Artist Profile for Shorty Jangala Robertson < Back Shorty Jangala Robertson Shorty Jangala Robertson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SHORTY JANGALA ROBERTSON - NGAPA JUKURRPA (WATER DREAMING) SOLD AU$7,500.00 SHORTY JANGALA ROBERTSON - NGAPA JUKURRPA (WATER DREAMING) SOLD AU$4,500.00 SHORTY JANGALA ROBERTSON - NGAPA JUKURRPA-WATER DREAMING Sold AU$0.00 SHORTY JANGALA ROBERTSON - NGAPA JUKURRPA (WATER DREAMING) SOLD AU$7,500.00 SHORTY JANGALA ROBERTSON - NGAPA JUKURRPA (WATER DREAMING) SOLD AU$3,500.00 SHORTY JANGALA ROBERTSON - NGAPA Sold AU$0.00 top Anchor 1 PROFILE Shorty Jangala Robertson Shorty Jangala Robertson was born at Jila (Chilla Well), a large soakage and claypan north west of Yuendumu. He lived a nomadic hunter-gatherer lifestyle with his parents, older brother and extended Warlpiri family. They travelled vast distances across desert country, passing through Warlukurlangu, south west of Jila and Ngarlikurlangu, north of Yuendumu, visiting Jangalas, his skin brothers. His childhood memories consisted of stories associated with the Conniston Massacre of Aboriginal people and close to Jila, families were shot at Wantaparri. Shorty Jangala Robertson had virtually no contact with white fellas during his youth but remembered leaving Jila for Mt Theo 'to hide' from being shot. His father died at Mt Theo, after which Shorty and his mother moved to Mt Doreen Station, and subsequently the new settlement of Yuendumu. During World War II, the army took people from Yuendumu to the other Warlpiri settlement at Lajamanu. Shorty was taken and separated from his mother, however, she came to get him on foot and together they traveled hundreds of miles back to Chilla Well. Drought, food and medical supplies forced Shorty and his family back to Yuendumu from time to time. His working life was full of adventure and hard work for different enterprises in the Alice Springs Yuendumu area. He finally settled at Yuendumu in 1967 after the Australian Citizen Referendum. It is extraordinary in all his travels and jobs over his whole working life, that he escaped the burgeoning and flourishing Central Desert art movement of the 1970's and 1980's. Thus Shorty's paintings are fresh, vigorous and new. His use of colour to paint and interpret his dreamings of Ngapa (Water), Watiyawarnu (Acacia), Yankirri (Emu) and Pamapardu (Flying Ant) was vital, yet upholding the Warlpiri tradition. He lived at Yuendumu with his wife and fellow artist Lady Nungarrayi Robertson until he passed away in 2014. ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

AndrewBrook Brook Andrew Brook Andrew 1970 Born in Sydney and university educated, Brook Andrew is an artist, curator, lecturer and writer who is connected through his mother’s kinship to the Wiradjuri who live around Cowra in New South Wales. Through his work in a variety of areas, Andrew, a fervent and forthright social commentator, explores the history of race relations in Australia, colonialism, ethnography, cultural identity, gender politics, globalization, and other themes by employing powerful postmodern imagery, delivered with sociological savvy and slick visual appeal. His high impact, high-energy works are immediate, urgent, and can be at once both beautiful and humourous. They comment on, and elicit responses from, both Indigenous and non-indigenous viewers through a variety of computer-generated photo-media including conventional screen print, neon projected on to large-scale screens lit from behind, and printing on to Duraclear, a material conventionally used in advertising. Created on a large scale, and produced in a refined yet glossy pop style his works are provocative, challenging, and visually dynamic. To Brook Andrew the political is inseparable from the artistic – Art is Polemic, His most recognisable image, and the work that shot the artist to political and artistic prominence, is titled Sexy and Dangerous 2002. It is a name that encapsulates a clever double entendre; poking fun at the art world, whilst implicitly and more seriously, criticising a number of remnants of colonialist thought that continue to exist in society in general. The nineteenth-century archival image depicts the head and torso of a naked virile and handsome young man adorned only in ceremonial body paint, nose-bone and headdress, set against Mandarin and English text. It is a play on the notion of ‘the noble Aboriginal savage’. The archival ‘ethnographic’ image is a studio photograph taken at the turn of the twentieth century, with the purpose of recording species in the colonies (in particular, dying species) to be sent back to England; part curiosity, part documentation. By placing such an image in a contemporary context Andrew invokes a dangerous politic. One which argues that just like early 20th century ethnographic photography, a century later we are just as prone to conventional categorisations in relation to the black body; the black artist and black art. Just as with Tracy Moffatt and Gordon Bennett who refuse to be categorised as ‘Aboriginal’ artists, to describe Andrews as a contemporary Aboriginal artist should be done with some hesitation. Part of the ongoing dialectic of Andrew’s work is a challenge to that kind of casting, by which the art world defines artists, and in doing so, makes them marketable. ‘When I first started making art, people would label me as ‘the gay black artist’… But at the end of the day, I’m part of a broader art spectrum’ (Andrews, speaking on Message Stick, ABC, 2004). Beyond his own art practice, Brook Andrew has, in recent years, assumed an active role in cultural politics, convening the program ‘Blakatak’ at the Museum of Contemporary Art in Sydney, 2005, and delivering a paper at the Globalisation and Post-colonial Writing conference in Kolkutta, India. ‘Blakatak’, the onomatopoeic