Artist Profile for Apphia Wurrkidj < Back Apphia Wurrkidj Apphia Wurrkidj 1984 LANGUAGES: Kuninjku COMMUNITY: Maningrida CLAN: Kurulk ARTIST PROFILE ARTIST CV MARKET ANALYSIS Apphia Wurrkidj, a talented artist hailing from a lineage of skilled painters, has learned the art of painting in the Mumeka style from her father, James Iyuna (deceased), and mother, Melba Gunjarrwanga. READ FULL ARTIST PROFILE top Anchor 1 PROFILE Apphia Wurrkidj 1984 LANGUAGES: Kuninjku COMMUNITY: Maningrida CLAN: Kurulk Apphia Wurrkidj, a talented artist hailing from a lineage of skilled painters, has learned the art of painting in the Mumeka style from her father, James Iyuna (deceased), and mother, Melba Gunjarrwanga. She represents the next generation committed to preserving and advancing the artistic traditions of her community, particularly the use of strong geometric rarrk. This traditional crosshatching technique is central to her work, through which she represents key Djang sites on her clan lands. Djang, in her cultural context, refers to the eternal and life-giving transformative power that accounts for every aspect of existence. The common subjects of her artworks include significant cultural sites and motifs such as the Dilebang (Waterhole) site, Wak Wak (Black Crow) at Kurrurldul, and Ngalyod (Rainbow Serpent). These subjects are not only deeply rooted in her cultural heritage but also serve as a conduit for expressing the rich narratives and spiritual beliefs of her community. Apphia’s works are particularly noted for their intensity and the precision of her linework, which distinguishes her pieces from those of her contemporaries. Her ability to convey complex cultural stories through meticulously crafted designs has established her as a prominent figure in her artistic community, continuing the legacy of her parents by bringing traditional expressions into contemporary art practice. ARTIST CV 2021 Northern Waters – Short St Gallery, Broome WA 2020 Taranathi Art Fair, Lot Fourteen, Adelaide SA 2020 Top End Bugi – Koskela, Sydney, NSW 2019 Bukkan Rowk: I am teaching you – Outstation Gallery Parap 2018 Tarnanthi Art Fair - Tandanya National Aboriginal Cultural Institute, Adelaide 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 Mona Napaljarri Rockman < Back Mona Napaljarri Rockman Mona Napaljarri Rockman ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MONA NAPALJARRI ROCKMAN - BUDGERIGAR DREAMING SOLD AU$650.00 MONA NAPALJARRI ROCKMAN - BUDGERIGAR DREAMING Sold AU$0.00 top Anchor 1 PROFILE Mona Napaljarri Rockman 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 .

EMBRACE EQUITY International Womens Day 2023 From 08 March to 15 March 2023 EMBRACE EQUITY From 08 March to 15 March 2023 EMBRACE EQUITY From 08 March to 15 March 2023 International Womens Day 2023 For International Women’s Day and beyond, let’s all fully #EmbraceEquity. Why are equal opportunities not enough? People start from different places, so true inclusion and belonging require equitable action. And it’s critical to understand the difference between equity and equality. So, what’s the difference between equity and equality – and why is it important to understand, acknowledge and value this? Equality means each individual or group of people is given the same resources or opportunities. Equity recognises that each person has different circumstances, and allocates the exact resources and opportunities needed to reach an equal outcome. Equity can be defined as giving everyone what they need to be successful. In other words, it’s not giving everyone the exact same thing. If we give everyone the exact same thing, expecting that will make people equal, it assumes that everyone started out in the same place – and this can be vastly inaccurate because everyone isn’t the same. In political terms, equality is one of the foundations of democracy. Equality is based on the belief that all people should have the same opportunities for a happy life. Equity is linked to the ideal that success is based on personal efforts and not social status. However, ongoing conversation highlights whether equality is enough, and if instead we should look towards equity as a better principle to progress society. Equity acknowledges that people don’t begin life in the same place, and that circumstances can make it more difficult for people to achieve the same goals. The goal of equity is to change systemic and structural barriers that get in the way of people’s ability to thrive. MITJILI NAPURRULA - WATIYA TUTJA (TREE DREAMING) price AU$18,000.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) price AU$7,500.00 NOLA ROGERS - GOGO STATION price AU$1,500.00 LILY NUNGARAYI HARGRAVES - TURKEY DREAMING Sold AU$0.00 NINGURA GIBSON NAPURRULA - WIRRULNGA price AU$12,000.00 NETTA LOOGATHA BIRRMUYINGATHI MAALI - MY COUNTRY price AU$5,100.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA price AU$1,200.00 MINNIE PWERLE - AWELYE - ATNWENGERRP Sold AU$0.00 ROSELLA NAMOK - STINGING RAIN.... DARK NIGHT price AU$12,000.00 VIRGINIA GALARLA - PINYAMA price AU$1,700.00 ADA PULA BEASLEY - MY COUNTRY Sold AU$0.00 EX EMBRACE

Artist Profile for Bronwyn Kelly < Back Bronwyn Kelly Bronwyn Kelly ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BRONWYN KELLY - COIL BASKET SOLD AU$500.00 top Anchor 1 PROFILE Bronwyn Kelly 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 .

