Artist Profile for Peggy Griffiths < Back Peggy Griffiths Peggy Griffiths ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PEGGY GRIFFITHS - CORROBOREE SOLD AU$460.00 top Anchor 1 PROFILE Peggy Griffiths 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 Maureen Thompson < Back Maureen Thompson Maureen Thompson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MAUREEN THOMPSON - MUNUM (STINGRAY) SOLD AU$3,500.00 top Anchor 1 PROFILE Maureen Thompson 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 Lily Lion Kngwarrey < Back Lily Lion Kngwarrey Lily Lion Kngwarrey ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lily Lion Kngwarrey SELECTED EXHIBITIONS: 2016 Solo Exhibition, A Utopian Vision, Cooee Art Gallery, NSW 20th Oct - 19th Nov 2016 2016 Finalist, Alice Prize, Alice Springs Art Foundation, Alice Springs, N.T. 2014 Narrativa Herióca - Pintura Aborígine do Deserto Australiano Renaissance Hotel, São Paulo, Brazil & Arca Urbana, Rio de Janeiro, Brazil 2014 Finalist, 38th Alice Prize, Araluen Arts Centre, Alice Springs 2013 Finalist, Fleurieu Art Prize, 2013, Maclaren Vale, South Australia 2013 Finalist, The Waterhouse Natural Science Art Prize, Museum of South Australia 2012-13 Blake Prize Director’s Cut on-line exhibition, The Blake Society 2012 finalist Paddington Art Prize, Sydney 2012 finalist, Hawkesbury Art Prize, Purple Noon Gallery, Freemans Reach (Blue Mountains region) NSW 2012 Tattersalls Club Art Prize Award, Tattersalls Club, Brisbane 2012 finalist, Metro Art Award, Metro Art Gallery, Melbourne 2012 The Churchie, National Emerging Art Exhibition, Griffith University Art Gallery, Queensland College of Art (Judge’s Award winner) 2011 Tattersall’s Club Art Prize Award, Tattersall’s Club, Brisbane, 2010 (Commended) 2011 Kinross House, Uniting Arts Toorak, Vic; 25 May - 3 July 2011, Grafton Regional Gallery, NSW' 30 July - 8 September 2011, The Schoolhouse Gallery, Tasmania 2010 Fisher’s Ghost Art Award, Campbelltown Art Centre, 2010, Sydney 2010 59th Blake Prize, National Art School Gallery, Sydney, 3 September - 2 October 2010 23 Oct - 28 Nov 2010, Adelaide Festival Centre, SA; 28 Jan - 3 March 2011, Delmar Trinity Gallery, NSW; 18 March - 21 April 2010 Metro Gallery Art Award, Metro Gallery, Melbourne 2009 Blake Prize, The Blake Society, National Art School Gallery, Sydney City of Albany Art Prize, 4 – 27 April 2009, Vancouver Arts Centre, Albany, W.A. Awarded Highly Commended Making their Mark: Elizabeth Kunoth Kngwarray and Genevieve Kemarr Loy, 20 March - 25 April 2009, Lauraine Diggins Fine Art, Melbourne An Individual Perspective: From the Indigenous Collection of Lauraine Diggins, Deakin University Gallery, Burwood, and touring to Geelong Gallery, 2010 2008 Impulse to Paint: The Artists of Iylenty, Utopia, Lauraine Diggins Fine Art, Melbourne Moscow World Fine Art Fair, Manege, Moscow, Russia The Churchie National Emerging Art, Morris Hall at Churchie (Anglican Church Grammar School), East Brisbane Annual Collectors’ Exhibition, Lauraine Diggins Fine Art, Melbourne Australian Antiques & Art Dealers Fair 2008, Sydney Fisher’s Ghost Art Award, Campbelltown Arts Centre, Sydney 2007 Visions of Utopia, Cooee Aboriginal Art, Sydney Memory As Landscape, Masterpiece @ IXL, Hobart Utopia Today, Lauraine Diggins Fine Art, Melbourne COLLECTIONS: Anglican Church Grammar School, Brisbane Lauraine Diggins, Melbourne LITERATURE: Impulse to Paint: The Artists of Iylenty, Lauraine Diggins Fine Art Melbourne, 2008 (exhibition catalogue) Annual Collectors’ Exhibition, Lauraine Diggins Fine Art, Melbourne, 2008 (exhibition catalogue). 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 .