title taking root in the so called ‘blak art' movement, represents a unique development of Andrew’s self-identified position as a political shaker. Rather than facilitating a program of thought centred around Aboriginal art per se, Andrews chose to bring into focus an exploration of a ‘non-culturally dominant approach’ to contemporary art (Meanjin, 2005: 142). Interesting, because as Andrews perspicaciously observes, discussions set around an oppositional dialectic (us/them, blak art/art world) often only serve to reinforce that very divide. This broad awareness of cultural hybridity is manifest in Andrew’s art. His most recent work might be described as a study in detournement, or ‘culture jamming’ – the destabilisation of image through the introduction of a distortive visual or textual element. Blair French (1999) writes ‘a difficulty of Brook Andrew’s work – and also a source of its fascination – [is] a simultaneous aestheticisation and critique of the image’. In later works Andrew has added an ongoing textual element to his work that deliberately, sometimes violently, goes against the grain of the image. In Dhally Yullayn (Passionate Skin) 2005, nationalist symbols are set against each other as warring images, the Australian emu eating (or vomiting) the acronym USA, to the backdrop of the Union Jack. The title belies the violence of the image. If success in getting your message across is measured in prominence, then Brook Andrew has surely succeeded, to this point in time at least. The notoriety Andrew has enjoyed since creating Sexy and Dangerous in 2002 has enabled him to continue to push artistic boundaries on a number of fronts. In 2004 he produced a series of black nudes on Cibachrome. These works titled Kalar Midday (Land of the Three Rivers) are starkly beautiful and no less provocative than his early work. His 2005 exhibition Peace and Hope at the Gallery Gabrielle Pizzi suggested a more transcendental direction, perhaps the expression of a less reactionary, more considered, academic Andrew. Not that he is likely to give up producing high impact work. His popular acclaim lies in the fact that he is both playful and political, delivering dangerous work with a spoonful of sugar. The saccharine, illuminated canvasses allow us to laugh at ourselves and instinctively feel guilty for laughing and then, perhaps, to understand something of the political message. Brook Andrew created no less than ten solo exhibitions between 1996 and 2006 as well as participating in Australian Perspecta 1995 at the Art Gallery of New South Wales, the Adelaide Biennial of Australian Art in 1996; participating in important exhibitions in New Caledonia, the Netherlands and Japan; and undertaking several overseas residencies throughout 2000-2006. In 1998 he was won the Kate Challis RAKA Award, for an artwork by an Aboriginal visual artist and in 2004 won the Work on Paper Award at the 21st Telstra National Aboriginal & Torres Strait Islander Art Award. Brook Andrew has been a prodigious and conspicuous artist in the primary market only since 1996 and, despite producing thoughtful work of quality since that time, is most widely recognised for his now famous image Sexy and Dangerous, which has attracted an unusually high level of both commercial and political interest. The piece, created in 1996 in an edition of ten transparent digital images on Perspex, first sold at auction for $14,100 at Christies in June 2002 against an estimate of $6,000-8,000 (Lot 19). Another, offered by Sotheby’s in October 2004 estimated at $12,000-18,000 sold for $33, 400 (Lot 144) while just 18 months later in June 2006 Deutscher~Menzies offered another copy at $20,000-30,000 and achieved $36,000 (Lot 37). However when it appeared in August 2007 (Lot 111) at Bonham’s & Goodman Melbourne it carried a far more ambitious estimate still. Their optimism was rewarded in spades when it sold for a staggering $84,000 against the presale estimate of $50,000-80,000. With interest at this level, Sexy and Dangerous had joined Tracy Moffatt’s Something More to become one of Australia’s defining and classic iconic Aboriginal images. Since its first release in 1996, Andrew reproduced Sexy and Dangerous in two separate editions. In June 2006 Deutscher~Menzies offered another smaller version at $20,000-30,000 and achieved $36,000 (Lot 37). In 2008 another work Sexy and Dangerous II created by the artist as a duraclear print mounted on Perspex in 1997 entered the artists top ten recording a sale of $21,600. The same image sold in 2015 for $29,455 Since creating these Sexy and Dangerous images in the 1990s, Andrew has experimented with new mediums and themes that impart a technological and conceptual sophistication. He continues to use slick materials to give his works an edgy and alluring finish, with his aim focussed at a far wider audience than the actual purchaser. The pop art aesthetic realised in Duraclear, Cibachrome, neon, and advertising materials demands attention from the viewer, while furnishing the artist with a range of reproductive possibilities, which he has seized upon. These have consistently proven to be his most successful works commercially. In 2019, for instance, Australia I, a silkscreen image (2nd in an edition of 3) in gold leaf and mixed media on linen measuring 200 x 300 cm entered his top ten rsults at 4th place after reaching $46,300 at Deutcher & Hackett. Nevertheless, many works are likely to struggle to hold the value placed on them by his representative galleries, which have increased his prices steadily in line with his rising profile. While Brook Andrew is likely to continue to be one of the favourites of the curatorial museum set, it is unlikely that any but a limited range and number of his works will continue to hold interest and grow in value on the secondary market. Screen prints