TjapanangkaLong Long Tom Tjapanangka Long Tom Tjapanangka 1929 - 2006 It is not unusual for an Aboriginal artist to shy away from elaborating on a particular work, although this is more common when they are of sacred significance. However, this was not the case with the work Ulampuwarru (Haasts Bluff Mountain) that won the 2000 Telstra-sponsored 16th National Aboriginal and Torres Strait Islander Art Award (NATSIAA) for Long Tom Tjapanangka. The painting was chosen for its strong aesthetic appeal, depicting in planes of bold colour two rows of gum trees and a rainbow serpent moving across the front of a mountain rendered in unadorned blocks of red, ochre, and green. The simplicity of the design was striking and yet the artist declined to explain the work. So it stood simply for what it was. Artist Judy Watson, one of the award judges commented, ‘it’s just out there…It has all of Long Tom’s usual elements, but also something very different’ (Smee 2007). Tjapanangka’s personal history is unique. He was born in Lupuul, on the border of the Northern Territory and Western Australia near Lake MacDonald, and travelled to Haasts Bluff on foot in his youth. The establishment of Haasts Bluff as a cattle station in 1954 meant that Long Tom would find work as a stockman. He knew the area well, having helped to build fences throughout the surrounding land. Like many others who had come in from the desert and had traditional hunting skills, Long Tom was recruited to assist the police force. Thereafter he spent a considerable part of his life as a stockman and police tracker, traversing extensive tracts of country into Victoria and up to Queensland. Most of his paintings were created in Haasts Bluff, where he and his first wife Marlee Napurrula began painting for the Ikuntji women’s centre in 1993. Marlee suffered a motor neurone dysfunction after hospitalisation and after her death several years later, he married Mitjili Napurrula, with whom he collaborated for many years. Haasts Bluff is itself a place of considerable cultural hybridity, having served as a ration depot from early in the twentieth century providing for the Warlpiri, Pitjantjatjra, Pintpui and Arrernte people that sought refuge there due to massacres, drought, and the establishment of pastoral leases on their lands. It was proclaimed an Aboriginal reserve in 1940 and over time has become a meeting point for people of many different tribal groups. Tjapanangka, a respected elder of the Pintupi, returned to his birthplace, Lupuul, after receiving an Australia Council development grant and his attachment to this country, its stories and his nomadic transition away from it, became more clearly evident in his art. He rarely articulated any sense of displacement or disorientation, as was the case with the majority of the early Pintupi painters. Rather, as his career developed, his paintings were more likely to be grounded in the tangible elements of his immediate environment. As narrative depictions, they stand apart from time and space in that they do not require a literal interpretation. Certain images recur within the broader scope of Tjapanangka’s cultural history. 'The whole lot, that’s the whole story. Might be tali [sandhills], puli [rocks] anyplace. You know ‘im. You can see 'im. Anyone can see, look around' (Long Tom Tjapanangka cited in Croft 2000: 86). Long Tom depicts ‘country’ in a visual language that is strong, simple and boldly coloured. He paints in two distinct styles; one abstract comprising broad spacial planes; and one more literal, mostly concerned with animals such as camels, snakes, dogs, emus and trees. In other more location specific works he explores the landscape around Ikuntji country – Ulampuwarru, Mereenie, Anyali, Uluru and also the mountains Kata Tjuta, Mt Liebig and Winparrku. For a man who has won the most prestigious art prize offered to Aboriginal artists in Australia, Long Tom has been far from a prolific artist. He painted for the Ikunji Art Centre and several dealers who visited his outstation occasionally. He painted every now and then on visits to Alice Springs, but preferred to paint only sparingly. On his outstation, far from the hype of the art market, he was said have a great sense of humour and provide enthusiastic company to those who took the time to visit. His only solo exhibitions were held with Niagara Galleries in Melbourne and Schubert Galleries in Queensland during 1995 and 1998. When his works first appeared because of their unusual nature they were in great demand. After winning the Telstra Art Award his work was in great demand. Having withdrawn from painting thereafter, however, his works rarely appear outside of the museum context. His contribution to the ongoing dialogue of desert art has therefore been somewhat limited. With a clearance rate of around 50%, Long Tom Tjapanangka has had very mixed results at auction. Despite the fact that Ikunji Art Centre provenanced works occupy eight of his ten highest prices, neither size nor provenance seems to have been a particular issue in the success of his works. It would appear that the major reason for his high failure rate at auction has been overly optimistic pre-sale estimates. In many ways this was inevitable with an artist whose work was in such short supply immediately after he achieved such prominent notoriety. Those who purchased works from his solo exhibitions at Niagara Galleries and Galleries Schubert in the mid to late 1990’s would have been entitled to expect that, after he had the National Aboriginal Art Award under is belt, their paintings would have jumped in value. Two of these do in fact occupy his third and fifth highest results at auction, however, others have failed to reach the high estimates they were saddled with at sale. Interestingly, although his results are studded with works created throughout the 1990’s and as early as 1993, the year he began painting, not one single work appeared at sale until 2001, two years after he won the Telstra Award. In that year his record was posted at $8,100 for Two Snakes 1995, in Sotheby’s July sale when estimated at $5,000-7,000 (Lot 178). This was exceeded the following year by an untitled work created in 1995. Sold by Shapiro Auctioneers, the 137 x 137 cm painting achieved $10,575 against a presale estimate of $8,000-12,000. The record stood until 2004, when a large untitled work, measuring 136 x 182.5 cm, originally purchased from the Niagara Gallery solo exhibition in 1995, sold for $10,800 (Lot 116). By November 2006 the record had jumped to $23,400 after a work painted for Jinta Gallery, outside of the art centre, sold at Lawson~Menzies (Lot 34). However by the end of 2007 another two works had entered the top ten including the artist’s current record holder, Puli Kutjarra measuring 182.5 x 198 cm estimated at just $10,000-15,000, which sold at Sotheby’s for a massive $43,200 (Lot 75). Of his early work, mostly smaller pieces on paper and board, several went unsold at auction between 2001 and 2005, while the remainder were generally expected to attract under $10,000 and consistently conformed to market estimates. Bonham’s and Goodman and Lawson~Menzies both attempted to sell works that failed the first time around. Offered in the following year, both failed once more carrying unaltered estimates. Meanwhile, Shapirio Auctioneers successfully sold Ulampuwarru (Haasts Bluff Mountain) 2000 in December 2003 for $6,580, but when their client offered the same work two years later in October 2005 (Lot 455) it failed to attract a buyer despite being offered at the same estimate. In 2008 no less than nine works were offered for sale with all but one being works on paper or board carrying estimates in the $1,000-2,000 range. Although five of the nine sold, thereby maintaining the artists’s clearance rate, the overall effect on his career average price was to make it drop by nearly $800 from $6,541 down to $5,759. In 2010 not a single work of the six offered sold. Between 2011 and 2017 twenty-three works wer offered, of which 9 failed. You would be forgiven for finding these statistics just a bit too confusing. While Long Tom is an important artist whose works are scarce, his secondary market results with a few notable exceptions have not been strong. His paintings have a naive quality about them that appeals to a limited audience. While they resemble bold colour field paintings, there is a notable lack of texture in his large expanses of red and green with limited application of yellow, white and black. In this they bear a faint resemblance to works by Ginger Riley but without Ginger’s quirky figurative flair. Even though they may not have universal appeal, those who like Long Tom’s paintings can purchase them with every confidence that they should hold their value. Just don’t expect anything too spectacular by way of investment. 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

