspired by the William Blake poem of 1794 — I have frequently extended this symbolic dualism of man/beast two-by-two, within the double panelled format of the diptych. Nocturnal and solitary, this drawing has until now never seen the light of day; confined within its storage cylinder for 32 years, waiting to be enlivened and freed by the viewer’s gaze once again. I have drawn the bull, a creature without politics. I have drawn a calm Europa facing the bull with poise and indeterminate purpose.
There is a brutal aspect to some of this work, but the intention was and is never gratuitous. I regard artists to be like sappers under the wire, minesweepers advancing with the imagination into places where actual experience hopes never to tread.

In 2014 I visited Crete and the archeological site of Knossos, the capital of ancient Minoan culture. I had a juvenile interest in mural imagery of the Minoan bull jumping that I had seen illustrated in encyclopaedias and art history books in my teens – kilted women facing a charging bull and appearing to leap, or perhaps summersault over the beast. These were images of heightened courage together with grace and an absence of cruelty that stood in stark relief to the bullfighting imagery of now. Poised in their symmetrical design, aspects of this ancient imagery seemed somehow appropriate to contemporary culture.
These images lodged in my mind. In the intervening years between then and now, most of my drawing has addressed men with degrees of pathos and contrition. A cyclical need for manifestly regenerative energy kept bringing me back to this imagery. I began a triptych drawing of a bull – a beast which is already its own exaggeration. Taming such fierce imagery to a calm descriptive neutrality was the challenge.
My studio is no Noah’s ark, but raiding my storage archive I found that in the eighties I had often addressed myself to men and beasts. The wild and the tamed. The two Fall drawings, from 1981 and 1984 are studies of generic man in headlong vertical descent, the second version – by unusual circumstance – torn almost entirely through its three metre length from top to bottom.
This is the nature of Beasts – an exhibition containing many wild works previously caged by studio walls. The Terribilata horse drawing from 1990 has been let out to pasture only once or twice, and the debased crawling man from 1980, comes to light after several decades hidden from view. Or additionally, the unfinished Tyger/Tyger — inspired by the William Blake poem of 1794 — I have frequently extended this symbolic dualism of man/beast two-by-two, within the double panelled format of the diptych. Nocturnal and solitary, this drawing has until now never seen the light of day; confined within its storage cylinder for 32 years, waiting to be enlivened and freed by the viewer’s gaze once again. I have drawn the bull, a creature without politics. I have drawn a calm Europa facing the bull with poise and indeterminate purpose.
There is a brutal aspect to some of this work, but the intention was and is never gratuitous. I regard artists to be like sappers under the wire, minesweepers advancing with the imagination into places where actual experience hopes never to tread.