and photography have been notoriously unsuccessful at auction for all but a handful of artists, now mainly deceased, unless the image and materials make a powerful and immediate impact. Andrew’s 2004 exhibition, Kalar Midday (Land of Three Rivers Series) comprised dark glossy photographs on Cibachrome, suggestive of a very subtle politic - a polemic pertaining to beauty, the politic of the black body. They had echoes of Bill Henson’s aesthetic about them however, unlike Henson, Andrew produced these prints in admittedly small, but limited editions. While these are likely to hold some interest for collectors it would be surprising if his 2005 works collectively entitled ‘Peace and Hope’ were to increase significantly in value over time. This collection of screen prints represents a return to Andrew’s fascination with packaging and advertising. Despite the prominence and overwhelming popularity of the Sexy and Dangerous series, other works have begun to command respectable prices at auction as well. 2016 saw Ignoratia (Kookaburra) fetch $22,000 against a high presale estimate of 16,000 (wedging into his top ten at number 9) and 2017 saw a sculpture, Suitcase #1, achieve $18,600 against a presale estimate of $8,000 - 12,000. This might signify that secondary market collectors are beginning to appreciate the artist for his overall vision rather than just his most popular images. Works from the Sexy and Dangerous series now hold seven of Andrew’s highest prices at auction. The most important guide, I suspect, to secondary market interest in his work was the failure of another image from the Sexy and Dangerous series. This failed to sell at Christies in London when offered with an estimate of GBP10,000-15,000. Once again the comparison to Tracy Moffatt is apt. Of the dozen or more works in her Something More series only the iconic ‘title work’ has sold for prices in excess of $150,000. The best of the others have fetched no more than $45,000, while many fail to attract any interest at all. This has led the artist, in what appeared at first to be the most bizarre of reactions, to forbid copyright permission on this one image alone, lest it lead to the perception that she is a one trick pony. While this is neither true of Moffatt or Andrew, who are both capable of powerfully interesting work, the success of these two images is both a burden and a blessing. Brook Andrew is still quite young and has made a major impact during the past ten years. While it is still far too early make any firm predictions in relation to his work, watch out for anything with a seamless finish and menacing, sexual or emotional undercurrent. I suspect that these are likely to set the market on edge whenever they make an appearance in the future. Explore our artworks See some of our featured artworks below ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 BRONWYN BANCROFT - UNTITLED Out of stock JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00 SHOP NOW

HELEN S. TIERNAN | MEMORY SPACE Cooee Art Redfern & Online From 17 April to 08 May 2021 Viewing Room HELEN S. TIERNAN | MEMORY SPACE Artists: Helen S. Tiernan From 17 April to 08 May 2021 Cooee Art Redfern & Online Helen S. Tiernan uses her art like an archaeological tool, to interrogate, challenge and explore the many layers and contradictions that lie below the surface of contact history. From her earliest years at Canberra School of art, Helen’s interest lay in narrative, historical, satirical, and romantic art. She began by using the embossed and relief patterning found in decorative interiors, employing wallpaper as a metaphor in validating and acknowledging the historical female domestic experience, including the claustrophobia and repressive control that creative women experienced within the confines of their homes and family and extrapolated this to Aboriginal women in servitude. In 2014, Tiernan presented Farming Without Fences, her first solo exhibition at Cooee Art. The exhibition was profoundly influenced by Bill Gammage’s ground-breaking book, The Biggest Estate on Earth - How Aborigines Made Australia. The paintings, like the book, explored the contrasting ways our ancient continent has been viewed and ‘managed’ by colonisers and First Australians. By 2017, Helen had turned her attention to the theme of first contact in the antipodes, drawing upon material that documented the process of ‘transculturation’, during the 235 years since Australia colonisation. Her richly research-based art mined both European and Indigenous archival records from the colonial art of Joseph Lycett to Tupia (James Cook’s Polynesian navigator) to the imagery of William Barak and Tommy McRae. Her works were alive with contemporaneous references to the writing of Paul Irish Hidden in Plain View, Bruce Pasco Dark Emu, Bill Gammage The Greatest Estate on Earth, and art historian Ian McLean, revealing the intimate knowledge of, and deep connection to, Country. The exhibition, Transculturation - Sublime & Surreal Encounters of First Encounters in the Antipodes, featured three major works about Cook’s adventures in the Pacific and the role played by his Polynesian navigator Tupia. All three were acquired by the National Maritime Museum. In this latest exhibition, Helen S. Tiernan has been inspired by the ground-breaking international touring exhibition Songlines - tracking the seven sisters. Foremost amongst a number of other influences have been The Memory Code, written by Lynne Kelly, thus the exhibition title, and Alison Page’s Clever Country. In this exhibition Tiernan’s landscapes are cultured spaces, repositories of ancient knowledge and deep memory. They are storied with Songlines and Tjukurrpa and inflected with the moralities arising from mythology that reminds us of how values and identities are formed. By re-digesting and transforming history through her own creative process Helen S. Tiernan challenges us to revisit and re-interpret it. Her works present us with Songlines that are richly multi-layered post-contemporary insights into what it means to be a truly cognisant Australian. - Adj. Professor Margo Neale | Head: Centre for Indigenous Knowledges, National Museum of Australia Senior Indigenous Curator National Museum of Australia VIEW CATALOGUE EX211