Artist Profile for Alan Griffiths < Back Alan Griffiths Alan Griffiths ARTIST PROFILE ARTIST CV MARKET ANALYSIS Alan Griffiths, born in 1933, is a celebrated Australian Aboriginal artist known for his adept use of oils and acrylics. His artistic journey has been marked by a dedication to capturing the rich tapestry of Aboriginal culture and the natural beauty of Australia. READ FULL ARTIST PROFILE ALAN GRIFFITHS - CAMEL TREK SOLD AU$460.00 top Anchor 1 PROFILE Alan Griffiths Alan Griffiths, born in 1933, is a celebrated Australian Aboriginal artist known for his adept use of oils and acrylics. His artistic journey has been marked by a dedication to capturing the rich tapestry of Aboriginal culture and the natural beauty of Australia. Griffiths' presence in the art market began to be noted in 2004, and since then, a total of 13 works by the artist have been offered for sale. Of these, 9 have been sold, yielding a successful sale rate of approximately 69%. His artwork has found a receptive audience, as demonstrated by the highest auction price of $2,928 achieved for an untitled piece at Mossgreen Auctions in September 2012. Despite the absence of any works offered for sale in the current year, the most recent transaction involving his work occurred in 2023. This indicates ongoing interest and appreciation for his contributions to the field of art. Griffiths' works are included in several prestigious collections, underlining his importance in the Australian art scene. These include the National Gallery of Australia, the Queensland Art Gallery, and the National Gallery of Victoria. Such recognition showcases the impact of his work and his significant role in promoting Aboriginal art both nationally and internationally. Alan Griffiths continues to be an influential figure in Australian Aboriginal art, with his works serving as a vital link between traditional Aboriginal perspectives and contemporary art practices. 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 AUCTION Cooee Art Paddington | 326 Oxford Street Paddington NSW 2021 20 October 2020 7PM Start Viewing Room INDIGENOUS FINE ART AUCTION 20 October 2020 7PM Start Cooee Art Paddington | 326 Oxford Street Paddington NSW 2021 Welcome to this special Cooee Art MarketPlace Indigenous Fine Art offering for 2020. The sale will include 62 works from the collection of one of Aboriginal art’s greatest promoters and supporters, and former owner of the Aboriginal Gallery of Deamings, the incomparable Hank Ebes. The estimated value of the 107 works in this sale is $1,800,000 – 2,500,000 million. The cover lot is a highly desirable and rare Final Series work by Emily Kame Kngwarreye, only the second of the 20 works she created during the last weeks of her life to have ever been offered for public sale. Carrying a pre-sale estimate of $400,000-600,000, it is, in my own opinion, one of the crown jewels of Aboriginal art. But don’t take my word for it. Scattered throughout this catalogue are testimonials from some of the most highly respected curators in Australia to Emily’s genius. They all attest to the power, beauty and importance of this and other final series paintings. We look forward to hearing from you or seeing you in person in the lead up to the auction. The quality of the artworks on offer is exceptional and our buyer’s premium is only 20% - less than that of other auction houses. VIEW CATALOGUE VIEW RESULTS WATCH THE VIDEO

PAINTING WORDS 17 Thurlow St, Redern, NSW 2016 01 December - 25 December 2022 PAINTING WORDS 01 December - 25 December 2022 PAINTING WORDS 01 December - 25 December 2022 17 Thurlow St, Redern, NSW 2016 Hindsight is 2022 (2020 too) 2022 was a year of learning to exist in the new world, re-dipping our toes into the world’s ocean. In 2020, we described an exhibition as featuring 20 artists from ‘around the country’. But Australia is really only a country by European definition. If anything, ‘Australia’ is a continent, comprising of many countries and peoples, blurred borders shifting and changing for millennia. Buried under the word ‘Australia’ is a continent, comprising of many countries and peoples, their blurred borders shifting for millennia. Here, a visual language continues forming within a foreign framework. Western history is one of firm borders drawn by war and conquer. Only a few generations after splitting the landmass into states and territories, we are taught to erroneously view contemporary Aboriginal Australia within those same European paradigms. To much of the art world, Aboriginal Australia is viewed as a network of art centres, each with a short history of recognisable styles. In many cases, these began with a handful of iconic artists whose painting styles soon developed into something of an early blueprint for those to come. Where the error often lies, is when we ascribe these ‘regional styes’ to one specific people or country. Most of these communities are the result of decades of resettlement, often comprising of many different language groups, developing an art form around newly shared country, of mapping and memory, exchange and artistic conversation. What we unconsciously label as fixed regions, are not concrete at all; they have been condensed, yet still flow into one another. What has developed is a way of recording Australia, as it is and as it was, paintbrushes drawing from a shared palette. To much of the art world, Aboriginal Australia is viewed as a network of art centres, each with a short history of recognisable styles. In many cases, these began with a handful of iconic artists whose painting styles soon developed into something of an early blueprint for those to come. Where the error often lies, is when we ascribe these ‘regional styes’ to one specific people or country. Most of these communities are the result of decades of resettlement, often comprising of many different language groups, developing an art form around newly shared country, of mapping and memory, exchange and artistic conversation. What we unconsciously describe as fixed borders, are not concrete at all; the countries have been condensed, yet still flow into one another. What has developed is a way of recording, describing what is and what was, paintbrushes drawing from a shared palette. ‘Australia’ is a continent, comprising of many countries and peoples shifting and blurring for millennia before being concentrated and shaped by colonialism. For this end of year exhibition, we want to broaden our view and move beyond the constraints of the last few years. With this show, we want to illuminate the soil beneath us, the sky above us, and the water around us. The exhibition aims to show much of what we call this ‘country’ is buried under the word Australia. WATCH VIDEO WATCH VIDEO EX 245

