GLURPUNTA: FIGHTING SPIRIT 17 Thurlow St, Redern, NSW 2016 01 September to 01 October 2022 Viewing Room GLURPUNTA: FIGHTING SPIRIT Lily Hargraves Nungarayi 01 September to 01 October 2022 17 Thurlow St, Redern, NSW 2016 Lily Hargraves Nungarrayi (c.1930 - 2019) was one of the old desert walkers, born in the Tanami Desert in her country near Jilla Well (Chilla Well). When, in 1950, the Warlpiri population at Yuendemu had outgrown the settlement’s housing capabilities, Lily moved to the settlement of Lajamanu along with 1000 others. A tiny, very isolated point in the north of the Warlpiri estate, ten hour’s drive south of Darwin and eight hours north-west of Alice Springs. Here, Nungarrayi resided until her death in 2019. 1986 saw the first painting workshop for female artists in the Lajamanu community. Quickly, she established herself as a central figure of the newly established painting movement. Deeply involved in women's ceremonial practice and traditional law, Nungarrayi divided her time between hunting bush food and her daily work at the Warnayaka Art Centre, where the senior women chanted sat cross-legged on the canvas chanting their songlines as they painted their Dreaming stories. She painted with a restricted palette during the 1980s, depicting detailed ceremonial activities. As time progressed however, her work evolved into the highly colour charged and gestural style she is known and recognised for today. Nungarrayi became an esteemed senior Law woman, responsible for supervising women’s song and dance ceremonies. She was driven in her fervour to record and preserve her culture. Her love of colour and freedom of expression resulted in a distinctive style, executed with bold, confident brush work and a broad range of colour on minimal ground layers. Her remarkable works, predominantly depicting aspects of Ngalyipi (Medicine/snake Vine) Mala (Wallaby) and Karnta (Women’s dreaming), are included in the collections of important private and museum collections throughout Australia, USA and Europe. Judith Ryan, who was at the time the curator of Aboriginal Art for the National Gallery of Victoria, visited Lajamanu ahead of the exhibition ‘Paint Up Big’ in 1990. For the NGV, Ryan procured a set of pastels by the older women from the walls of the school library. When the paintings were taken down to be packed, Nungarrayi started tearing hers apart – “That one’s rubbish, I’m going to do you another one now.” The other ladies attempted to wrestle it from her. But Lily did not want what she regarded as her weak early work appearing in the National Gallery. ‘She’s a little person with a fiery temperament. She’s called Glurpunta, which means “fighting spirit”’. (personal communication by Christine Nicholls, headmistress at Lajamanu School in the 1980s, see Paint Up Big (Judith Ryan, NGV, 1990). VIEW CATALOGUE EX 239

Artist Profile for Pansy Napangardi < Back Pansy Napangardi Pansy Napangardi c.1942 – 2022 Community: Papunya / Alice Springs, NT Language: Luritja / Warlpiri Art Centre: Papunya Tula Artists (early career); Independent ARTIST PROFILE ARTIST CV MARKET ANALYSIS Pansy Napangardi was a pioneering Luritja-Warlpiri artist and one of the first professional Aboriginal women painters of the Central and Western Desert. Born around the end of World War II in the bush at Haasts Bluff, she spent her early life in a remote community where her father and grandfather—both Warlpiri men—came from Pikilyi (Vaughan Springs), and her mother was from Illpilli in the Ehrenberg Ranges. READ FULL ARTIST PROFILE top Anchor 1 PROFILE Pansy Napangardi c.1942 – 2022 Community: Papunya / Alice Springs, NT Language: Luritja / Warlpiri Art Centre: Papunya Tula Artists (early career); Independent Pansy Napangardi was a pioneering Luritja-Warlpiri artist and one of the first professional Aboriginal women painters of the Central and Western Desert. Born around the end of World War II in the bush at Haasts Bluff, she spent her early life in a remote community where her father and grandfather—both Warlpiri men—came from Pikilyi (Vaughan Springs), and her mother was from Illpilli in the Ehrenberg Ranges. Pansy never attended school but excelled in bush skills—riding donkeys, horses, and even keeping a camel named Lofty. Her family relocated by camel to Papunya in 1959, and as a teenager, she learned English while working in domestic roles for figures like patrol officer Jeremy Long. Inspired by early Papunya painters such as Johnny Warangkula, Kaapa Mbitjana, and Old Mick Tjakamarra, Pansy began painting in the early 1970s—well before most women were permitted to paint or had access to materials. She asked her uncles to teach her her mother’s Dreaming stories, which she first sketched in the sand and on paper before translating into collage with ininti seeds, and eventually