Gathul’puy | Belonging to the Mangroves Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney 14th December 2024 - 11th January 2025 Gathul’puy | Belonging to the Mangroves Munhala Dhamarrandji & Muluymuluy Wirrpanda 14th December 2024 - 11th January 2025 Gathul’puy | Belonging to the Mangroves Munhala Dhamarrandji & Muluymuluy Wirrpanda 14th December 2024 - 11th January 2025 Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney Gathul’puy [Belonging to the Mangroves] | Munhala Dhamarrandji and Muluymuluy Wirrpanda Gathul’puy showcases the works of two First Nations artists from the Buku-Larrnggay Mulka Centre, Munhala Dhamarrandji and Muluymuluy Wirrpanda. Drawing from their ancestral landscapes and daily connection to Country, the artists weave stories of Arnhem Land’s ecosystems, traditions, and identity into each intricate painting. “Muluymuluy and Manhala are two very different artists. But there is a synergy between their work. They are both inspired and informed by a lifetime of intimacy with the land. The fluidity and instinctive organic feel flows from this... Imagine if your day to day ‘job’ was not a commute to an office but a journey to the mangroves, jungle or beach to winkle your daily sustenance from the earth. This moulds you to a certain hyperawareness of the shapes and forms of nature. Because without this heightened sense you cannot unlock the necessary nutrition required by your family." Gathul'puy [Belonging to the Mangroves] offers a profound glimpse into Yolŋu culture through the works of Munhala Dhamarrandji and Muluymuluy Wirrpanda. Art Leven is proud to present this exhibition, a celebration of Yolŋu heritage and the enduring bond between land, knowledge, and creativity. Munhala Dhamarrandji Muluymuluy Wirrpanda View Catalogue MUNHALA DHAMARRANDJI - GOMU' Sold AU$0.00 MUNHALA DHAMARRANDJI - BATJIMURRUNU Sold AU$0.00 MUNHALA DHAMARRANDJI - GOMU' Sold AU$0.00 ExGathul

Artist Profile for Amy Loogatha AKA: Amy Rayarriwarrtharrbayingathi Mingungurra Loogatha < Back Amy Loogatha AKA: Amy Rayarriwarrtharrbayingathi Mingungurra Loogatha Amy Loogatha (1942 - ) AKA: Amy Rayarriwarrtharrbayingathi Mingungurra Loogatha Region: Far North Queensland Community: Dulkawalne, Bentinck Island, Qld Outstation: Nyinyilki Language: Kaiadilt Art Centre: Mornington Art Centre ARTIST PROFILE ARTIST CV MARKET ANALYSIS "I remember getting a message that Aunty Sally Gabori was coming over to Bentinck to show us something. She brought one of her paintings and gave it to Ethel. It was beautiful. So, we decided that we would follow Sally and paint too. I got a shock when I went to the Art Centre and saw all my sisters and Aunties painting. Now I paint with them. READ FULL ARTIST PROFILE AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY SOLD AU$5,600.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... SOLD AU$5,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY SOLD AU$4,250.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - RAMBARAMBA SOLD AU$4,250.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - DULKAWALNE SOLD AU$3,750.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALT PAN SOLD AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... SOLD AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALT PAN SOLD AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALT PAN SOLD AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - PLACE WHERE TWO RIVER ... SOLD AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - BADA WARRKU -LATE AFT ... SOLD AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... SOLD AU$2,000.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALTPAN Sold AU$0.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - RUKUTHI SOLD AU$5,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - SALT PAN AT NYINYILKI SOLD AU$4,250.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - BADA WARRKU - LATE AF ... SOLD AU$4,250.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY SOLD AU$3,750.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY SOLD AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - SALT PAN AT NYINYILKI SOLD AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - KABARA - SALT PAN SOLD AU$3,300.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... SOLD AU$2,750.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - SALT PAN WHERE TWO RI ... SOLD AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - PLACE WHERE TWO RIVER ... SOLD AU$2,500.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... SOLD AU$2,000.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - MY COUNTRY SOLD AU$2,000.