Artist Profile for Lanita Numina Napananka < Back Lanita Numina Napananka Lanita Numina Napananka ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lanita Numina Napananka 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 Ann Nyankulya Cleary-Farell < Back Ann Nyankulya Cleary-Farell Ann Nyankulya Cleary-Farell ARTIST PROFILE ARTIST CV MARKET ANALYSIS Ann Cleary-Farrall, an artist from the Ngaanyatjarra language and cultural group, resides in the remote community of Irruntyju (Wingellina), Western Australia. Having spent her early years moving between Irruntyju and Warburton, Ann settled in Alice Springs in 1974, where she continues to live and create. READ FULL ARTIST PROFILE ANN NYANKULYA CLEARY-FARELL - SPOTTY TINKA SOLD AU$400.00 top Anchor 1 PROFILE Ann Nyankulya Cleary-Farell Ann Cleary-Farrall, an artist from the Ngaanyatjarra language and cultural group, resides in the remote community of Irruntyju (Wingellina), Western Australia. Having spent her early years moving between Irruntyju and Warburton, Ann settled in Alice Springs in 1974, where she continues to live and create. Ann is not only a painter but also an adept weaver, passing down her skills in both crafts to her four daughters. Her influence is palpable in the style and technique seen in their artistic works. In her weaving, Ann primarily uses grasses and creek roots sourced locally around Alice Springs, which she dyes herself. Her deep knowledge of these materials allows her to innovate with colours and techniques, drawing inspiration from the Yolngu women of the Northern Territory. Her works are not only beautiful and unique but also represent a significant shift in the direction of Tjanpi Desert Weavers, making her pieces highly collectable. In recent times, Ann has been concentrating on creating realistic sculptural depictions of local birdlife. She meticulously captures the subtle distinctions between males and females, crafting mating pairs of various species including cockatoos, galahs, ringneck parrots, hawks, eagles, and spinifex doves. These sculptures are a testament to her observational skills and her ability to translate intricate details into her artworks, further establishing her reputation as a talented and innovative artist. 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 Minnie Pwerle Also know as: Minnie Motorcar, Apwerl, Pwerl < Back Minnie Pwerle Also know as: Minnie Motorcar, Apwerl, Pwerl Minnie Pwerle 1922 - 2006 Also know as: Minnie Motorcar, Apwerl, Pwerl ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MINNIE PWERLE - AWELYE ATNWENGERRP SOLD AU$16,000.00 MINNIE PWERLE - UNTITLED Sold AU$9,000.00 MINNIE PWERLE - AWELYE (TRIPTYCH) SOLD AU$6,000.00 MINNIE PWERLE - UNTITLED Sold AU$0.00 MINNIE PWERLE - AWELYE ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - AWELYE ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - AWELYE - ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - UNTITLED Sold AU$0.00 MINNIE PWERLE - AWELYE ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - AWELYE - ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - AWELYE - ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - BODY PAINT DESIGN Sold AU$0.00 MINNIE PWERLE - BUSH MELON SEED SOLD AU$12,500.00 MINNIE PWERLE - AWELYE-ATNWENGERRP SOLD AU$7,000.00 MINNIE PWERLE - AWELYE AND BUSH MELON SOLD AU$2,800.00 MINNIE PWERLE - AWELYE - WOMEN'S CEREMONY Sold AU$0.00 MINNIE PWERLE - AWELYE - ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - BODY PAINTING Sold AU$0.00 MINNIE PWERLE - AWELYE - ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - AWELYE WOMENĀ€™S CEREMONY Sold AU$0.00 MINNIE PWERLE - AWELYE ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - AWELYE Sold AU$0.00 MINNIE PWERLE - AWELYE - ATNWENGERRP Sold AU$0.00 MINNIE PWERLE - AWELYE AND BUSH MELON Sold AU$0.00 top Anchor 1 PROFILE Minnie Pwerle 1922 - 2006 Born c.1922, in the Eastern Desert, Minnie Pwerle worked on the property and homestead of nearby pastoralists as a young girl and, and whilst still in her teens bore a daughter, Barbara (Florie), to Jack Weir, the owner of a neighbouring station. Jack was arrested and taken with Minnie and their child to Harts Range police station from which she walked the 600 kilometers back to her outstation with her baby in her arms. She spent the following years living in fear that her daughter would be taken away by ‘the native welfare’. Barbara was finally taken eight years later and did not return to Utopia until 1968, by which time Jack Weir had died, and Minnie had married Motorcar Jim, with whom she had six children. Despite the batik workshops held in Utopia in the late 1970’s and the adoption of painting there by women as early as the late 1980’s, Minnie Pwerle is not believed to have picked up a brush until she had reached her late 70’s, in 1999. Minnie’s reason, given during an interview in 2004 was that ‘no one asked me to’. Such apparent shyness however is not at all evident in the canvasses she immediately began filling with gestural depictions of her country, Atnwengerrp, and its Dreamings. A collection of the first three hundered of these has been kept intact by Hank Ebes, the owner of Aboriginal Gallery of Dreamings, who helped to fund the earliest workshops at the time she began to paint. A chronological look through these early works demonstrates the surety and vigor of her stroke from the outset as she depicted the Women’s Ceremony, Awelye, and the once abundant Bush Melon and Bush Melon Seed in a way that reflects a strength of character built during a lifetime of dislocation and hardship. Minnie’s career and that of the great Emily Kame Kngwarreye share many parallels. Both began painting in their late 70’s and both created work for a period of seven years. Despite a short early period during which Emily painted tightly controlled painstaking fields of tiny dots obscuring detailed iconography beneath, both painted the majority of their works equally gesturally and produced a prodigious output, generally thought to number in excess of 4000 individual works. Both artists painted works that were immediately popular, most especially amongst women, and were able to support a number of close relatives with the income they generated. Indeed the comparison between the two women, who were sisters-in-law, extended to their fundamental feelings 'of reverence, abandon… intuition-minimal fuss,' as Sydney abstractionist Tony Tuckson phrased it (cited in McCulloch 2003). The manner in which they created their works appeared to be the result of an urgency to reconnect to the past and to keep the Dreaming a living reality. Just like Emily Kngwarreye before her, in painting after painting Minnie boldly and self-assuredly depicted the body designs painted on to women’s breasts and limbs for the regular ceremonial revivification of her country. While the rambling tuberous roots of the Yam or Bush Potato were Emily’s Dreamings and the subject of her art, Minnie’s primary focus was the Bush Melon and its seeds. Her Awelye-Antnwengerrp paintings drew directly from these ceremonial practices, depicting bush melon, seed, and breast designs in powerful multi-coloured brushstrokes that built in to a structured patchwork of luminous colour most often emanating from within a darker under-layer. The energy of these vibrant colourful works seemed to capture the joy of coming across these sweet bush foods, now scarce and difficult to find. In retrospect, Minnie’s painting career reflects a sense of disorganisation and dislocation, given the absence of an art centre in the community during her lifetime. While family groups live on sixteen