acrylic on canvas. Her breakthrough came in 1989 when she won the National Aboriginal Art Award and held solo exhibitions at the Sydney Opera House and Gabrielle Pizzi Gallery in Melbourne. Pansy became the most prominent female artist working with Papunya Tula between the late 1980s and early 1990s, though she later returned to painting independently with the support of private galleries including Art Mob in Hobart. Her work is notable for its vibrant use of colour and spontaneous, rhythmic dotting technique, often created by dipping a stick into pools of complementary paint. Themes in her work include Kunga Kutjarra (Two Women), the Seven Sisters, the Desert Raisin, and the Hailstone Dreaming—the latter a powerful story associated with Illpilli, where her grandfather's Country lies. Pansy’s paintings give voice to a triumphal cultural legacy of survival, resilience, and transformation. She maintained a strong connection to tradition while fearlessly experimenting with style and colour. Her passing in 2022 due to COVID-19 marked the end of a remarkable and influential life in Aboriginal art. ARTIST CV SOLO EXHIBITIONS 1989 – Solo Exhibition, Sydney Opera House, NSW 1989 – Gallery Gabrielle Pizzi, Melbourne, VIC 1991 – Gallery Gabrielle Pizzi, Melbourne, VIC 2006 – Hailstone Dreamings , Art Mob, Hobart, TAS 2008 – Surf's Up in Alice , Art Mob, Hobart, TAS 2009 – Desert Colours , Art Mob, Hobart, TAS 2010 – Pansy's Panorama , Art Mob, Hobart, TAS 2011 – Pansy Personified , Art Mob, Hobart, TAS 2013 – Dealing in Dots , Art Mob, Hobart, TAS SELECTED GROUP EXHIBITIONS 1987 – 4th National Aboriginal & Torres Strait Islander Art Award, MAGNT, Darwin 1988 – The Inspired Dream , QAG, Brisbane (cover artwork) 1989 – Mythscapes , National Gallery of Victoria, Melbourne 1990 – l’Été Australien à Montpellier , Musée Fabre, Montpellier, France 1991 – Aboriginal Women’s Exhibition , Art Gallery of NSW, Sydney 1991 – Friendly Country, Friendly People , Araluen Centre, Alice Springs 1992 – Combined show with Eunice Napangardi, Brisbane 1993 – Aratjara: Art of the First Australians , Hayward Gallery (UK), Kunstammlung NRW (Germany), Louisiana Museum (Denmark) 1996 – United Nations Exhibition, New York, USA 1999 – Salon Grands et Jeunes d’Aujourd’hui , Espace Eiffel Branly, Paris 2000 – Papunya Tula: Genesis and Genius , AGNSW, Sydney 2004 – Mythology and Reality , Heide Museum of Modern Art, Melbourne 2006 – Dreaming Their Way , National Museum of Women in the Arts, Washington DC, USA 2007 – Papunya Painting – Out of the Desert , National Museum of Australia 2014 – Famous Ladies , Art Mob, Hobart, TAS 2015 – Top 20: Most Collected Artists , Art Mob, Hobart, TAS 2019 – The Last of the Luritja , Art Mob, Hobart, TAS 2020 – Framing the Landscape , D’Lan Contemporary, Sydney COLLECTIONS Artbank, Sydney National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Queensland Art Gallery | GOMA, Brisbane Australian National University Collection, Canberra Museum and Art Gallery of the Northern Territory, Darwin The Kelton Foundation, Santa Monica, California, USA Donald Kahn Collection, University of Miami, USA Holmes à Court Collection, Perth Musee La Grange, Switzerland AWARDS 1987 – Finalist, 4th National Aboriginal and Torres Strait Islander Art Award 1989 – Winner, 6th National Aboriginal and Torres Strait Islander Art Award 1993 – Northern Territory Art Award Market Analysis MARKET ANALYSIS Pansy Napangardi’s market first emerged in the late 1980s, with her earliest auction record appearing in 1989—the same year she won the National Aboriginal Art Award. Despite her early prominence and institutional recognition, her secondary market has remained moderate, with prices peaking in the early 2000s. Her record remains Pililli , c.1995, which sold for $10,800 at Lawson~Menzies in 2005. Out of 127 works offered publicly, approximately 80 have sold, achieving a clearance rate of 63% and an average price of $2,534. While her works are distinctive—particularly those painted between 1987 and 1995—the prevalence of low-value results and the lack of major solo institutional exhibitions has tempered long-term commercial growth. Nevertheless, Pansy’s works hold strong cultural and historical value. As a foundational female painter of the Western Desert, her contribution is increasingly recognised within museum collections and scholarship. Well-documented early works and those associated with her Hailstone and Two Women Dreamings offer the best prospects for long-term collector interest. 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 Thomas Butler < Back Thomas Butler Thomas Butler ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE THOMAS BUTLER - UNTITLED Sold AU$1,800.00 top Anchor 1 PROFILE Thomas Butler 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 .