SOLO EXHIBITIONS
2019 ‘Beasts: Early and Recent Drawings’, James Makin Gallery, Melbourne.
2018 ‘Drawn to the Dark’ Curator Michael Brennan, Noosa Regional Gallery, Queensland
2018 ‘Godwin Bradbeer’ Exhibition and Thames and Hudson monograph launch. James Makin Gallery,
Melbourne.
2017 ‘Godwin Bradbeer in Seoul’, Space Zero Gallery, Sangmyung University, Seoul, Korea.
2017 Godwin Bradbeer, Stigma and Enigma. A Survey exhibition. Deakin University, Melbourne
2017 Episodes: Then & Now, James Makin Gallery, Melbourne
2015 Art Stage Singapore, International Art Fair, Singapore
2015 Delinquent Sublime: Early and recent works, James Makin Gallery, Melbourne
2014 Recent works, James Makin Gallery, Melbourne
2013 Pentimenti, James Makin Gallery, Melbourne
2011 Intermezzo, James Makin Gallery, Melbourne
2011 Crimes Against Modernity: Selected Drawings 1975 – 2011 Adelaide Central Gallery, SA.
2010 Gravitas James Makin Gallery, Melbourne
2009 Portraits in Exile Ardel Gallery of Modern Art, Bangkok, Thailand
2008 Soliloquy James Makin Gallery, Melbourne
2007 Aspects of the Metaphysical Body Annandale Galleries, Sydney.
2006 – Godwin Bradbeer – The Metaphysical Body – A Survey Curator Kirsten Lacey -Shepparton
Regional Gallery, VIC
McClelland Art Gallery and Sculpture Park,VIC
Orange Regional Gallery, N.S.W.
Icon Museum of Art, Deakin University, Melb., VIC
Latrobe Regional Gallery, VIC
Grafton Regional Gallery, N.S.W.
Mosman Art Gallery, Sydney, N.S.W.
Coffs Harbour Regional Gallery, N.S.W.
2005 Godwin Bradbeer – Selected Works Blacksphere Fine Art Gallery, Melbourne
2004 Godwin Bradbeer – Selected Works. Blacksphere Fine Art Gallery, Melbourne
2004 Human Shield, MOA Gallery, Heyri Art Valley, Paju, Korea
2004 Human Shield 11, Byuk Kang Hall of Arts, Kaywon Arts School, Seoul, Korea
2002 Godwin Bradbeer – Selected Works, Annandale Galleries, Sydney
2001 The Vessel of the Self, Photographs 1968 – 78, Bulle Galleries, Melbourne
2001 Man of Paper, Phyllis Palmer Gallery, La Trobe University, Bendigo
2000 Apologia/Olympia, BMG Art, Adelaide
1999 Apologia, Bulle Galleries, Melbourne
1999 Imago, John Batten Gallery, Hong Kong
1998 Verisimilitude, Victoria University Gallery, Melbourne
1998 Man of Errors, Lyall Burton Gallery, Melbourne
1995 Fear of Painting, Paintings and Drawings. Lyall Burton Gallery, Melbourne
1995 Disegno Interno, BMG Art, Adelaide, Drawings 1991-95
1994 Empirical Paintings, R.M.I.T. Faculty Gallery, Melbourne
1993 The Human Abstract, Lyall Burton Gallery, Melbourne
1992 An Illustrators Lullaby, David Ellis Fine Art, Melbourne
1990 Imitation of Light, David Ellis Fine Art, Melbourne
1987 Ornaments of Mercy, Gerstman- Abdallah Fine Art International, Melbourne
1987 Ash Cartoons, Holdsworth Contemporary Galleries, Sydney
1986 Black Drawings, Gerstman- Abdallah Fine Art International, Cologne, West Germany
1985 Catholic Sorrows, Gerstman- Abdallah Fine Art International, Melbourne
1983 Empirical Memos, Stuart Gerstman Galleries, Melbourne
1981 Ghosts, Stuart Gerstman Galleries, Melbourne
1979 Acts of Love, Stuart Gerstman Galleries, Melbourne
1977 Godwin Bradbeer – Recent Drawings, Stuart Gerstman Galleries, Melbourne

ART FAIRS + BIENNALES
2017 ‘2017 Jeonnam International Sumuk pre – Biennale’ , South Korea.
2017 Sydney Contemporary Art Fair, (James Makin Gallery)
2016 Art Stage Singapore, (James Makin Gallery)
2015 Sydney Contemporary Art Fair, (James Makin Gallery)
2014 Melbourne Art Fair, (James Makin Gallery)
2011 Korean International Art Fair (KIAF), Seoul, Korea, (James Makin Gallery)
2004 The Fifth Australian Drawing Biennale, The Drill Hall, Australian National, University, Canberra
2004 The Melbourne Art Fair, (John Batten Gallery)
2002 The Melbourne Art Fair
2000 The Melbourne Art Fair
1988 Los Angeles Contemporary Art Fair, Los Angeles, U.S.A.
1984 The International Art Fair, Basle, Switzerland. “Art 15 ‘85”
SELECTED INTERNATIONAL EXHIBITIONS
2019 Jour et Nuit, Nicol Rodriguez and Godwin Bradbeer, Galerie La Capitale, Paris, France
2019 Godwin Bradbeer and Bernard Le Quellec, Galerie Hoge Bomen, Veurne, Belgium
2019 Hands Across the Pacific, Australian Curator: Prof Ian Howard, Ningbo Museum of Art, Ningbo, Zhejiang Province, China.
2018 When Continents Meet No2, Curator; Nicol Rodriguez, Galerie La Capitale, Paris
2017 Jeonnam International Sumuk pre-Biennale, Curator; Seung- mi Lee, Mokpo, South Korea.
2011 Year of Friendship Australian Artists Seoul Exhibition, Seoul, KOREA
2006 19 Australian Artists , Curated Robert Godfrey., Elizabeth Holden Gallery, Warren Wilson College, Asheville, North Carolina, U.S.A.
2006 24 Hours Human Centre, Sangmyung University, Je Ju Island, Korea
2006 Between Longitude 18’ 63” Dongduk Gallery, Insadon, Seoul, Korea
2005 Gong – ju International Arts Festival, Gong – ju Art Museum, Gong – ju, Korea
2004 Gong- ju International Festival of Arts, Gong – ju Art Museum, Gong – ju, Korea
2004 Works on Paper, John Batten Gallery, Hong Kong
2003 Love Letter to China, Ivan Dougherty Gallery, College of Fine Art, Sydney, Touring Xian and Beijing China
1999 Works on Paper, Contemporary Australian Artists from RMIT. College of Fine Arts, Seoul National University, Seoul, Korea
1999 Works on Paper. Contemporary Australiam Artists from RMIT. College of Fine Arts, Seoul National University, Korea
1985 Gallery Artists, Gerstman-Abdallah Fine Art Int., Cologne, West Germany
1976 Recent Australian Photography, through South-East Asia, Japan, Pakistan, India and Africa department of Foreign Affairs- Touring Exhibition