disparate outstations, the Arlparra store, where Minnie sometimes resided is still the sole unifying centre. Her first works were painted during a workshop organized by Barbara Weir’s son, her grandson Fred Torres, who became her principle dealer. Minnie, however, painted for many others, including Tim Jennings of Mbantua Gallery, Jo Doyle of Ironwood Arts as well as nearly all of the dealers in Alice Springs at one time or another. From the outset her work was popular and, just as Emily had done during the early 1990’s, Minnie kept many galleries in business during the start of the new millennium. In the space of just seven years, like Emily, she could easily have painted up to 4000 works. With Torres as her agent she produced most of her finest paintings, receiving wide acclaim after solo exhibitions in Melbourne in 2000 at the Flinders Lane Gallery and in Sydney at Gallery Savah. Her works were exhibited at Fireworks Gallery in Brisbane, Japingka Gallery in Perth and Tandanya in Adelaide as well as being included in important exhibitions in Paris, and Santa Fe. She passed away in 2006, her life an extraordinary journey mapping the transition from that of a nomad, through the early years of the pastoral industry, to a new era of Aboriginal control, and a flourishing art movement at Utopia. It has only been possible to assess the true quality of her output in retrospect, because her career as a painter was rapid and chaotic and her output uneven and often repetitive. Since her death, it has become apparent that her finest works are enduring masterpieces and, despite her many minor works, these place her amongst the most important Aboriginal artists that practiced during the early years of the twenty first century. ARTIST CV Market Analysis MARKET ANALYSIS Minnie Pwerle painted only during the last seven years of her life yet her output was prodigious. Her colourful expressive works seemed tailor-made to meet the market demand for vibrant gestural paintings left vacant by the death of her countrywoman Emily Kngwarreye. She created her earliest paintings in 1999 and by 2002, when her first works began appearing on the secondary market, they could be found in shops, retailers and galleries all over the country. With so many paintings produced in such a short and intense period, an uneven output and reports of fakery were not uncommon. While the Aboriginal art market was in a buoyant state, the speculative atmosphere at the time made it difficult for anyone, other than those closest to her, to differentiate between her finest works and the large amount of repetitive imagery she produced. As a result, when her paintings began to appear at auction, results were nothing short of catastrophic. Collectors, quite obviously, did not take her work seriously. Sotheby’s were completely disinterested in her, due in part to their lack of faith in the artist, but more because of their prejudice against works with Dacou provenance; a hangover from their policy in regard to Emily’s Kngwarreye’s output. Her presence in the secondary market began inauspiciously. When her works first appeared in 2002 only two works sold out of the five offered with two out of four selling the following year. With Minnie continuing to supply an ever ready and uneducated primary market, 2004 and 2005 were her worst years. Of 35 works offered during those two years 32 failed to sell. Under normal circumstances most auction houses and collectors would have seen this as the kiss of death., but there were a number of fine art galleries that had sold exceptional works by the artist. Believing that she had been ill-served by the mediocre paintings that had found their way in to the secondary market at that time they began feeding it with higher quality works through Lawson~Menzies sales. Perhaps one work alone pointed to a far different future for the artist in the secondary market. Despite the appalling results of 2004, an exceptional example of the artist’s best early paintings Awelye Atnwengerrp 2000 , measuring 360 x 166 cm, sold for $43,200 against a presale estimate of $40,000-60,000 at Lawson~Menzies November auction (Lot 42). This result easily held the record for the artist until the following year when Lawson~Menzies sold Awelye 2004 for $72,000 (Lot 53). It is indicative of the incredible turnaround in Minnie’s records that just four years later, this work was her seventh highest result. Sales during the three years following her death in 2006, by comparison, were nothing short of spectacular and were due entirely to a curatorial reassessment of her oeuvre by Lawson~Menzies who had sold every one of her top ten results and all but three of her top 20 by the end of that period. In what was a complete turnabout 55 works were offered in 2006 and 2007 of which 43 were successful. In 2007 alone, Lawson~Menzies posted the artist’s best, third, fourth, fifth, eight, ninth and tenth highest results. A new record was set in November 2007 for a relatively early work Awelye Atnwengerrp 2002 (Lot 51) measuring 165 x 360 cm, which sold for $78,000 against a pre-sale estimate of $60,000-80,000 thereby eclipsing the previous record of $72,000 for the similar sized Awelye 2004 that had sold in November 2006 (Lot 53). As would be expected, average prices on the secondary market vary according to size regardless of quality. Minnie painted a number of major works around 350 x 165 cm in size, which have sold at an average of $56,000. This held true in 2009 with Awelye Antwengerrp - Bush Tomato, 2001 measuring 353 x 164 cm which sold for $43,200. However there is a dramatic drop in average prices with works around 270 x 120 cm having sold for a mean of $18,000, while works averaging 200 x 120 cm sold at around $11,000. Works smaller than 150 x 120 cm regularly sell below $5,000. Moreover, regardless of size, her 2010 average price of $8.080, was nearly half that of 2009. This is quite a different story to her prices in the primary market. Since her death Dacou re-priced all of her canvasses painted prior to 2002 and today these sell for considerably more than the averages listed above. Over the next few years expect some spectacular results when the best of these smaller works are offered through auction houses. As a perfect example, Awelye 2003 , a wonderful 120 x 90 cm work executed in a moody blue and white palette with minimalist aesthetic was estimated at just $8,000-10,000 in Lawson~Menzies November 2007 sale (Lot 110) but sold for $36,000, a stunning result compared to the average for works around this size of just $3,500. With so many ordinary paintings sitting on collector’s walls, the cream of Minnie’s oeuvre will only appear for sale over time. Nevertheless, her recent records have been impressive. She was the 20th most successful artist of the movement in 2015, the 16th in 2016. and 14th on 2019. As with works by all prolific artists, the majority of Minnie Pwerle’s paintings are difficult to critically assess. Most of her smaller works are to be avoided at auction despite their appeal, especially by collectors who have any concerns about investment value. Yet those works bought with judgment and a critical eye should hold their value. With average prices for smaller works well below primary market values, the secondary market may well be the place to pick up a bargain, especially if you fall in love with a painting and are not so concerned about its re-sale value. Minnie's major works vary in quality but not as greatly as the smaller pieces. There are enough masterpieces amongst them to ensure that Minnie Pwerle will rate amongst the greatest of all Aboriginal women painters and prove a number of her critics completely wrong about her legacy. 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 .