SYDNEY CONTEMPORARY 2021 - NOT SO VIRTUAL From 11 November to 27 November 2021 SYDNEY CONTEMPORARY 2021 - NOT SO VIRTUAL From 11 November to 27 November 2021 SYDNEY CONTEMPORARY 2021 - NOT SO VIRTUAL From 11 November to 27 November 2021 The role of art is to reflect, grow, and shape culture. Artists challenge norms and shape the cultural zeitgeist. Artistic groups are formed against the backdrop of their time and place. Usually in hindsight, if their contribution becomes clear and definable, we categorise these groups in specific artistic movements. Indigenous Australian art is usually referred to, from a distance, as a movement. The term implies that the creative period has passed and that it belongs not in contemporary art galleries but in museums, carefully archived and displayed behind glass. Even some in the industry treat the art as something drawn from a finite and dwindling pool, as though the “movement” consists only of the trailblazer Aboriginal artists. But even the originators of Australian Aboriginal art as we know it are not finished driving and re-contextualising the creative process that is overdue to be seen as a contemporary art form rather than an anthropological one. Australian Indigenous artists have been creating art separate from and connected to each other for thousands of years, in places related to each other as neighbouring countries rather than regions of the same state. It continues to evolve, as it always has, as a contemporary art form. These works have been selected to highlight this point in a condensed form. The six artists showcased in this year's exhibition Not So Virtual have all taken traditional and highly important stories and themes, presenting them in a fashion that helps the viewer bridge the gap. This show centres around Emily Kame Kngwarreye, by now easily the most internationally recognised Australian Artist. Her works where among the first to pave the road between anthropological and artistic treatment of work by Australian Indigenous artists. Her paintings are collected and housed by the finest institutions and galleries worldwide. Most recently, Gagosian Gallery presented a dedicated a solo exhibition. Jorna Newberry’s simple-toned, minutely detailed Wind Dreaming paintings shimmer with knowledge and connection to country. Kitty Napanangka Simon, who has been represented by Cooee Art in conjunction with Warnayaka Art Centre in Lajamanu, offer a bold gestural perspective on the highly important Mina Mina Dreaming. Arnhem Land artist Yimula Munungurr’s works on bark and Lorrkons (burial poles) vibrate with detailed clan designs in fine crosshatched fields of colour, presented in conjunction with Buku Larrngay Arts in Yirrkala. Utopia artist Josie Petrick Kemarre, from the same country as Emily Kame Kngwarreye, creates flowing instinctual fields of colour by using meticulously placed and flawlessly executed dots. Rammey Ramsey’s textured compositions remind us of earlier Kimberly artists such as Rover Thomas or Queenie Mckenzie, while using bright and powerful (sometimes even fluorescent or neon) colours.

Artist Profile for Glen Jampijinpa Martin < Back Glen Jampijinpa Martin Glen Jampijinpa Martin ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Glen Jampijinpa Martin 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 Lola Nampijinpa Brown < Back Lola Nampijinpa Brown Lola Nampijinpa Brown ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lola Nampijinpa Brown 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 Ewald Namatjira < Back Ewald Namatjira Ewald Namatjira 1930 - 1984 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE EWALD NAMATJIRA - MCDONNELL RANGES SOLD AU$2,000.00 EWALD NAMATJIRA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Ewald Namatjira 1930 - 1984 Ewald Namatjira was born the third son of Albert and Rubina on the 11th of July 1930. As a young child he would often complain of ill health and was subsequently allowed to spend more time at home or on painting trips with his father. He took up painting in 1947 and from the outset he surprised Pastor Albrecht who had thought him to have little artistic abilty. Rex Battarbee noted that his early works exhibited originality and credited them for their atmosperic and decorative qualities. Especially evident in his landscapes were interesting patterns and design qualities. In July 1949, at the age of 19, Ewald was involved in a hunting accident with a rifle. This caused the loss of sight in his right eye. He recovered from the injury, and continued to paint, though his injury altered his abilities and the direction of his style. In some of Ewald's later work, the landscape has a slanted appearance. One of the strengths was his colouration where he employed deep reds, purples, ochres and vivid golds. He passed away in 1984. ARTIST CV Market Analysis MARKET ANALYSIS Ewald Namatjira began painting in 1947 and by 1980 thirteen paintings had appeared at public auction in Australia, with the highest price paid being $400. A decade later 85 works had been offered of which only 19 had transscended his 1980 record. The highest price paid at that time was $1200. He died in 1984, and since that time a steady stream of his works