Artist Profile for Lin Onus Also know as: Gandadilla < Back Lin Onus Also know as: Gandadilla Lin Onus 1948 - 1996 Also know as: Gandadilla Region: Southern Riverine Community: Yorta Yorta Language: Wiradjuri / Yorta Yorta Art Centre: Gallery Gabrielle Pizzi ARTIST PROFILE ARTIST CV MARKET ANALYSIS Lin Onus stands as a groundbreaking figure in the evolving narrative of the continent’s First Nations art, championing it as a contemporary and dynamic living culture. Before his untimely death at 47, Onus had become a prominent and vocal, though non-confrontational, force in re-examining Australia’s colonial and First Nations history. READ FULL ARTIST PROFILE LIN ONUS - PITOA GARKMAN SOLD AU$4,800.00 LIN ONUS - X AND RAY DISCOVER FATHER'S COUNTRY Sold AU$1,100.00 LIN ONUS - BIRRIKALA DJINI BUNAROJNG BUGALA Sold AU$0.00 LIN ONUS - GUYI RIRRKIYAN MINITJI (FISH IN ROCK POOL) Sold AU$0.00 LIN ONUS - REFLECTION IN PEBBLES SOLD AU$3,500.00 LIN ONUS - DISLOCATION RED Sold AU$0.00 LIN ONUS - FISH AND ROCKS Sold AU$0.00 LIN ONUS - GUMURRING GARKMAN Sold AU$0.00 top Anchor 1 PROFILE Lin Onus 1948 - 1996 Region: Southern Riverine Community: Yorta Yorta Language: Wiradjuri / Yorta Yorta Art Centre: Gallery Gabrielle Pizzi Lin Onus stands as a groundbreaking figure in the evolving narrative of the continent’s First Nations art, championing it as a contemporary and dynamic living culture. Before his untimely death at 47, Onus had become a prominent and vocal, though non-confrontational, force in re-examining Australia’s colonial and First Nations history. His father, Bill Onus, founded the Aboriginal Advancement League in Victoria and was a leading figure in Melbourne's Indigenous art scene. As a young Koori man, Lin Onus was immersed in an environment rich with cultural exchange, meeting significant figures like Albert Namatjira. Onus began his artistic journey assisting his father in decorating artefacts, honing his skills as a panel beater and painter using airbrush techniques. By 1974, he had turned to painting photorealistic landscapes and watercolours. His early work in the 1970s included a series of paintings on Mosquito, an Aboriginal guerrilla fighter, which remain proudly displayed at the Advancement League in Melbourne. By the early 1980s, Onus had emerged as a key advocate for the Aboriginal arts movement, playing a pivotal role in the formation of the Aboriginal Arts Board of the Australia Council. Despite representation by prominent galleries, his artistic career only truly flourished after a visit to Maningrida in Arnhem Land in 1986. That visit marked a profound shift in both his outlook and his artistic practice. Accepted as kin by cultural custodians Jack Wunuwun and John Bullun Bulun, Onus was given permission to incorporate clan designs and stories into his work, enabling him to develop the unique visual language that would define his later career. His art, described as a “post-modern Bowerbird Dreaming,” (Nicholls 2001:536) melded Western and Aboriginal ways of organizing space and vision, often embedding traditional motifs with subtlety into photorealistic landscapes. Critics noted how Onus’s work disrupted the traditional understanding of landscape art. As Radon remarked, “landscape art is no longer an unconscious carrier of myths of domination... [but] demands the artist deconstruct these approaches and display an awareness of history and ideology.” (Radon 1997:16) Onus’s works invite viewers to look beyond the visible surface to access a Dreaming reality, a deeper dimension that is accessible to all who open their minds. His 1991 installation Fruit Bats, shown at the Australian Perspecta, featured a Hills Hoist adorned with fiberglass bats painted in ceremonial Arnhem Land crosshatch designs. His paintings of the Barmah Forest, near his Yorta Yorta homeland, often include