Explore our carefully curated external art resources to deepen your appreciation for Aboriginal art. Discover reputable museums, galleries, and cultural institutions dedicated to showcasing Indigenous artworks. Immerse yourself in the rich heritage and stories of Australia's First Nations through these valuable links. ART RESOURCES OUR STORY MEET THE TEAM NEWS BLOG ART RESOURCES CONTACT US At our Art Gallery, we understand the importance of staying up to date with the latest art sector resources and links. We have put together a list to help you stay informed and connected with the art world. From the latest news and events to helpful resources and tips, our list will help you stay informed and connected. ACT Adelaide Australia Australia (national) Brisbane Darwin Global International Melbourne NT National National (Australia) Paddington Perth Sydney Sydney based USA United Kingdom global ABC Arts Gateway National (Australia) https://www.cooeeart.com.au/art-resources/abc-arts-gateway/ The Arts gateway is a general resource for all current Arts activities nation wide.. Aboriginal Art Directory Australia https://www.cooeeart.com.au/art-resources/aboriginal-art-directory/ Largest online tool to help you find Aboriginal art, artists, art centres and galleries.. Aboriginal and Torres Strait Islander Arts Board Australia https://www.cooeeart.com.au/art-resources/aboriginal-and-torres-strait-islander-arts-board/ The Australia Councils Aboriginal and Torres Strait Islander Arts Board (ATSIAB) assists Indigenous people to control and enhance their cultural inheritance. It supports traditional arts practices and the generation of new forms of Indigenous artistic excellence.. Art & Australia National (Australia) https://www.cooeeart.com.au/art-resources/art-australia/ Art Forum International https://www.cooeeart.com.au/art-resources/art-forum/ Art Info International https://www.cooeeart.com.au/art-resources/art-info/ Daily online updates about what is happening across all art genres, all over the world. Arts Law Centre of Australia Australia (national) https://www.cooeeart.com.au/art-resources/arts-law-centre-of-australia/ The Arts Law Centre of Australia is the national community legal centre for the arts. The centre was established with the support of the Australia Council for the Arts to provide specialised legal advice.. Australian Institute of Aboriginal and Torres Strait Islander Studies Australia https://www.cooeeart.com.au/art-resources/australian-institute-of-aboriginal-and-torres-strait-islander-studies/ The Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) is an independent statutory authority and Australia's leading institution on the cultures and lifestyles of Australian Indigenous peoples.. Bonham's Auction House Australia https://www.cooeeart.com.au/art-resources/bonhams-auction-house/ Fine art auction house.. Christie's Australia https://www.cooeeart.com.au/art-resources/christies/ Fine art auction house.. D'ART -The internet database Global https://www.cooeeart.com.au/art-resources/dart-the-internet-database/ This database provides information on art dealers and available artworks, including art works for sale with an emphasis on fine art.. Das Super Paper National (Australia), Sydney based https://www.cooeeart.com.au/art-resources/das-super-paper/ The Das Platforms are a place for the presentation, discussion and promotion of the emerging and contemporary arts.. European Network for Indigenous Australian Rights global https://www.cooeeart.com.au/art-resources/european-network-for-indigenous-australian-rights/ The ENIAR aim's to promote awareness on indigenous issues and to provide information for Indigenous Australians about Europe and international organisations. ENIAR is not affiliated to any government or commercial bodies, is non-profit and run entirely by volunteers.. Indigenous Australia info Australia https://www.cooeeart.com.au/art-resources/indigenous-australia-info/ Learn about the history and culture of Australia's Aborigines. Indigenous Australia.info is completely written by Aboriginal people - it contains photographs and information on Indigenous lives, culture, history and practices. Used as a valuable resource by educational institutions worldwide.. Museum of Contemporary Art Sydney, Australia https://www.cooeeart.com.au/art-resources/museum-of-contemporary-art/ Recently renovated gallery dedicated to contemporary art.. National Aborigines and Islanders Day Observance Committee (NAIDOC) Australia https://www.cooeeart.com.au/art-resources/national-aborigines-and-islanders-day-observance-committee-naidoc/ This organization is responsible for NAIDOC week , which celebrates the significant contribution of Aboriginal and TSI to the community.. National Indigenous Times Australia https://www.cooeeart.com.au/art-resources/national-indigenous-times/ News website sousing on Indigenous Australian issues, events, jobs etc.. Perth International Arts Festival Perth, Australia https://www.cooeeart.com.au/art-resources/perth-international-arts-festival/ Perth International Arts Festival will be an explosion of energy, filling venues from concert halls and theatres to disused buildings and parks.. Sydney Festival Sydney, Australia https://www.cooeeart.com.au/art-resources/sydney-festival/ Every January, Sydney Festival enlivens and transforms Sydney with a bold cultural celebration based on the highest quality art and big ideas. The Festival opens each year with the unique Festival First Night - a feast of music, dance and visual spectacle on the streets and in the parks of central Sydney, attracting over 200,000 people.. The Art Net Global https://www.cooeeart.com.au/art-resources/the-art-net/ The artnet provides a good overview of the commercial art market with regular art market reports and price reportage. This website tends to focus on the American and European art market.. The Koori Mail Australia https://www.cooeeart.com.au/art-resources/the-koori-mail/ Leading Aboriginal and Torres Strait Islander news publication.. The UNSW Art and Design (formerly COFA) library at The University of New South Wales Paddington, Sydney, Australia