EMILY KAME KNGWARREYE Location: Cooee Art Online From 05 March to 28 April 2020 EMILY KAME KNGWARREYE Artists: Emily Kame Kngwarreye From 05 March to 28 April 2020 EMILY KAME KNGWARREYE Artists: Emily Kame Kngwarreye From 05 March to 28 April 2020 Location: Cooee Art Online During a whirlwind painting career that lasted just eight years, octogenarian Emily Kame Kngwarreye became Aboriginal Australia’s most successful living artist and carved an enduring presence in the history of Australian art. By the time she passed away on September the 2nd 1996 her fame had achieved mythic status. The Sydney Morning Herald obituary reported the ‘Passing of a Home Grown Monet’. By this time comparisons with a number of great international artists including Pollock, Kandinsky, Monet and Matise, had become commonplace. Emily was an artistic superstar, the highest paid woman in the country, who created one of the most significant artistic legacies of our time. As a painter Emily was a bold, unselfconscious force unleashing colour and movement on to canvases that at their best could be sublime. Her finest paintings are entirely intuitive works, painted during furious sessions in which she never stepped back to look. Her forceful independent personality coupled with the strength she developed while working with camels and labouring during her earlier life was clearly evident as she painted. She worked as if possessed, drawing long meandering lines and bashing out fields of dots with her exceptionally strong hands and arms, displaying her ability to use the most unlikely overlays of colours to create deeply luminous works. Like Pollock she painted on the ground but, unlike him, she crouched over the canvas until done. She was renowned for walking away from a canvas without even surveying the finished product, such was her assuredness about its content and meaning. VIEW CATALOGUE EX 198

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

KaredadaLily Lily Karadada Lily Karadada 1937 Lily Karedada is a prolific and well-established Wandjina painter from the township of Kalumburu, on the northwest tip of Western Australia. This remote part of the Kimberley is sometimes referred to as ‘Wandjina Country’. The enigmatic Wandjina figures, painted and maintained for generations in the surrounding caves and rock galleries, have become emblematic of Dreamtime mystery. The much older but unrelated Bradshaw figures are also found in this area, as is the powerful Rainbow Serpent. For the local tribes, the Wandjina ancestor spirits were the pivot of their natural and cultural world. Each clan group traces its decent from a distinct cave area. Lily was born near the Prince Regent River and her bush name, Mindindil, means 'bubbles'. This name refers to the time when her father saw bubbles emerging in the freshwater spring and announced to his wife, “Ah, what this one here, he comes out bubble? Ah! Might be kid.” Many aeons ago (during the Dreamtime), after their creative acts were done, the Wandjina lay down in the caves, leaving their life giving essence in the cave paintings as they returned to their home in the clouds. They are known as rainmakers and bring fertility to the land. They are usually shown either in groups or surrounded by associated totemic species. Always depicted frontally, their large eyes dominate in a mouthless face, sometimes on top of a simple robe-like body, with no apparent limbs or feet. Radiating lines around the eyes or in a halo around the head represent the lightning that heralds the storm. The first lightning strike renders their mouths tightly closed. If their mouths were left open, we are told, it would rain incessantly, carrying everything away in an absolute torrent. Wandjina float vertically on the