crosshatched fish beneath the water’s surface or, in one case, a jigsaw puzzle piece that fails to fit— a metaphor for the damage done to the Murray River ecosystem. A gifted communicator, Onus understood the desire among non-Indigenous audiences to grasp the concept of the Dreaming. However, his art extended beyond post-colonial commentary, providing an alternative vision of history. In his 1985 work Kapt’n Koori, he created an Indigenous superhero for his son, Tiriki. In 1988, he painted discarded beer cans littering the dry surface of an Aboriginal homeland, a striking comment on the erosion of culture. Onus’s humour, described as “a postmodernism without tears,” was evident in his unapologetic appropriation of both Aboriginal and Western iconography. He deftly navigated debates on authenticity in Aboriginal art, countering criticisms with the argument that Aboriginal art, like any artistic tradition, should not be seen as static. In Language and Lasers, he refuted the notion that Aboriginal art should remain untouched by external influences, pointing out that Western art, too, evolved through a blend of traditions and innovations. While some in the art world questioned his blending of traditional and contemporary elements, Onus was embraced by the Aboriginal community he was initiated into, with the Wunuwun family eager to help him find his path. Onus’s manual dexterity and innovative spirit were evident in his use of new materials like fibreglass and silicone, along with his creation of time-saving tools such as Rarrk stamps and dotting machines. His work sought to challenge the notion that technological advances would erode Indigenous culture. On the contrary, he argued, technology—such as the widespread use of four-wheel-drive vehicles—had enhanced ceremonial activities. Beyond his role as an artist, Onus was an influential figure in the broader arts community, serving as the chair of the Aboriginal Arts Board and as a founding member of the artist copyright agency, “Viscopy.” He was a sought-after speaker, representing First Nations artists at prestigious gatherings, including the National Press Club. Ultimately, Lin Onus’s work transcended the political and the aesthetic, forever altering perceptions of Aboriginal art. As Christine Nicholls noted, his efforts “put urban Aboriginal art onto the cultural map in Australia.” His legacy was cemented with the retrospective exhibition Urban Dingo: The Art of Lin Onus 1948-1996, part of the Sydney 2000 Olympic Arts Festival. Developed before his passing, the exhibition celebrated his remarkable career, brought to completion with the support of his family. ARTIST CV Selected Collections: Aborigines Advancement League, Melbourne [Musquito series] Artbank, Sydney Art Gallery of South Australia, Adelaide Art Gallery of Western Australia, Perth City of Melbourne Collection Flinders University Art Museum, Adelaide Loyola College, Montreal, Canada Museum and Art Gallery of the Northern Territory, Darwin Museum of Victoria, Melbourne National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne National Maritime Museum, Sydney Podgor Collection Qantas Airways collection The Holmes a Court Collection, Perth The Kelton Foundation, Santa Monica, USA World Congress Centre, Melbourne Selected Solo Exhibition: 2022 - Lin Onus: The Land Within, SAM (Shepparton Art Museum), Shepparton, Victoria. 2009 - Lin Onus: Meaning of Life, Marroondah Art Gallery, touring exhibition. 2008 - It All Started from Black, in Memory of Lin Onus, Coo-ee Aboriginal Art, Sydney. 1990 - Painters Gallery, Sydney 1989 - Gallery Gabrielle Pizzi, Melbourne 1988 - Koori Kollij, Melbourne; Gallery Gabrielle Pizzi, Melbourne 1982 - Auburn Galleries, Melbourne 1979 - Gallery 333, Melbourne 1978 - Hesley Gallery, Canberra 1977 - Holdsworth Gallery, Sydney 1976 - Taurinus Gallery, Melbourne 1975 - Aboriginal Advancement League, Melbourne Selected Group Exhibitions: 1994 - Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria.; Yiribana, Art Gallery of New South Wales, Sydney. 