https://www.cooeeart.com.au/art-resources/the-unsw-art-and-design-formerly-cofa-library-at-the-university-of-new-south-wales/ Viscopy Australia https://www.cooeeart.com.au/art-resources/viscopy/ VISCOPY is Australia's visual arts copyright collecting agency and represents more than 250 000 national and international visual artists. VISCOPY represents many Australian Indigenous artists exclusively and has an Indigenous Copyright Education Office.. ANKAAA (Association of Northern, Kimberley and Arnhem Aboriginal Artists) Australia https://www.cooeeart.com.au/art-resources/ankaaa-association-of-northern-kimberley-and-arnhem-aboriginal-artists/ The Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKAAA) is the peak advocacy and support agency for Aboriginal artists working individually and through 48 remote Art Centres spread across a vast area of approximately 1 million square kilometres. ANKAAA serves four regions, including Arnhem Land, Darwin/Katherine, the Kimberley and the Tiwi Islands regions. Many of its 5000 members are internationally acclaimed artists and important community leaders. Aboriginal Art Print Network Sydney, Australia https://www.cooeeart.com.au/art-resources/aboriginal-art-print-network/ The Australian Art Print Network specializes in high quality contemporary Aboriginal and Torres Strait Islander art prints and sculptures by established, mid-career and emerging artists.. Adelaide Festival Adelaide, Australia https://www.cooeeart.com.au/art-resources/adelaide-festival/ Held annually in the warm South Australian autumn, the Adelaide Festival is Australia's largest multi-arts festival. Since its launch in 1960, the Adelaide Festival has created a strong tradition of innovation and excellence delivering the most compelling artists, companies and productions from around the globe.. Art Asia-Pacific International https://www.cooeeart.com.au/art-resources/art-asia-pacific/ Established in 1993, ArtAsiaPacific magazine is the leading English-language periodical covering contemporary art and culture from Asia, the Pacific and the Middle East. Art Gallery of New South Wales Sydney https://www.cooeeart.com.au/art-resources/art-gallery-of-new-south-wales/ State gallery of New South Wales. Art Money National https://www.cooeeart.com.au/art-resources/art-money/ Art Money provides interest free loans to buy art at participating galleries. Loans are available from AUD?$750 to AUD?$18,000..Art Money makes owning art immediate and affordable. Payments are spread over 10 equal monthly payments. After paying a 10% deposit, you can take your artwork home and pay the remaining balance over 9 months, interest free.. ArtsHub Australia, United Kingdom https://www.cooeeart.com.au/art-resources/artshub/ A good resource for whats on at the moment and up to date activities' in the arts sector.. Australian Museum Sydney, Australia https://www.cooeeart.com.au/art-resources/australian-museum/ This website has some excellent resources on Indigenous cultural collections and the Dreamtime.. Brisbane Festival Brisbane, Australia https://www.cooeeart.com.au/art-resources/brisbane-festival/ Brisbane Festival is one of Australia's premier festivals and Brisbane's annual cultural event. Brisbane Festival was developed by the Queensland Government and Brisbane City Council in 1996 as an initiative to foster the arts.. Contemporary Arts Organisation of Australia Australia https://www.cooeeart.com.au/art-resources/contemporary-arts-organisation-of-australia/ Website of several Australian contemporary art organizations' that exhibit Aboriginal Art frequently. This site is the gateway to Australia's contemporary arts organizations which encourage the production of new and cutting edge art.. Darwin Aboriginal Art Fair Darwin, NT, Australia https://www.cooeeart.com.au/art-resources/darwin-aboriginal-art-fair/ Held from the 12 to 14th of August 2011 in Darwin on Larrakia Lands at the Convention Centre in the newly developed Waterfront Precinct the Fair coincides with the Telstra National Aboriginal and Torres Strait Islander Art Awards, (NATSIAA'S) and the Darwin Festival, a time when the city of Darwin becomes the focal point of the nation for visitors with an interest in Aboriginal and Torres Strait Island arts.. Desart Australia https://www.cooeeart.com.au/art-resources/desart/ Desart is the non-profit peak industry body for over forty Central Australian Aboriginal art centres.. Frieze Magazine United Kingdom https://www.cooeeart.com.au/art-resources/frieze-magazine/ John Mc Donald Australia https://www.cooeeart.com.au/art-resources/john-mc-donald/ The revered and opinionated art critic for The Sydney Morning Herald has recently launched a new website of candid blog entries, archived reviews and academic essays.. Museums Australia Australia https://www.cooeeart.com.au/art-resources/museums-australia/ As the peak national association representing the museum and gallery sector, Museums Australia provides a range of professional services to members and promotes the role of museums in society at local, regional, state and national levels.. National Assosciation for the Visual Arts (NAVA) Australia (national) https://www.cooeeart.com.au/art-resources/national-assosciation-for-the-visual-arts-nava/ The National Association for the Visual Arts (NAVA) is the national peak body for the visual arts, craft and design sector. The website contains an up to date commentary on the sector and official releases from NAVA on a variety of topical issues.. National Multicultural Festival ACT, Australia https://www.cooeeart.com.au/art-resources/national-multicultural-festival/ The 2011 National Multicultural Festival was a magnificent success with record numbers attending and participating in the three-day event in Civic. Over 240,000 people attended over the three days.. Real time Arts National (Australia) https://www.cooeeart.com.au/art-resources/real-time-arts/ The Aboriginal Art Resource International https://www.cooeeart.com.au/art-resources/the-aboriginal-art-resource/ The Aboriginal Art Resource aims to provide the latest news on the Aboriginal art industry, artists, exhibitions, auctions and artworks. Collecting Aboriginal Art provides a detailed guide to how to buy and sell Aboriginal