rock surface or may be shown lying down. They are precious ancient icons, and their contemporary re-representation has allowed for their preservation and the survival of a unique culture. The earliest copying of these images from rock to bark was at the request of early missionaries and explorers during the 1930s, after the Benedictine mission was established. The missionaries displaced Lily’s Wanambal people from their traditional lands. Their way of life, including the regular re-touching of the rock images and conveying of stories by tribal elders was forbidden. Lily still recalls how the hard work routines of their early mission life took all their time and energy. These days Kalumburu is Aboriginal-run and income is largely derived from art and craft production. The Karedada family have long been recognised as leaders in the Wandjina tradition. When Kimberley art first found its way to the market during the 1970s under the guidance Mary Macha, Lily and her husband Jack Karedada participated in the first exhibition in Perth. Bringing this unique tradition to public attention ensured its survival. The assimilation of sacred elements into the secular did not detract from its numinous character, or its ability to mesmerise an audience. Lily’s refined style, full of subtle variations in tone, her figures outlined and with the distinctive pointy shoulders of her particular cave area, often emerge from a veil of rain-like dots. They are accompanied by animal spirits, beautifully captured in uncluttered character. Lily’s totems are the turkey, possum and white cockatoo. She belongs to the Jirrengar owlet moiety and the Wandjina hold a special affinity with the owl. A sympathetic Wandjina spirit rescued the legendary owl, Dumbi, from a group of playful children who were pulling out its feathers. Though the Wandjina returned to the clouds, a close association remained between the two. Lily collects pigments and other natural art materials from the bush as well as using modern ones. She has incorporated the imagery of techniques such as mouth spray and hand stencil. Unlike most other contemporary Aboriginal art forms, historical precedents have determined the artistic features of this tradition, though an element of experimentation has always been present. Art and artefact production was a response to social change and dislocation from traditional culture and lands. Its continual evolution sustains the small community and provides guidance and inspiration to new generations. Profile author: Sophie Baka Collections Aboriginal Art Museum, The Netherlands Artbank, Sydney. Art Gallery of South Australia, Adelaide. Berndt Museum of Anthropology, University of Western Australia. Christensen Collection, held Museum of Victoria, Melbourne. Flinders University Art Museum, Adelaide. Museum de Lyon, France. National Gallery of Australia, Canberra. National Gallery of Victoria, Melbourne. Queensland Art Gallery, Brisbane. The Kelton Foundation, Santa Monica, U.S.A. Individual Exhibitions 2011 - Lily Karadada The Last of the Great Wandjina Painters, Cooee Art Gallery, Sydney. 2010 - Lily Karadeda, Niagara Galleries, Melbourne. 2000 - Lily Karadeda, Niagara Galleries, Melbourne. Group Exhibitions 2018 - Keepers of the Kimberley, Cooee Art Gallery, Sydney. 2016 - Cooee Art at Australian Galleries, Australian Galleries, Sydney. 