1993/4 - ARATJARA, Art of the First Australians, Touring: Kunstammlung Nordrhein-Westfalen, Dusseldorf; Hayward Gallery, London; Louisiana Museum, Humlebaek, Denmark 1992/3 - New Tracks Old Land: An Exhibition of Contemporary Prints from Aboriginal Australia, touring USA and Australia 1991 - Aboriginal Art and Spirituality, High Court, Canberra; Australian Perspecta, Art Gallery of New South Wales, Sydney; Flash Painting, National Gallery of Australia 1990 - Balance 1990:views, visions, influences, QAG, Brisbane.; Tagari Lia: My Family, Contemporary Aboriginal Art 1990 -from Australia, Third Eye Centre, Glasgow, UK 1989 - Contemporary Aboriginal Art, Hurst Gallery, Hobart, Tasmania; A Koori Perspective, Artspace Sydney; Crosscurrents - a survey of Traditional and Urban Aboriginal Art, Sydney; Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra; A Myriad of Dreaming: Twentieth Century Aboriginal Art, Westpac Gallery, Melbourne; Design Warehouse Sydney [through Lauraine Diggins Fine Art] 1988 - A changing relationship: Aboriginal Themes in Australian Art 1938-1988, S.H. Ervin Gallery, Sydney; Koori Art, Doncaster Gallery in conjunction with the Victorian Aboriginal Cultural Heritage Trust, Melbourne; The Fifth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; Bulawirri / Bugaja- A Special Place, NGV, Melbourne; Urban Aboriginal Art: A Selective View, Contemporary Arts Centre of South Australia, Adelaide; Long Water, Aboriginal Artists Gallery, Sydney 1987 - Dalkuna Mnunuway Nhe Rom, Seven Maori Artists - Seven Aboriginal Artists, Foreign Exchange, Melbourne; Art and Aboriginality, Aspex Gallery, Portsmouth, England; The Fourth National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin 1985 - Morwell Regional Gallery, Morwell, Victoria. 1984 - The First National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; Musqito Series in conjunction with Koorie Art '84, AGNSW, Sydney; Koori Art '84, Artspace, Sydney Bibliography: A Koori Perspective, exhib. cat., Artspace, Sydney, 1989. 'Aboriginal Art', National Gallery News, 10th Birthday edition, September/October 1992, p. 5-7. Australian Perspecta 1989, A Biennial Survey of Contemporary Australian Art, exhib. cat., Art Gallery of New South Wales, Sydney, 1989. (C) Balance 1990: Views, Visions, Influences, exhib. cat., Queensland Art Gallery, Brisbane, 1990. (C) Caruana, W., Aboriginal Art, Thames and Hudson, London, 1993. (C) Contemporary Aboriginal Art 1990 - from Australia (presented by the Aboriginal Arts Committee, Australia Council and Third Eye Centre, Glasgow), exhib. cat., Aboriginal Arts Management Association, Redfern, New South Wales, 1990. (C) Crossman, S. and Barou, J-P. (eds), L'ete Australien a Montpellier: 100 Chefs d'Oevre de la Peinture Australienne, Musee Fabre, Montpellier, France, 1990. (C) Crumlin, R., (ed.), Aboriginal Art and Spirituality, Collins Dove, North Blackburn, Victoria, 1991. (C) Diggins, L. (ed.), A Myriad of Dreaming: Twentieth Century Aboriginal Art, exhib. cat., Malakoff Fine Art Press, North Caulfield, Victoria, 1989. Eather, M., 'Lin Onus - cultural mechanic,' Special Double Issue Artlink 10(1&2), 80, 1990. Hill, M., and McLeod, N., From the Ochres of Mungo, Aboriginal Art Today, Dorr McLeod Publishing, West Heidleberg, Victoria, 1984. (C) Isaacs, J., Aboriginality: Contemporary Aboriginal Paintings and Prints, University of Queensland Press, St Lucia, Queensland, 1989. (C) Jackomos, A. and Fowell, D., Living Aboriginal History of Victoria: Stories in the Oral Tradition, Cambridge University Press, Melbourne, 1991. (C) Johnson, T. and Johnson, V., Koori Art '84, exhib. cat., Art Space, Sydney, 