Art. It helps one to understand terms such as Provenance and Authenticity in terms of artworks. A Step by step guide to the Economics of Aboriginal Art.. The Australian Art Sales Digest National (Australia) https://www.cooeeart.com.au/art-resources/the-australian-art-sales-digest/ The Australian Art Sales Digest is the foremost information source for secondary market art prices and news. First published in print in 1995, and followed by an online version in 1998, our database now contains records of over 450,000 works by more than 40,000 artists offered for sale in Australia and New Zealand from 1969 to the present day. The Australian Art Sales Digest is an indispensable tool for valuers, art consultants, auctioneers, public and private galleries and collectors. Sales records for individual artists are supplemented by segmental and overall market statistics, and art market news and opinion written by art market professionals.. The New Yorker USA, International https://www.cooeeart.com.au/art-resources/the-new-yorker/ Arts gateway for The New Yorker newspaper.. Time Out Magazine National (Australia) https://www.cooeeart.com.au/art-resources/time-out-magazine/ Aboriginal Art Association of Australia Australia https://www.cooeeart.com.au/art-resources/aboriginal-art-association-of-australia/ The Australian Indigenous Art Trade Association is a national organization for the Indigenous art industry. It promotes ethical trade and provides a forum where members can discuss issues.. Aboriginal Art.org Australia https://www.cooeeart.com.au/art-resources/aboriginal-art-org/ Apollo Magazine International https://www.cooeeart.com.au/art-resources/apollo-magazine/ The international magazine for collectors. A good resource if you are interested in beginning or developing a collection.. Art Facts Global https://www.cooeeart.com.au/art-resources/art-facts/ Art facts is a comprehensive directory of all galleries and art events internationally. It is extremely useful in ongoing research projects.. Art Guide Australia National (Australia) https://www.cooeeart.com.au/art-resources/art-guide-australia/ Artlink National (Australia) https://www.cooeeart.com.au/art-resources/artlink/ Artlink covers contemporary art in Australia and through its networking with the national and international scene, provides a context for evaluation and analysis. It regularly produces Special Issues on specific areas, and undertakes major theme-based features.. Australian Commercial Galleries Association Australia https://www.cooeeart.com.au/art-resources/australian-commercial-galleries-association/ The Australian Commercial Galleries Association represents, promotes and furthers the interests of Australian commercial galleries whose core business is the ethical representation of living Australian artists.. Bangarra Dance Theater Sydney, Australia https://www.cooeeart.com.au/art-resources/bangarra-dance-theater/ Bangarra Dance Theater is a contemporary indigenous dance theater company based in Sydney. Bangarra fuses together a mix of traditional dance techniques with contemporary choreography.. Broadsheet National (Australia) https://www.cooeeart.com.au/art-resources/broadsheet/ Copyright Agency Limited National https://www.cooeeart.com.au/art-resources/copyright-agency-limited/ Copyright Agency Limited (CAL) provides simple ways for people to reproduce, store and share words, images and other creative content, in return for fair payment. In doing so, it connects the creators, owners and users of copyright material.. Darwin Festival Darwin, NT, Australia https://www.cooeeart.com.au/art-resources/darwin-festival/ The Darwin Festival is recognised locally, nationally and internationally as the premier festival for the 'Top End' of Australia and the Asia Pacific Region., and for its quality, diversity and innovation in arts programming and presentation.. Deutscher and Hackett Australia https://www.cooeeart.com.au/art-resources/deutscher-and-hackett/ Fine art auction house.. Gray's Online Australia https://www.cooeeart.com.au/art-resources/grays-online/ Fine art auction house.. Melbourne Festival Melbourne, Australia https://www.cooeeart.com.au/art-resources/melbourne-festival/ Melbourne Festival is one of Australia's flagship international arts festivals and one of the major multi-arts festivals of the world, in terms of quality of work, innovation of vision, and scale and breadth of program.. NATSIVAD Australia https://www.cooeeart.com.au/art-resources/natsivad/ A biographical database of Australian indigenous visual artists National Aboriginal and Torres Strait Islander Visual Artists Database. This biographical database, compiled by researcher Belinda Scott on behalf of the Australian Institute of Aboriginal and Torres Strait Islander Studies. The team at artrightnow are currently updating the NATSIVAD database as new information comes to hand. This database currently has biographical details on more than 5900 indigenous artists.. National Centre of Indigenous Excellence Paddington, Sydney https://www.cooeeart.com.au/art-resources/national-centre-of-indigenous-excellence/ Located in the heart of Paddington, the National Centre of Indigenous Excellence is a place for young Aboriginal and Torres Strait Islander Australians from across the country to participate in life-changing programs in the pathways of arts and culture, health and wellness, learning and innovation and sport and recreation.. Opera Australia Sydney, Australia https://www.cooeeart.com.au/art-resources/opera-australia/ Sotheby's Australia Australia https://www.cooeeart.com.au/art-resources/sothebys-australia/ Fine art auction house.. The Age National (Australia) https://www.cooeeart.com.au/art-resources/the-age/ The Daily Telegraph Sydney, Australia https://www.cooeeart.com.au/art-resources/the-daily-telegraph/ The Sydney Morning Herald Sydney, Australia https://www.cooeeart.com.au/art-resources/the-sydney-morning-herald/ Umi Arts Australia https://www.cooeeart.com.au/art-resources/umi-arts/ UMI Arts is the peak Indigenous arts and cultural organisation for Far North Queensland, an area that extends north of Cairns to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt Isa regions..