have appeared at public sale. Today, no less than 468 works have been offered of which 361 have sold. This a very high 77% success rate. It attests to the durability of his paintings in the public affection. Yet the average price achieved for his works across the years has been a very lowly $649. So many of Ewald's paintings have been simply untitled or generically called Central Australian Landscape, that it is difficult to find resales of the same work over and over again. There are many to be sure, and they will have increased in value at each successive offering. His record price was achieved for an untited work by Deutscher and Hackett in April 2009. Though estimated at only $1,000-1,500, the very large watercolour (51 x 72 cm) sold for $6,600 including buyers premium. The following year, 2011, Leonard Joel set his second highest price at $6000 for a work with a title atributed to be (Gum Tree In Foreground) . A year later his third higest price was achieved by Sotheby's and in 2012 his fourth highest price ($3,600) was achieved by Sotheby's once more. In fact, nine of Ewald's ten highest results have all been set since 2009, during a very flat market. This attests to the fact that Ewald's stocks are very definitely on the rise, along with all of the central characters in the developing Hermannsburg school of the 1940s to 1970s. While his career average is very low, the average prices achieved for his ten highest priced works is $4,030. This is a bit misleading however. In 2012 nine works were offered of which six sold for an average price of $1,060. Collectors attracted to the work of Albert Namatjira and his sons, as well as the breakaway group headed by Otto Pareroultja and his brothers, should be aware that prices for their works have been steadily increasing year after successive year. They are still comparatively affordable, but this will not last forever. As time marches on, their most desirable and accomplished works will be expected to sell for a premium each time they appear at sale. 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 Joyce Mclean Nyurapayia < Back Joyce Mclean Nyurapayia Joyce Mclean Nyurapayia ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JOYCE MCLEAN NYURAPAYIA - MINYMA KUTJU SOLD AU$2,600.00 JOYCE MCLEAN NYURAPAYIA - WANARN TJILPI AND PAMPA PAINTING PROGRAM SOLD AU$600.00 JOYCE MCLEAN NYURAPAYIA - LAPAKU SOLD AU$1,400.00 top Anchor 1 PROFILE Joyce Mclean Nyurapayia 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 Madigan Thomas < Back Madigan Thomas Madigan Thomas ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Madigan Thomas 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 Helen Curtis < Back Helen Curtis Helen Curtis ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE HELEN CURTIS - CAVE HILL Sold AU$0.00 top Anchor 1 PROFILE Helen Curtis 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 .

YAGU, GADIGAL DULUMI, GADI YUWING NGUBADI Parliament House, 6 Macquarie St, Sydney NSW 2000 July 4 - August 1 2024 Viewing Room YAGU, GADIGAL DULUMI, GADI YUWING NGUBADI Konstantina July 4 - August 1 2024 Parliament House, 6 Macquarie St, Sydney NSW 2000 Public Visiting Hours & Location Entry 6 Macquarie St, Parliment House. Opening time 10am to 5pm Monday to Friday Artist Statement Yagu, Gadigal dulumi, Gadi yuwing ngubadi
 Translation: today, the Gadigal give you for no expected return, Gadi truth and love. As a descendant of the Gadigal, I am passionate about my language, Culture and histories, much of which have been lost, misplaced or manipulated since the dawn of Colonisation. As such, my practise is heavily interconnected with my mob and their oral histories and married with my academic research. My artwork is heavily rooted in both and my artworks are a physical manifestation of these stories and histories, a document in time to reconnect me to my people, and my people - the Gadigal to our rightful Country. The Gadigal are, and have always been, a good graced mob. The evidence of this is clear in the way we share our Culture with others, in the way we have welcomed our neighbouring Aboriginal and non-Aboriginal brothers and sisters to our land and resources. We occupy the Country of first Colonial occupation, our numbers have dwindled due to this occupation, introduced illness, scarcity of resource, and outright persecution. We have, and continue to exist. There is an oft beguiled rhetoric that the Gadigal are no longer; that our stories and Culture occupy only the assuages of history. This is untrue and incorrect. The Gadigal occupy these walls today with our stories, we are honoured and grateful to have the opportunity to welcome you and invite you to share in our Culture. ARTIST PROFILE KONSTANTINA (KATE CONSTANTINE) - GADIGAL WEAVE II (WHITE) price AU$6,200.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - GADIGAL WEAVE II (BLACK) price AU$6,200.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave price AU$6,200.00 EX-july4-2024

Artist Profile for Clem Abbott < Back Clem Abbott Clem Abbott ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE CLEM ABBOTT - UNTITLED SOLD AU$2,000.00 top Anchor 1 PROFILE Clem Abbott 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 .