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - LATE AFTERNOON SUN - ... Sold AU$0.00 top Anchor 1 PROFILE Amy Loogatha (1942 - ) Region: Far North Queensland Community: Dulkawalne, Bentinck Island, Qld Outstation: Nyinyilki Language: Kaiadilt Art Centre: Mornington Art Centre "I remember getting a message that Aunty Sally Gabori was coming over to Bentinck to show us something. She brought one of her paintings and gave it to Ethel. It was beautiful. So, we decided that we would follow Sally and paint too. I got a shock when I went to the Art Centre and saw all my sisters and Aunties painting. Now I paint with them. I was born behind Nyinyilki on Bentinck Island. I remember when I was small, and planes used to fly overhead we used to run and hide in the mangroves. It was fun playing and growing up on Bentinck as small girls but that soon changed when they came and took us away and dumped us on Mornington Island on 1946. Life was very hard in the dormitory. We were fed flour with weevils in it, we had to bathe in saltwater and our clothes were made out of rough material like the canvas we now paint on. I went out to the mainland to work for a few years on stations before coming back to Mornington and having children. When our land rights came it was great to be free of Mornington Island and be able to return to our home. I took my grandchildren with me to show them their traditional Country and to live on our homeland once again." "My country is behind Nyinyilki, this is where I was born on a saltpan under the ti-trees. You can see Sweers Island from here. My Father, King Alfred, was dragging grass across the sea with his other wives, to catch fish. He didn't know I was coming. It was my Aunty who ran to let my father know. My Grandmother delivered me, she was the one that cut my cord with a special shell. They thought I would be a boy because I was so big in my mother’s tummy. My Father put me in a coolamon and carried me all the way to Oak Tree Point, a better place to camp. It was a long way to walk all that way carrying me." “Rukathi is on Bentinck Island, we also call it call it Oak Tree Point. This is the place where our Father, King Alfred, is buried. Our last name is supposed to be Rukathi, but the missionaries mispronounced it and today we are known as Loogatha.” ABC article: My name is Bereline and Amy Loogatha is my Mother and I would like to share three stories she’s spoken of over the years during my conversations with her. As you may be aware she lived at a time when there was tribal fighting and early contact with Europeans. This story is about her and her father’s reaction to any strangers arriving in boats. My Grandfather was made larger than life to me and my siblings. She loved and admired him and so he too is a part of her art work and also the Country she grew up in. She said,” My father King Alfred taught us my sisters and myself to run and hide in the sand dunes and thick scrubs eveytime strangers specially ones in boats would come to Oaktree Point. I remember he would pick up my baby brother Peter and throw him on his shoulders with spears and fighting sticks in his hand and up the big sand dunes he would go running (she would laugh at this point of the story). Yeah, we would sit and wait quietly until they went away. If us children made any noise, he would wack us with his club so we soon learned early to stay quiet.” My mother always sits and watches the sunsets. I would be busy and she’d say to me “Come come look at the sun - look at the sky it’s so pretty,” so off I’d go to see her sunset she stands there as if memorising every color red and oranges her favorite colours. Then she’d say “I’m going to paint that”. If the sky had pink shades she’d say “It’s going to be a cold night.” It’s the same with the claypan. She would talk about all the country she walked on that was red, orange, and white, and sometimes blue when the tides came in. You see her beloved home Bentinck Island is littered with clay pans - they divide the Island. My Mother remembers the time she and her family were removed from Country. She laughs a lot when telling this story perhaps to hide her pain. She said “We was all on that boat getting ready to sail to Mornington Island. We (her and her sister) heard Mum Phoebe (his mother) crying and then we realise that our little brother Peter was standing on the shore waving us goodbye - my sister and I we starting crying and yelling with our mothers for the people to stop and go back which they did and the whole family was happy we were together again”. For all the trauma my Mother and her people endured her memories of Family Country kept her balanced. ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Jean Apuatimi Baptiste < Back Jean Apuatimi Baptiste Jean Apuatimi Baptiste ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JEAN APUATIMI BAPTISTE - PARMAJINI SOLD AU$8,000.00 top Anchor 1 PROFILE Jean Apuatimi Baptiste ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Freddie Timms < Back Freddie Timms Freddie Timms 1944 - 2017 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE FREDDIE TIMMS - GUNAMBORINY COUNTRY (TRIPTYCH) SOLD AU$70,000.00 FREDDIE TIMMS - PURNULULU – (PICCANINNY GORGE) SOLD AU$775.00 FREDDIE TIMMS - MOOK MOOKS (SLEEPY OWLS) Sold AU$0.00 FREDDIE TIMMS - BRUMBY YARD (BOW RIVER STATION) Sold AU$0.00 FREDDIE TIMMS - SPRING CREEK HEAD - TRIPTYCH Sold AU$0.00 FREDDIE TIMMS - KILLARNEY BORE Sold AU$0.00 FREDDIE TIMMS - WOONDAWOON Ā€“ CHARLIE BIGHT CREEK Sold AU$0.00 FREDDIE TIMMS - MOOWARRAN COUNTRY Ā€“ BRUMBY YARD Ā€“ BOW RIVER STATION Sold AU$0.00 FREDDIE TIMMS - MOAT CREEK YARD Sold AU$0.00 FREDDIE TIMMS - MOONLIGHT VALLEY SOLD AU$35,000.00 FREDDIE TIMMS - PUPPYDOG PLAIN (TRIPTYCH) Sold AU$0.00 FREDDIE TIMMS - WAROOBAN Ā€“ BEEFWOOD YARD Sold AU$0.00 FREDDIE TIMMS - TAMBARELLA (COMET) Sold AU$0.00 FREDDIE TIMMS - VICTORY HOLE Sold AU$0.00 FREDDIE TIMMS - FOUR MILE PLAIN Sold AU$0.00 FREDDIE TIMMS - ANTSPRING Sold AU$0.00 FREDDIE TIMMS - UNTITLED Sold AU$0.00 FREDDIE TIMMS - WOLF CRATER Sold AU$0.00 top Anchor 1 PROFILE Freddie Timms 1944 - 2017 Freddie Timms began painting in 1986, inspired by the elder artists already painting at Frog Hollow, a small outstation attached to the community at Warmun, Turkey Creek. He was by then, forty-two years old and had lived an eventful life as a young stockman on stations throughout the East Kimberley region. Freddy was born at Police Hole in 1946 and followed in his father’s footsteps, becoming a stockman at Lissadell Station. At the age of twenty, he set out to explore and work on other stations. It was during this time that