1984. (C) Johnson, V., Art and Aboriginality, exhib. cat, Aspex Gallery, Portsmouth, UK, 1987. Koorie Art, Contemporary Work by Victorian Aboriginal Artists, exhib. cat., Doncaster Gallery 18 May-26 June 1988, Melbourne. (C) McCulloch, A., & McCulloch, S., The Encyclopedia of Australian Art, Allen & Unwin Pty Ltd, St Leonards, New South Wales, 1994. McQueen, Humphrey, 'Flashlight on trivial pursuit of authentic blackness', The Weekend Australian, 11 January 1992 Megaw, R., Nothing to celebrate?, Australian Aboriginal Political Art and the Bicentennial, Flinders University of South Australia, Adelaide, 1989. Mundine, D., 'The first Koori', Art Monthly Australia 76, 22, 1994. (C) Neale, M., Yiribana, exhib. cat., Art Gallery of New South Wales, Sydney, 1994. (C) Nicholls, Christine, 'Commentary: Lin Onus � urban dingo', in Art & Australia, Art Quarterly, Volume 38, Number 4, June 2001, pp. 536-538. Nothing to Celebrate? Australian Aboriginal Political Art and the Bicentennial, exhib. cat., Flinders University Art Museum, 1989 (C) Onus, L., 'Language and lasers,' Art Monthly Australia Supplement (The land, the city - the emergence of urban Aboriginal art), 14-15, 19, 1990. (C) Onus, L., Southwest, Southeast Australia and Tasmania, essay for ARATJARA catalogue, 1993. Onus, L., 'A clockwise stroll through Australia, review of Aboriginal Art - the Continuing Tradition,' Tension 17, 38, 1989. (C) Perkins, H., 'Beyond the Year of Indigenous Peoples' in Art and Australia, Vol 31 No 1, 1993, p 98-101. Scott-Mundine, D., 'Black on Black: an Aboriginal perspective on Koori art,' Art Monthly Australia Supplement (The land, the city - the emergence of urban Aboriginal art), 7-9, 1990. (C) Strangers in Paradise, exhib. cat., National Museum of Contemporary Art, Seoul, Korea, 1992. (C) Watson, C., 'The Bicentenary and beyond: recent developments in Aboriginal printmaking,' Special Double Issue Artlink 10(1&2), 1990, 70-73. (C) Market Analysis MARKET ANALYSIS Analysing the auction results for Lin Onus's works fin the recent decade, rom 2015 to 2024 reveals strong performance with some minor fluctuations in both the total value of sales and the clearance rates, which reflect the percentage of works sold at auction. Overall, the period highlights Onus’s market strength, particularly during peak years like 2021 and 2022, and demonstrates resilience even through periods of lower sales, with strong sales evident in 2024. In 2015, Onus saw a strong performance with a clearance rate of 79%, as 11 of 14 works sold, generating A$1,307,617. However, in 2016, the market dipped, with only 10 works offered and a clearance rate of 70% amounting to A$272,172. The following year, 2017, witnessed a rebound, achieving a clearance rate of 69% and generating A$908,711 in total sales. The market for Onus's works surged in 2018, with a higher clearance rate of 81%, as 13 of 16 works sold, contributing to an impressive total of A$1,969,694. This strong demand persisted into 2019, though with a lower clearance rate of 75%, with 6 of 8 works sold, but the total sales value still reached A$1,121,077, indicating the value of individual pieces. In 2020, Onus achieved a perfect 100% clearance rate, as all 8 works offered were sold, generating A$684,758 in total sales, demonstrating strong and consistent demand for his art even in a quieter year. In 2021, the market hit a peak with a clearance rate of 90%, as 19 of 21 works sold for a remarkable A$2,143,112, marking the highest sales value of the decade. This upward trajectory continued in 2022, with a clearance rate of 93%, as 28 of 30 works sold for A$2,354,987, establishing Onus as one of the top-selling artists in the Australian art market. However, in 2023, the clearance rate dropped significantly to 56%, with mostly prints and works on paper offered resulting in a much lower