SELECTED TWO AND THREE PERSON EXHIBITIONS
2019 Jour et Nuit, Nicol Rodriguez and Godwin Bradbeer, Galerie La Capitale, Paris, France
2019 Godwin Bradbeer and Bernard Le Quellec, Galerie Hoge Bomen, Veurne, Belgium
2008 The Axe Creek Project, Gallery Infinart, Victoria. Peter Schipperheyn and Godwin Bradbeer
2007 Lux in Tenebris Lucet RMIT School of Art Gallery, Melbourne. Installation Drawings and
Projected Works. Irene Barberis and Godwin Bradbeer
1999 Facsimile, Project Space, RMIT, Melbourne. Warren Breninger and Godwin Bradbeer.
2000 Precieux Paradigms, Westbank Gallery, Australian Academy of Design, Melbourne,
Bridget Heller and Godwin Bradbeer
1999 Facsimile, Project Space, RMIT, Melbourne. Warren Breninger and Godwin Bradbeer.
2000 Precieux Paradigms, Westbank Gallery, Australian Academy of Design, Melbourne, Bridget Heller and Godwin Bradbeer
1978 Vitreous and Aqueous Humour, Photography and Printmaking, (with Warren Breninger and Jamie Bradbeer), Gryphon Gallery, Melbourne
1978 The Way of Flesh, (with Warren Breninger and Rennie Ellis).Gryphon Gallery, Melbourne
1976 Eyelid on Eyelid (with Warren Breninger and Jamie Bradbeer). Brummells Gallery of Photography, Melbourne
1976 Fragments of the Human Race, Godwin Bradbeer and Warren Breninger. Drawing and Sculpture. Gryphon Gallery, Melbourne
1975 Mortal Trash is Immortal Diamond. Godwin Bradbeer and Warren Breninger. Brummells Gallery
of Photography, Melbourne
1973 Warren Breninger and Godwin Bradbeer, Monash University Student Union,
Paintings and Drawings. Melbourne
1971 Photographs – Warren Breninger and Godwin Bradbeer Icarus Gallery, Photographic Exhibition, Melbourne