2011 - Bark Paintings 1930-2000 - And New Works from Bula Bula, featuring Baluka Maymuru , Banguli , Barrngandi , Bomandi , Darringguwuy , David Gurrumirringu Malangi , Dick Barinbungung , Djawida Nadjongarle , Djawida Nadjongorle , Elizabeth Nyuguwana , George Ganyjibala , George Liwukang Bukulatjpi , George Milpurrurru , Jack Madagarlgarl , Jacky Atjarral , James Gaykamangu , James Iyuna , Jimmy and Elisabeth Wululu , Jimmy Moduk , Jimmy Njiminjuma , Jimmy Wululu , John Gurruwiwi Mandjuwi , Les Mirrikkurriya , Lily Karadada , Linda Namiyal Bopirri , Lofty Nabardayai Nadjamerrek , Mickey Ganambarr Daypurryun, Nabamdlule, Narrawu Wanambi, Paddy Compass Namatbara, Peter Marralwanga, Philip Gadthaykudthay , Philip Gudthaykudthay , Robyn Djunginy, Roy Burnyila, Thompson Yulidjirri, Tom Djimpurrpurr , Tom Djumburpur, Trudy Miltjuntjun , Wally Lipuwanga , Wally Mandarrk , William Wilanydjangu at Coo-ee Aboriginal Art Gallery, Sydney. 2010 - Passing on tradition - new and old Kimberley, featuring Gordon Barney, Paddy Bedford, Jack Britten, Charlene Carrington, Tommy Carroll, Billy Duncan, Hector Jandanay, Lily Karedada, Rosie Karedada, Queenie McKenzie, Jock Mosquito, Beerbee Mungnari, Mark Nodea *, Nancy Nodea, Nancy Noonju, Peggy Patrick, Rusty Peters, Marcia Purdie, Shirley Purdie, Phyllis Thomas, Freddy Timms, Enry Wambiny @ Coo-ee Aboriginal Art Gallery, Sydney. 2009 - Floating Life - Contemporary Aboriginal Fibre Art, Queensland Art Gallery, Brisbane. 2009 - Parcours des Mondes, Arts d’Australie, Stéphane Jacob, Paris, France; Dreamtime, Musée Les Abattoirs with Arts d’Australie, Stéphane Jacob, Toulouse, France. 2007 - Parcours des Mondes, Galerie Arts d'Australie, Stephane Jacob, Paris. 2006 - Christofle invite l’Australie, Arts d'Australie, Stéphane Jacob / Musée Bouilhet Christofle, Saint Denis, France. 2005 - Kaos, Parcours des Mondes, Arts d'Australie, Stéphane Jacob, Paris, France; Terre de Rêves, Terre des Hommes, Arts d'Australie, Stéphane Jacob / Musée de la Préhistoire d’Île de France, Nemours, France;Terre de Rêves, Terre des Hommes, Arts d'Australie, Stéphane Jacob / Ambassade d’Australie, Paris, France. 2004 - EXPLAINED, A closer look at Aboriginal art, Aboriginal Art Museum, Utrecht, The Netherlands. 2000 - Exposition collective, Arts d’Australie, Arts d'Australie, Stéphane Jacob / Espace Mezzo - Avenue des Champs-Elysées, Paris. 1999 - Exposition collective, Australie – Art, Arts d'Australie, Stéphane Jacob / J.L. Amsler - Bastille, Paris. 1997 - Exposition collective, L’Art des Aborigènes d’Australie, Arts d'Australie, Stéphane Jacob / Galerie de Stassart, Bruxelles; Exposition collective, L’Art des Aborigènes d’Australie, Arts d'Australie, Stéphane Jacob / Espace Paul Riquet, Béziers. 1994 - Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria. 1993 - Images of Power, Aboriginal Art of the Kimberley, National Gallery of Victoria, Melbourne. 1992 - Broome Fringe Festival, Broome. 1991 - Aboriginal Women's Exhibition, Art Gallery of New South Wales, Sydney. 1990 - Balance 1990: views, visions, influences, QAG, Brisbane. 1988 - Karnta, Touring South-east Asia, [non selling Karnta show]. 1981 - Die kunst der Australischen Ureinwohner lebt, Museum fur Volkerkunde, Leipzig, Staatliches Museum fur Volkerkunde, Dresden. Profile References Kleinert, Sylvia & Neale, Margo . 2000. The Oxford Companion to Aboriginal Art and Culture. Melbourne. Oxford University Press. Ryan, Judith. 1993. Images of Power, Aboriginal Art of the Kimberley. Melbourne. National Gallery of Victoria. Isaacs, Jennifer. 1999. Australian Aboriginal paintings. Sydney. Lansdowne. McCulloch, Susan. 2005. McCullochs Contemporary Aboriginal Art, the complete guide. Carlton, Vic. McCulloch and McCulloch. A detailed Market Analysis is currently being worked on. Should you like a completed Market Analysis for any artist, please let us know. 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 Rosemary Petyarre < Back Rosemary Petyarre Rosemary Petyarre ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Rosemary Petyarre 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 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 .