total of A$499,920. By 2024, the market showed signs of recovery, with a clearance rate of 86%, as 12 of 14 works sold for A$1,478,892, indicating renewed interest in Onus’s work and a rebound from the previous year’s downturn. Lin Onus passed away at only 47 just as he was preparing for his debut exhibition with Australian Galleries, having recently parted ways with his previous representative, Gabrielle Pizzi. Though he had established himself as a key figure in the indigenous art community, his career had slowed during the early 1980s. It wasn’t until the late 1980s that his career regained momentum, largely due to his participation in important exhibitions like Aboriginal Art: The Continuing Tradition at the National Gallery of Australia in 1989 and A Myriad of Dreaming: Twentieth Century Aboriginal Art in 1990. From there, a series of exhibitions in major international venues, including Glasgow, Düsseldorf, London, and Denmark, solidified his growing global reputation by the mid-1990s. At the time of his death in 1996, few of Onus’s works had been auctioned, with major paintings selling for less than $10,000. Yet, as his artistic legacy grew, so did the market value of his works, particularly his large canvases featuring his distinctive blend of photorealism and Aboriginal iconography. In the years following his death, Onus’s market value climbed rapidly. By 1999, Barmah Forest (182.5 x 182.5 cm) sold for $57,500 at Christie’s Melbourne, far exceeding its pre-sale estimate. In 2006, his large-scale Water Lillies and Evening Reflections, Dingo Springs achieved $396,000 at Deutscher~Menzies. The upward trend continued in 2013 when Robyn (1995) set a new record, selling for $414,800. In 2017, Riddle of the Koi (1994) fetched $561,200 at Deutscher & Hackett, and in 2019, Fish and Storm Clouds (1994), which had sold for $288,000 in 2007, reappeared at Menzies and sold for $515,454, underscoring the consistent appreciation of his major works. Recent results from 2024 confirm this ongoing demand. In April, Yellow Lilies (1993), a synthetic polymer on canvas measuring 182 x 182 cm, sold for A$552,273 at Deutscher and Hackett’s Important Australian + International Fine Art auction in Melbourne, surpassing its $350,000-$450,000 estimate. Similarly, The Joy of Fish - The Ripple (1994), a large 182.5 x 182.5 cm canvas, sold at Menzies’ Important Australian & International Art auction in June for A$392,727, slightly below its estimate of $350,000-$450,000. Another notable sale from this year, Wirrirr Wirrirr (Rainbow Birds), a four-panel synthetic polymer work, fetched A$331,364 at Smith & Singer's Important Australian Art auction in Sydney, comfortably above its pre-sale estimate. Onus’s smaller works, including prints and paintings on board, continue to perform well but at more modest price points. In August 2024, Butterflies and Rocks (1993) and Butterflies and Flowers (1993), both synthetic polymer pieces on board, each sold for A$39,886 at Smith & Singer’s Important Australian Art auction, slightly under their $35,000-$45,000 estimates. Lin Onus’s art has continued to gain recognition for its distinctive combination of Aboriginal and Western influences, and his market reflects the growing demand for these works. His large canvases, which once sold for under $10,000, now regularly fetch hundreds of thousands of dollars, with the likelihood of surpassing $1 million soon. His appeal remains strong among collectors, both for his breathtaking landscapes and his politically charged social commentary pieces, many of which are still to be tested at auction. The trajectory of his market performance, especially in 2024, shows that his legacy as a trailblazer in Aboriginal art is secure, and the value of his works is expected to rise further. 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 .