he met and worked alongside Rover Thomas who was to have a lasting influence on him. In 1985, he left Lissadell, to which he had returned after retiring from the physically demanding stockman’s life. He settled at the new community established at Warmun, where he worked as a gardener at the Argyle Mine. He eventually moved out to Frog Hollow with his wife Berylene Mung and their four children, taking a job as an environmental health worker and assuming responsibility for the general maintenance of the small community. While in the company of elder artists such as Rover Thomas and Hector Jandanay, who were already painting and achieving notoriety at this time, Timms requested art materials from Joel Smoker, the first art coordinator at Waringarri Arts in Kununurra. Smoker visited the community on a regular basis and recognized Freddy’s potential in his first distinctive canvasses and confident grasp of the medium. In a career that spanned more than 20 years, Freddy Timms has become known for aerial map-like visions of country that are less concerned with ancestral associations as with tracing the responses and refuges of the Gidja people as they encountered the ruthlessness and brutality of colonisation. However, his political nature is characterized by more intimate interpretations of the experience rather than overtly political statements. His first exhibition held at Deutscher Gertrude Street Gallery in Melbourne in 1989 was received with critical acclaim and included a superb masterpiece, Mandangala, North Turkey Creek 1990. In what appeared as a new and beautiful sense of irregular geometry, soft yet boldly defined blocks of colour depicted the area of Glen Hill and the Argyle Diamond Mine to the north of Turkey Creek. The fact that it now lay beneath water, having been flooded by the damming of the Ord River, made the work all the more poignant. There had been no consultation with the traditional Gidja owners. The places where he and his countrymen used to walk and camp, along with all its ancestral burial grounds and sacred places, were simply buried beneath the rising waters. This underlying political dimension has remained implicit in Freddy Timm’s work throughout a career which has been punctuated by a number of politically explicit works. Another work, Whitefella-Blackfella, acquired by the National Gallery of Australia, overtly states the position of Aboriginal people in Australian society, placing ‘whitefella’ figures at the top, beneath which are painted Chinamen, then African and then finally 'blackfella right down at the bottom'. By the mid 1990’s Freddy had become a seasoned exhibitor having traveled to Melbourne once more to accompany and paint with Rover Thomas. He painted a large body of works for Kimberley Art Gallery through its association with the Warmun Community, including two works which currently hold the artist’s highest and third highest prices at auction. Both employ a broader, more colourful palette than the natural earth pigments widely adopted by other East Kimberley artists. This development in his work was widely perceived as a move away from traditional practice and was attributed, at the time, to the influence of Frank Watters, to whom the artist had been introduced by his mutual friend, Tony Oliver. Watters was widely reported as being concerned that Aboriginal artist’s be treated on equal terms as non-aboriginal artists and set about steadily building the value of his works as well as his public profile. His solo exhibition with Watter’s Gallery in 1999 explored the history of an Indigenous bushranger named Major who was shot by police in 1908, after killing whites at Blackfeller Creek. Major holds a strong place in Gidja history, much like Ned Kelly, but remains an ambiguous hero, as his knowledge of the bush reputedly led white men to Gidja camps leading to genocide. Timm’s depiction of Major was influenced by his visit to an exhibition of Sydney Nolan’s Ned Kelly series, evident in the squarish shape he gave to Major’s head. Timms eventually left Frank Watters and after a moderately successful show with Goold Gallery, left Sydney for Crocodile Hole to establish, with Oliver’s help, the Jirrawun Aboriginal Art Corporation. Having firmly established his reputation in the wider art world he produced works of consistently high quality since that time. Although he has yet to achieve a similar level of acclaim to that of the founders of the East Kimberley movement, Freddy Timms is foremost amongst those artists of the second generation. His was a unique Gidja perspective on the history of white interaction with his people. It is hard to think of another who expressed more poignantly through their art the sense of longing and the abiding loss that comes from the separation from the land that embodies one’s spiritual home. ARTIST CV Market Analysis MARKET ANALYSIS Freddie Timm’s work first appeared at auction as early as 1995 when the sole work on offer measuring 60 x 80 cm with Warringari Arts provenance sold at at Sotheby's for just $1,840. It would be worth at least ten times that amount today. By the end of 2001 however, no less than 23 works had been offered of which 21 had sold at an average price of $5,140. While his clearance rate may have dropped from this high water mark of 91% to the still very respectable 70%, his average price has doubled to $10,064 and is set to continue rising, given he is now statistically the 32nd most successful of all living artists. Interestingly, source provenance appears to mean little in determining the value of secondary market sales for works by Freddie Timms. Nor does the period in which works were painted and whether acrylic, powder pigment or natural earth ochres were used as the medium. Size is the major price determinant, along with the aesthetics of the image itself. Those works