SELECTED GROUP EXHIBITIONS
2019 The Line, BMG Art, Adelaide, South Australia
2019 Hands Across the Pacific, Australian Curator: Prof Ian Howard, Ningbo Museum of Art, Ningbo,Zhejiang Province, China
2019 Delineation, Hawthorn Town Hall Gallery, Melbourne
2018 When Continents Meet No2, Curator; Nicol Rodriguez, Galerie La Capitale, Paris
2017 Sydney Contemporary, Carriageworks, Sydney. Represented by James Makin Gallery.
2017 Jeonnam International Sumuk pre-Biennale, Curator; Seung- mi Lee, Mokpo, South Korea.
2012 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2011 Brummels: Australia’s first gallery of photography, Monash Gallery of Art, Victoria
2011 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2010 The Melbourne Art Fair, James Makin Gallery
2010 Drawing Out Festival and Conference of Drawing, RMIT University, Melbourne
2009 The Winter Collection 2009, James Makin Gallery, Melbourne
2009 New Figuration, James Makin Gallery, Melbourne
2008 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2008 The Winter Collection 2008, James Makin Gallery, Melbourne
2007 Keep It In The Ground, Anti Uranium Mining Exhibition, Collingwood Gallery, Melbourne
2007 Australian and International Works on Paper, James Makin Gallery, Melbourne
2007 Bodies and Minds, Charles Nodrum Gallery, Melbourne
2007 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2006 Crisis,Catharsis and Contemplation Curated by David Rastus. St Patricks Cathedral, Melbourne
2006 Float Curated by Louiseanne Zahra, Project Space, RMIT Melbourne
2006 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2006 The Jacaranda Drawing Prize, Grafton Regional Gallery and touring regional galleries N.S.W.
2005 The Dobell Prize for Drawing’ Art Gallery of N.S.W.
2004 Male Order, Wagga Wagga Art Gallery, N.S.W.
2004 The Fifth Australian Drawing Biennale, The Drill Hall, Australian National, University, Canberra
2004 The Dobell Prize for Drawing, Art Gallery of N.S.W.
2003 Sex and Death, Stephen McLoughlin Gallery, Melbourne
2003 The Dobell Drawing Prize, Art Gallery of New South Wales
2003 Reunion, The Art of Sixteen Graduates, George Paton Gallery, University of Melbourne
2003 Reclaiming the Mainstream, Art and Humanist Ideals, Counihan Gallery, Melbourne
2003 Works on Paper, Annandale Galleries, Sydney
2002 The Dobell Drawing Prize, Art Gallery of New South Wales
2002 RMIT Samyung Faculty Exchange Exhibition, Samyung University, Seoul, Korea
2002 Recent Aquisitions, Australian National Gallery, Canberra
2002 First Birthday Exhibition, Metro 5 Gallery, Melbourne
2001 Liberty, RMIT Storey Hall Gallery, Melbourne
2001 The Male Nude – A Private View, Charles Nodrum Gallery, Melbourne
2000 The Dobell Drawing Prize, Art Gallery of New South Wales
2000 Identities, La Trobe University, Bendigo
1999 The Dobell Drawing Prize Exhibition, Art Gallery of New South Wales, Sydney
1999 Exposures, Linden Gallery, Melbourne
1999 Australian Paper Art Awards, George Adams Gallery, Victorian Arts Center, and touring Canberra, Sydney and Perth
1999 Kedumba Invitation Drawing Award, N.S.W.
1999 The Fabric of Labour, Bulle Galleries Melbourne
1998 Stigma, University of Technology of Sydney, Group Show, Touring Sydney, Canberra, Adelaide, Bendigo, La Trobe Valley, Hamilton and Swan Hill
1998 RMIT Artists, Hong Kong Arts Cente, Hong Kong
1998 The Dobell Drawing Prize, Art Gallery of New South Wales (WINNER)
1998 Metamorphosis, Mornington Peninsula Regional Gallery, Group Show
1998 The Dobell Drawing Prize Exhibition, The George Adams Gallery, Victorian Arts Center, Melbourne
1994 R.M.I.T. Masters Students, Australian High Commission, Limkokwing, Kuala Lumpor
1992 The Nude, Heide Park & Art Gallery, Melbourne
1990 Artists at Phillip at La Trobe, La Trobe University Art Gallery, Melbourne
1986 The Figure, The Andrew and Lillian Pederson Invitation Drawing Prize, Queensland Art Gallery
1986 Directors Choice, R.M.I.T. Gallery, Melbourne
1986 Selected Contemporary Drawings, Heide Park and Art Gallery
1985 Oz Drawing Now, Holdsworth Contemporary Galleries, Sydney
1983 The L.J Harvey Memorial Prize for Drawing. Queensland Art Gallery
1983 New Art, N.G.V., Selections from the Michell Endowment
1980 Acquisitions for the Philip Morris Collection (Photography), Art Gallery of South Australia
1980 Drawn and Quartered, Photographs, Acquisitions, Art Gallery of South Australia,
Australian Contemporary Photography
1977 George’s Invitation Prize, Melbourne
1976 New Generation Victorians. Mornington Peninsula Arts Center
1971 Recent Photography, Icarus Gallery, Melbourne
1969 Strines Gallery, Melbourne, Group Exhibition
1969 Student Works. Argus Gallery, Melbourne
1968 Zetetic 2. Argus Gallery, Melbourne

AWARDS/GRANTS/PRIZES
Prometheus Art Award 2011, Finalist
GIAF Award, Gong – ju Art Museum, Gong – ju, Korea. 2004
The Dobell Drawing Prize, Art Gallery of New South Wales,
First Prize 1998. Finalist; 1999, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2011, 2012
Australian Paper Art Awards, 1999
Jacaranda Aquisitive Drawing Prize, Grafton Regional Gallery, 1996
The Doug Moran National Portrait Prize, Touring Exhibition, Finalist, 1996
Spring Festival of Drawing, Mornington Peninsula Regional Gallery, 1994
Dominique Segan Castlemaine State Drawing Prize, 1991
Visual Arts Board Grant, 1982
Essendon City Council Painting Prize Acquisitive, 1976

ARTWORKS

  • Portrait Anon 4Godwin Bradbeer Portrait Anon 4 2021 Drawing- chinagraph, silver oxide and pastel on paper 71 x 56cm $12,000.00 ENQUIRE →
  • Portrait Anon 3Godwin Bradbeer Portrait Anon 3 2021 Chinagraph and pastel on paper 76 x 57cm $12,000.00 ENQUIRE →
  • Portrait Anon 1Godwin Bradbeer Portrait Anon 1 2021 Chinagraph and pastel on paper 75 x 55 cm $12,000.00 ENQUIRE →
  • Imago - Lith IGodwin Bradbeer Imago - Lith I 2014 Lithograph 76 x 56 cm $1,750.00 ENQUIRE →
  • 45 Degree ProfileGodwin Bradbeer 45 Degree Profile 2014 Lithograph 76 x 56 cm $1,750.00 ENQUIRE →

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