Tracey Moffatt | Up in the Sky Art Redfern - 17 Thurlow St, Redfern Gadigal, NSW 2016 3 - 24 May 2025 Viewing Room Tracey Moffatt | Up in the Sky Tracey Moffatt 3 - 24 May 2025 Art Redfern - 17 Thurlow St, Redfern Gadigal, NSW 2016 Tracey Moffatt’s 1997 series Up in the Sky, is a haunting photographic set of 25 monochrome images that evoke the cinematic stills of a non-linear narrative set in a remote country town marked by hardship and social marginalisation. Through recurring figures—a young non-Indigenous woman and an Indigenous infant, the series subtly references the continents fraught history of assimilation policies and the forced separation of First Nations families, without offering definitive interpretations. Moffatt, known for crafting rather than capturing images, blends personal memory with cultural and cinematic references, drawing from both local iconography, desolate roads, fibro housing, mission churches, and international influences such as Pasolini’s Accattone and the dystopian landscape of Mad Max. The result is a powerful, symbolic meditation on identity, loss, and resilience within the broader context of our postcolonial realities. TRACEY MOFFATT - Up In The Sky # 2, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky # 23, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #12, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #24, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #16, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #18, ED.34/60 price AU$5,000.00 TRACEY MOFFATT - Up In The Sky #21, ED.34/60 price AU$5,000.00 TRACEY MOFFATT - Up In The Sky # 5, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #6, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #19, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #1, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #7, ED.34/60 price AU$5,000.00 TRACEY MOFFATT - Up In The Sky #9, ED.34/60 price AU$5,000.00 TRACEY MOFFATT - Up In The Sky # 22, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #20, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #25, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #4, ED.34/60 price AU$7,000.00 TRACEY MOFFATT - Up In The Sky #10, ED.34/60 price AU$5,000.00 TRACEY MOFFATT - Up In The Sky #17, ED.34/60 price AU$5,000.00 ExMoffatt

Artist Profile for Sue McPherson < Back Sue McPherson Sue McPherson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SUE MCPHERSON - BIG RIVER BUNDY SOLD AU$950.00 top Anchor 1 PROFILE Sue McPherson 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 Peter Newry < Back Peter Newry Peter Newry ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PETER NEWRY - NILLIGUM SOLD AU$370.00 PETER NEWRY - BINJIN AREA SOLD AU$370.00 top Anchor 1 PROFILE Peter Newry 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 Genevieve Kemarr Loy < Back Genevieve Kemarr Loy Genevieve Kemarr Loy ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$12,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$12,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$12,000.00 GENEVIEVE KEMARR LOY - MY FATHER'S COUNTRY Sold AU$12,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$10,200.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$7,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$7,000.00 GENEVIEVE KEMARR LOY - BUSH TURKEY DREAMING SOLD AU$6,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$5,500.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY TRACKS Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING Sold AU$0.00 GENEVIEVE KEMARR LOY - BUSH TURKEY Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$12,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$12,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$12,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$12,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$7,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$7,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$6,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING SOLD AU$6,000.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY TRACKS Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING Sold AU$0.00 GENEVIEVE KEMARR LOY - AKWERLKERRMWERLKERR - BUSH TURKEY DREAMING Sold AU$0.00 GENEVIEVE KEMARR LOY - BUSH TURKEY TRACKS Sold AU$0.00 GENEVIEVE KEMARR LOY - BUSH TURKEY TRACKS Sold AU$0.00 GENEVIEVE KEMARR LOY - BUSH TURKEY TRACKS IN MY COUNTRY Sold AU$0.00 top Anchor 1 PROFILE Genevieve Kemarr Loy 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 .