with a crisp clean contemporary look that achieve harmony and balance through a combination of shape and colour have sold successfully, while those in which bright contrasting colours combine with an unbalanced composition seem to fare badly. The average price of his major paintings at auction (larger than 180 x 200 cm) is around $31,000, works in the mid range have sold for an average of only $8,500 (approx 180 x 120 cm) and smaller works average just $5,500. Despite this, the artist’s third highest price was achieved by Mandangala, North Turkey Creek 1990 a work produced for Waringarri Arts measuring just 120 x 160 cm. This wonderful painting sold within the estimate range of $40,000-60,000 at $52,200 in Sotheby’s July 2005 auction (Lot 45). It was however eclipsed the following year when My Country 1996 a work produced for Kimberley Art in Melbourne and comprising five 120 x 240 cm panels executed in the artist’s more contemporary style, sold for $66,000 against a pre-sale estimate of $80,000-100,000 in Lawson~Menzies Sydney November sale (Lot 55A). (This same five panel work re-sold by private treaty through Cooee Art in 2019 for $100,000). Another work in the artist’s contemporary style created for Kimberley Art had sold two years earlier and held the record at that time. Titled Lake Argyle Triptych 1996 and measuring a whopping 180 x 360 cm it realised its mid estimate in Lawson-Menzies May 2005 auction (Lot 47). Yet in 2010 a new second place record was established for a work in the more traditional style and palette, with the sale of Top Country 1996 at Mossgreen in August for $53,479 (Lot 39). This confirms that neither period nor aesthetic style is clearly preferred. Timm’s created a number of limited edition prints during the last 15 years of his life and these have sold for little more than their initial primary market retail price. His highest price for a print was set in 2007 when a serigraph (7/25) titled Lissadell Station 1996 estimated at $1,000-1,500 sold for $960 in Lawson~Menzies May 2005 sale (Lot 148). His record for an original painting on paper is $10,800 which was set in 2007 at Lawson~Menzies. All of the artists 20 highest results having been recorded since 2003. Although only four of the eight works offered in 2002 sold, he has been a far better performer since that time with 87 of the 117 works offered between 2003 and 2010 being successful resulting in a 74% clearance rate. Between 2011 and 2015 this fell to 63% with 38 of 60 having sold. This is likely to have been due to the release of more appealing works that were commissioned by Kimberley art through auction houses such as Lawson~Menzies prior to 2009, including three of the artists ten best results and eight of his best twenty. This began to lower from 2009 onward, when a broader range of auction houses began to represent Timms. Eight of Timms' highest 20 prices have been established since 2010, though 2015 proved a flat year for the artist with a heafty 21 works offered for sale of which 13 found new homes, though none recorded a top 10 price. In 2017, of the 12 works on offer, only three were passed in, with an average price of just under $12,000. In 2019 eight works sold of 13 at an average price of $7,298. Thoughthise was well below his career average of $10,064 he finished as the 19th most successful artist that year compared to his career standing at 32nd in the movement. Overall, works by Freddie Timms have steadily improved in value and while they are unlikely to escalate rapidly into the future, Timms continued to produce works of great integrity and interest right up until his passing in 2017, when he had established himself as the most important artist working in the East Kimberley. With his passing, and the demise of Jirruwun arts Freddie's works hve almost completely dried up in the primary market. Now principally sourced through the secondary market, his work will endure and steadily gain in status over time. Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Beryl Nakamarra Gorey < Back Beryl Nakamarra Gorey Beryl Nakamarra Gorey ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Beryl Nakamarra Gorey ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Art Leven (formerly Cooee Art) cares about artists and supporting their work and livelihood. Our gallery team has travelled regularly to remote areas of Australia since 1981 to meet with artists on country to establish the exhibitions that we program and the works that we sell. PROVENANCE & ETHICS GALLERY TALKS & TOURS VENUE HIRE BUY & SELL PROVENANCE & ETHICS HOW TO BUY ART BUYING FROM GALLERIES WHY BUY FROM ART LEVEN? OUR COMMI TMENT Art Leven (formerly Cooee Art) cares about artists and supporting their work and livelihood. Our gallery team has travelled regularly to remote areas of Australia since 1981 to meet with artists on country to establish the exhibitions that we program and the works that we sell. How a person or business works with Indigenous artists and their cultural material is a reflection of their knowledge, intellect and core values. Indigenous people may be the inheritors of the oldest continuous living culture in the world but they are amongst the most disadvantaged in Australia. Those who do business with them, therefore, have a responsibility to treat them with respect and, in the case of important elders, reverence. Art Leven (formerly Cooee Art) has worked with Australia's First Nation artists for over 40 years showing the work of over 150 individual artists. It was a foundation member of the Australian Aboriginal Art Association and the Indigenous Art Code . Art Leven (formerly Cooee Art) is committed to the following core principles: To conduct its affairs in an exemplary manner with regard to the Indigenous arts industry and the Indigenous artists it represents Act fairly, honestly