IT FLOWS Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW 2016 14 December 2023 - 13 January 2024 IT FLOWS Artist: Joanne Currie Nalingu 14 December 2023 - 13 January 2024 IT FLOWS Artist: Joanne Currie Nalingu 14 December 2023 - 13 January 2024 Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW 2016 JOANNE CURRIE NALINGU It Flows Opening: Thursday 14 December, 6-8pm I grew up on the ‘Yumba’, out west by the banks of the Maranoa River in the 1960s. Now I live closer to Brisbane where we raised our kids and now our grandkids. I’ve always painted about the Maranoa area, the traditional designs found on shields and artefacts, the lines and colours of the river…I try to keep it simple…clean and sharp! In 2008, she won The Wynne Prize at AGNSW and has been a finalist numerous times in the Telstra National Aboriginal & Torres Strait Islander Award. Joanne’s work is held in numerous private and public collections including Queensland Art Gallery | Gallery of Modern Art and the Museum of Brisbane. View Catalogue JOANNE CURRIE NALINGU - GUNGARRI TRACES price AU$3,300.00 JOANNE CURRIE NALINGU - HEADING WEST (WINTER LIGHT) Sold AU$0.00 JOANNE CURRIE NALINGU - WIND ON THE WATER Sold AU$0.00 JOANNE CURRIE NALINGU - HEADING WEST (SUMMER LIGHT) I Sold AU$0.00 JOANNE CURRIE NALINGU - GUNGARRI TRACES price AU$3,000.00 JOANNE CURRIE NALINGU - RIVER LINES II Sold AU$0.00 JOANNE CURRIE NALINGU - RIVER LINES I Sold AU$0.00 JOANNE CURRIE NALINGU - HOVER Sold AU$0.00 JOANNE CURRIE NALINGU - GUNGARRI TRACES price AU$2,200.00 JOANNE CURRIE NALINGU - MARANOA (SPRING) Sold AU$0.00 JOANNE CURRIE NALINGU - HEADING WEST (AUTUMN LIGHT) Sold AU$0.00 JOANNE CURRIE NALINGU - CALM MORNING Sold AU$0.00 EX It Flows

PRIVATE COLLECTION | PRIVATE VIEW Cooee Art Redfern & Online From 04 September to 21 October 2021 Viewing Room PRIVATE COLLECTION | PRIVATE VIEW Artists: Group Exhibition From 04 September to 21 October 2021 Cooee Art Redfern & Online One Collector’s Passion & Soul on Display Our latest exhibition is a collection of 50 artworks, that for the past 10 years have lined the hallways and board rooms at the SBS offices. The collection was personally curated and collected by one of the most highly regarded patrons of Australian Art. This exhibition boasts an eclectic selection of deeply established and emerging artists. The collector is quoted as saying “There has to be a rapport with each work I buy; each speaks to me and means something to me, but I can’t define what that is with precision.” He believes that works of art must invoke an involuntary and immediate physiological and emotional response. The show is on display through the windowed and ever-lit facade of our Redfern gallery, as well as virtually via social media, email, and our website. If you are lucky enough to live in our 5 km radius, we are regularly rotating the artworks in the front and are more than happy to privately feature a work of your choosing for a contactless viewing. VIEW CATALOGUE VIEW VIDEO EX 219

BLACK ART WHITE WALLS From 01 January to 28 February 2016 Viewing Room BLACK ART WHITE WALLS From 01 January to 28 February 2016 "The Adrian and Anne Newstead Indigenous Art Collection This exhibition draws on the extensive personal collection of Indigenous art accumulated by Adrian and Anne Newstead while working with Aboriginal and Torres Strait Islander artists over the past 30 years. Adrian Newstead is a dealer, writer and consultant. He and Anne own the oldest Aboriginal art gallery in Australia." "[[20160630111124|left,no,,landscape]] Adrian and Anne began their involvement with the creation and subsequent bloom/boom of the Aboriginal art market in 1980. Their art collection is an intimate one, built through personal relationships, serendipity, and a keen sense of historical and cultural importance. It is a platform by which a different narrative can be told: that of art as an expression of relationships, culture, spirituality, the land and kinship. The Newstead Collection comprises more than 1000 canvas paintings, barks, artefacts, prints, posters and sculptures. It represents a linear history of Aboriginal art and craft from the earliest days of the movement, through to the establishment of the first art centres and, beyond this, into the mainstreaming of Aboriginal art and its national and international acceptance as a dynamic contemporary art movement. There is a strong emphasis on printmaking as Adrian Newstead was instrumental in initiating this medium amongst Aboriginal and Torres Strait Islander artists. He published hundreds of limited editions, as well as organising and promoting Australian Indigenous prints on the international stage. This exhibition includes rare examples of early prints, as well as those by several of indigenous Australias most important printmakers. During Adrian and Anne Newsteads 30-year involvement, black art has moved inexorably onto white walls, subtly affecting the many millions of people who have come to live with and love it. Many would say that the Aboriginal art movement has been the single most effective vehicle in advancing understanding, empathy and reconciliation between black and white Australia. Viewing this beautiful show and reading the meanings of the works, and the circumstances under which they were collected, reveals the story of a very personal journey deep into the culture of Australias oldest inhabitants. Galleries the Exhibition Toured to: Grace Cossington Smith Gallery - 23 January - 30th March 2014 Wagga Wagga Regional Gallery - 7th April - 12th June 2014 Walker Street Gallery - 4th September - 8th October 2014 Moree Plains Gallery - 1st December - 29th January 2015 Manning Regional Gallery - 3oth January - 15th March 2015 Burrinja Regional Gallery - 4th July - 28th September 2015 Brunswick Regional Gallery - 16th October - 8th November 2015 Caloundra Regional Gallery - 20th January - 28th February 2016 [[20160630111252|left,no,,large]] [[CELL-ARTWORKS|20160630111552,20160630112025,20160630112039,20160630112147,20160630112132|N,N,hero,Y,3,Y]] [[CELL-ARTWORKS|20160630111939,20160630112008|N,N,hero,Y,2,Y]]"

Artist Profile for Kenan Namunjdja < Back Kenan Namunjdja Kenan Namunjdja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE KENAN NAMUNJDJA - GALAWON (GOANNA) SOLD AU$2,200.00 KENAN NAMUNJDJA - MIMIH SPIRIT Sold AU$0.00 KENAN NAMUNJDJA - MIMIH SPIRIT SOLD AU$1,000.00 top Anchor 1 PROFILE Kenan Namunjdja 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 .

INDIGENOUS FINE ART SPECIALIST < Back Emma Lenyszyn INDIGENOUS FINE ART SPECIALIST Educated in Fine Art at RMIT, Emma joined Art Leven (formerly Cooee Art) in 2016 as the Paddington gallery Manager. In 2019, she became the Indigenous Auction Specialist for the bi-annual Auctions. Emma has a long history of employment in the arts, including positions at international institutions, commercial galleries, and private collections. emma@artleven.com +61 (02) 9300 9233

Artist Profile for Bronwyn Bancroft < Back Bronwyn Bancroft Bronwyn Bancroft ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BRONWYN BANCROFT - NIGHT PULSE SOLD AU$19,800.00 BRONWYN BANCROFT - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Bronwyn Bancroft 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 Andrea Adamson < Back Andrea Adamson Andrea Adamson 1973 - 2019 BORN: Amata, SA LANGUAGE GROUP: Pitjantjatjara COMMUNITY: Amata, SA ARTIST PROFILE ARTIST CV MARKET ANALYSIS Andrea Adamson Tiger was born in 1973 in Amata, located on the APY Lands of South Australia, 480 km southwest of Alice Springs. Her parents were Tony and Kukika Adamson. Andrea passed away suddenly in 2019 at the age of 46. READ FULL ARTIST PROFILE top Anchor 1 PROFILE Andrea Adamson 1973 - 2019 BORN: Amata, SA LANGUAGE GROUP: Pitjantjatjara COMMUNITY: Amata, SA Andrea Adamson Tiger was born in 1973 in Amata, located on the APY Lands of South Australia, 480 km southwest of Alice Springs. Her parents were Tony and Kukika Adamson. Andrea passed away suddenly in 2019 at the age of 46. During her youth, Andrea lived in Alice Springs, attending Yirara College and spending part of her schooling in Woodville, South Australia. After her schooling, she began working at Uluru (formerly known as Ayers Rock) as a guide. Here, she shared her knowledge about the local flora, fauna, and customs with visitors, taking great pride in her heritage. Andrea was deeply connected to the traditional customs of the Anangu people. She actively participated in ancient ceremonies where women would create body paint from ground ochre mixed with water or kangaroo oil. This paint was applied for ceremonies that included songs and dances to narrate important ancestral stories. Her artwork vividly narrates the tale of the seven sisters and their journey across the land, evading the advances of Wati Nyiru. Despite their incompatible 'skin names', Nyiru fell in love with the sisters and pursued them as they sculpted the landscape with rockholes, sandhills, and rocky outcrops to elude him. Eventually, they created a rockhole that allowed them to escape underground and re-emerge to ascend into the sky. Nyiru, following them into the water, emerged too late and continues to chase them across the heavens, visible from the south of the seven sisters. 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 .