and professionally in dealings with artists, clients, other dealers and all industry organisations Provide proper disclosure of information relating to the authorship and provenance of any work exhibited and/or sold Supply Authenticity Certificates for all artworks that are received directly from artists and original source certificates for all works that it receives directly from community art centres Respect Indigenous cultural practices and artists’ rights Strive for excellence in product presentation and service Take proper care of artworks in its possession Maintain appropriate records including the terms of agreements with artists Just as those who deal in Aboriginal art have an obligation to be transparent and act fairly toward artists and their communities, they must also ensure that they treat their clients with equal respect and fairness. As we evolve in the secondary market we will continue our work with modern and contemporary artists to form ongoing trusted relationships and these principles will be applied. ARTWORK PROVENANCE Since it was first established in 1981 Art Leven (formerly Cooee Art) has supported community-based art centres. It also supports independent dealers and artist’s agents and galleries that work directly with artists providing they are members of the Aboriginal Art Association of Australia and/or the Indigenous Art Code. Art Leven (formerly Cooee Art) / Coo-ee Art held the first exhibition and art centre launch in Australia for Tiwi Design, Bathurst Island, in 1981, and held exhibitions for the newly established Maningrida and Ramingining communities in Arnhem Land as well as undertaking the first of many consultancies for Indigenous arts organisations over the following 5 years. From writing the marketing plan and developing product for Bima Wear, Bathurst Island, N.T. to the launch of the fledgling Balgo Hills community art centre in the late 1980s, Cooee Art went on to consult with remote community councils in the Tanami Desert and the Torres Strait Islands as they worked toward the establishment of community art organisations. During the early 2000s, it became the first to promote the work of Western Pitjantjatjara artists through staging exhibitions by the Spinifex People of Western Australia. CERTIFICATE OF AUTHENTICITY Art Leven (formerly Cooee Art) issues Certificates of Authenticity for every artwork it offers for sale. It provides 100% safe provenance and a money-back guarantee of authenticity. Art Leven's certificates include the vital statistics and specifications of the artwork and any cultural information that has been sourced with the artwork and/or found through our extensive research library and resources. These may include images of the artists and working photographs (if available) as well as any original source documentation that is available. Art Leven’s certification is accepted by the auction industry as a guarantee of ‘preferred’ provenance and authenticity due to the longevity of the business and its reputation in the field.

BACK OF HOUSE MANAGER < Back Sam Sterneborg BACK OF HOUSE MANAGER Sam Sterneborg Ramsden, in his second stint with Art Leven (formerly Cooee Art), brings on board twelve years of art-world experience. The son of an artist and a critic, Sam has worked in galleries across Berlin and Sydney, including his first job at the legendary Galerie Eigen + Art in Berlin from the age of 13, The Ray Hughes Gallery in Sydney, which he managed in its final years before opening his own, The New Standard Gallery which ran from 2016 to 2018. Sam now returns to Art Leven as the Gallery Technician. sam@artleven.com +61 (02) 9300 9233

Immerse yourself in captivating art talks and tours at Art Leven. Discover the stories behind remarkable Indigenous artworks firsthand. TALKS AND TOURS GALLERY TALKS & TOURS VENUE HIRE BUY & SELL PROVENANCE & ETHICS HOW TO BUY ART BUYING FROM GALLERIES Art Leven (formerly Cooee Art) welcomes all visitors during our normal opening hours free of charge and with no need to prearrange your visit. We offer regular talks with artists, and guest curators and conduct regular lectures in our galleries. To stay informed about what events are coming up by either joining our mailing list or see what is coming up. If you would like to arrange a time to have a more tailored experience here at Art Leven (formerly Cooee Art) , we have a couple of options: Option a. Informal Talk and Gallery Tour No charge 1 to 30 people 5 – 10 minute gallery talk by staff Gallery staff available for inquiries and purchases Total duration: 15 minutes plus time to browse the artworks on display Option b. Corporate Experience or Formal Talk and Gallery Tour $1,000 1 to 30 people Wine, drinks and grazing plate One week advance notice required 20 minute gallery talk and tour – specific topics covered can be prearranged Time to browse artworks on display and ask further questions Total duration: 45 minutes – 1 hour TAILOURED TUTORIAL SERIES Art Leven’s consultants tailor seminars and lectures on the Aboriginal art market to cover its history, collecting styles, regions and artists. We are available for speaking engagements including lectures, panel discussions and guided talks through the gallery. History of Indigenous Art Collecting Aboriginal Art for Beginners (series of four - two hour tutorials – minimum 8 people) Collecting and Investing in Aboriginal Art Advanced (series of six - two hour tutorials – minimum 4 people). Contact the gallery at any time if you have a group of like-minded collectors interested in having a series of lectures tailored specifically to your needs.

Artist Profile for Dr George Tjapaltjarri < Back Dr George Tjapaltjarri Dr George Tjapaltjarri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Dr George Tjapaltjarri ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .