Cooee Art Leven Final days. Ends 9 December 2023 Munupi Arts & Crafts Association is located along Melville Islands North-Western coastline at Pirlangimpi (also known as Garden Point). It is the most recently formed art centre on the Tiwi Islands. The Munupi artists, inspired by their natural lush environment and the Tiwi creation stories, are renowned for their striking approaches to colour and design. Frequently referred to as “Jilamara” (design), their artworks are created using traditional earth ochres, mixed to create a wide range of colours. ARTHUR JOHN COWELL Jiyimpirriyanga, 2022 natural ochres on Belgian linen 120 x 80 cm $3,200 CORNELIA TIPUAMANTUMIRRI Banapa, 2016 natural ochres on Belgian linen 120 x 80 cm $11,000

Ksenia Radchenko Auction Administrator Working in the auction department at Cooee Art Leven provides me with the incredible opportunity to be the first to encounter an array of breathtaking secondary market consignments. I recall a particular moment when I sat on the floor surrounded by the auction works that we just finished hanging. In that serene moment, I couldn't help but feel a profound gratitude for being immersed in such extraordinary beauty. Another aspect that I deeply cherish about my job is the passionate and talented people who share a deep appreciation for the community and creativity. Tommy Yannima Watson Iyarrka, 2013 synthetic polymer paint on Belgian Linen 151.4 x 181 cm $65,000 Tommy Watson’s artworks posses a truly magical vibe that captivates viewers. When I started working at Cooee Art Leven, this strikingly large red, burgundy, pink and blue artwork adorned the office. I vividly recall the overwhelming energy emanating from this piece, as if it breathed life into the space. Queenie McKenzie Nakarra Archbishop Jobst Visiting Blackfellas Camp (...), 1995 felt tipped pen on paper 35 x 50 cm $2,000 Unframed | $2,300 Framed Queenie McKenzie's series of drawings is my personal favourite. Her candid portrayal of life and the convergence of two distinct cultural realms—indigenous cultural traditions and Christianity—is nothing short of captivating. The playful representation of the archbishop and the dogs adds a delightful touch of charm and humour to her work. It invites viewers to appreciate the boundless creativity that defines Queenie's art. Kuntjill Cooper Irrunytju (Rockhole), 2007 81 x 130 cm Synthetic Polymer Paint on Belgian Linen $3,500 The interplay of black and warm earthy hues in this artwork creates dynamic contrasts that captivates me. The blue ribbon of the water passage becomes a focal point. The painting seemingly eradicates the energy of the land. It's a truly wonderful painting that beckons one into its narrative.

Call for consignments Indigenous Fine Art Auction 2024 Cooee Art is seeking consignments of significant pieces for our forthcoming Indigenous Fine Art auction in Sydney in 2024. The auction will include an exceptional collection of art from the Rod Menzies Estate | Indigenous Fine Art Collection Part 2. Cooee Art’s November auction 'The Rod Menzies Estate | Indigenous and Oceanic Art Collection Part 1’ achieved 100% sale rate by volume and 128% by value. Lot #29. Emily Kame Kngwarreye Earth’s Creation II sold for $875,000 including BP against a $400,000 - $600,00 estimate. This demonstrates that demand for quality Indigenous Fine Artworks at auction is strong. Cooee Art’s consistently strong results and high clearance rates are the result of our dedicated and experienced team whose knowledge of Indigenous fine art and it’s market, are acknowledged industry leaders, domestically as well as internationally. For a complimentary appraisal please contact one of our specialists. LOT #29 Emily Kame Kngwarreye (1910 - 1996) Earth's Creation II, 1995 Est $400,000 - $600,00 Sold $875,000 inc BP Complimentary Appraisals Discover the value of your artworks and their selling potential at auction by submitting below. Please include the following: A clear image of the artwork(s) Artist name Title and Date of creation Measurements Provenance Certificate of Authenticity, if applicable Complimentary in-person valuations are also available in our Redfern Gallery, or via FaceTime. Please contact us to book an appointment with our Specialists or email us directly at auction@cooeeart.com.au. We appreciate your patience as we receive numerous submissions. Cooee Art conducts complimentary appraisal visits across capital cities and regional areas of Australia. Please subscribe to our mailing list for upcoming dates and events or send a request.

Opened on the 11 May, 2023 by Gadigal Elder Uncle Ray Davison & Professor Jakelin Troy along with a special musical performance by Indigenous singer Robbie Miller. “In this year of reflection and reform, it’s hard to sit in the grey area. There is just black AND white. In this collection of works I tell truth, reclaim story and share culture that has long been taken away from my Gadigal people. We’ve been colonised not once, but twice” “Using only black AND white acrylic paint, with the timeless practice of ochre milling and incorporating my own natural pigment paints, I explore this very” As a descendant of the Gadigal people, Konstantina is passionate about her language, culture and history, much of which has been lost, misplaced, or manipulated since the dawn of Colonisation.Through her extensive research, Kate relays the truthful histories of her people and is actively involved in revitalising the Gadigal language through her relationship with Professor Jaky Troy at Sydney University to breathe life into the sleeping native tongue of the Eora Nation. Kate is a board member of the Aboriginal Art Association of Australia (AAAA), which represents the interests and amplifies the voices of all Aboriginal artists and galleries.

WHAT IS THE ROLE OF INDIGENOUS ART CENTRES? Art centres exist to assist artists living in remote communities. They enable artists to engage in enterprise and participate in the art market. In many cases they help their members meet wider cultural objectives and obligations. They help artists sell their work to gallerists all over the world. They coordinate and organise exhibitions with galleries and institutions. They nurture artists, provide art materials and often coordinate between communities and remote out-stations. DO I HAVE TO BUY THROUGH AN ART CENTRE? No. A large number of artists have never worked through an art centre. This includes almost 60% of the 100 most successful and important artists of all time. For a large number of these there was no art centre within 100s of kms of where they lived. Many artists prefer to look after their own affairs rather than work through a collective. Many artists live outside of communities or move in and out as ‘orbiters’ only returning to the hearth of their families for important cultural gatherings. Others live in cities and country towns where they can educate their children and enjoy greater opportunities economically and culturally. There are a large number of independent urban artists, many of whom have agents or gallery representation along the lines of the white representative model, and more than 300 artists belong to the Aboriginal Art Association of Australia (AAAA) making an independent living and engaging with the art market on their own terms. That said, art centres provide invaluable resources to artists in the relatively few communities in which they operate and do a very good job. HOW DO I ENSURE BEST PRACTICE? The Government funded Indigenous Art Code recommends asking the following questions before buying an artwork from a gallery or dealer. • Are you a member of the IAC? • Who is the artist? • Where is the artist from? • How did you get the artwork in your gallery? • How was the artist paid for their work? • If it is a reproduction – how were royalties or fees paid to the artist? Ensure that the gallery and/or consultant you are dealing with is a member of as many ethically based professional organisations as possible. For example, our own gallery, Cooee Art, is a member of the ACAA, I Art Code, AAAA and AVAA. Each has rigorous and enforceable membership criteria and ethical standards. ACAA – Art Consulting Association of Australia IAC – Indigenous Art Code AAAA – Aboriginal Art Association of Australia AVAA – Auctioneers and Valuers Association of Australia HOW DO I LEARN ABOUT BEST PRACTICE? Buyers should not feel that they are in an ethical dilemma when wanting to buy Indigenous art. Find a trusted advisor/consultant/gallery that is held in high standing within the wider arts community. Exhibiting galleries are preferred to retail shops. If they belong to professional organisations you can have confidence that their bone fides have been scrutenised thoroughly. To become a member, they must adhere to ethical principles and sign documents that guarantee their good conduct and best practice. You can find these standards on each of the advocacy body websites. ARE THERE TRENDS IN ‘CONTEMPORARY’ ABORIGINAL ART THAT DIFFER FROM ‘TRADITIONAL’ ABORIGINAL ART? The defining feature of the Aboriginal art market has been the accelerating change in consumer taste over the last 60 years. A large number of buyers will always be interested in the latest or newest art community, and the hottest artist of the moment. In this regard the Aboriginal art market differs little from the mainstream contemporary art market. Indigenous Australian art is made up of many cultural movements and specific regional art styles. Over time the leading exponents of each of these movements are the ones whose works become the most collectable. That said, the art world is full of mediocre artists who have made it and great artists who have not. So, it pays to take advice from a specialist or gallery with a long track record and a better overview of the history of the movement. Our own gallery, Cooee Art is now Australia’s oldest exhibiting Indigenous art gallery having been in operation for 40 years.

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

Artists: KITTY NAPANAGKA SIMON AND NEIL ERNEST TOMKINS Curated by: GADIGAL ARTIST KONSTANTINA (KATE CONSTANTINE) 27 JULY – 26 AUGUST 2023 OPENING THURSDAY 27TH JULY 2023 | 6PM 17 THURLOW STREET REDFERN NSW 2016 A new era if Cooee Art represents an exciting development for the gallery and for the wider art community in Australia. Although the gallery will remain focused on First Nations art, going forward as Art Leven, the gallery will exhibit non-Indigenous alongside First Nations artists, through specially curated individual projects. The new gallery vision will focus on transparent dialogue, offering an opportunity beyond the ordinary commercial relationship between artist and gallery, fostering an environment of openness and direct exchanges between artists. The collaborations between Indigenous and non-Indigenous artists offer a chance for new and innovative artistic expressions to emerge, and for meaningful conversations to take place. The program offers an opportunity to build not just a closed commercial relationship between artist and gallery, but an environment of openness and comfort in understanding the commercial gallery system through exchanges with other free-agent artists. country x Country is the first iteration of the new annual program, launching as the inaugural exhibition in the new chapter of the gallery on July 27th 2023. The specific focus of this project and the resulting exhibition was mark-making and painting craft, especially when it comes to landscape painting and ways of seeing country. The workshop was based not around specific imagery, but around approach, how the tangible landscape is portrayed through the artists’ unique brushstrokes. The painting project leading up to this exhibition was graciously hosted by the Warlpiri owners of Warnayaka Arts in Lajamanu over five days of painting at the art centre studio. The ‘workshop’ was not led or guided, open to anyone in the community who wanted to partake. As early as the first day of painting in the centre, the joyful trio of Kitty Napanangka Simon, Annie Napanangka Simon and Biddy Napanangka Timms bestowed Tomkins with his Warlpiri skin name. For the rest of the workshop, the ladies addressed Neil only as Tjapanangka. After first setting up on the ground outside in the all-but-unused men’s painting area, Neil soon found his spot in the studio – crouched, as he often does in his Sydney studio space, on a paint-splattered mat, close by Kitty’s favoured painting table. Within the buzz of Kitty’s return to painting the were many peaceful moments, the soundscape consisting only of the ladies chatting and laughing in Warlpiri, often humming along to their songlines playing through speakers, and the ever active scratching of brush bristles on linen. Some, between sessions, Kitty would turn to watch Tomkins work. She would smile and point to a corner of his painting, recognising the depicted place in or around town. She’d call out his name, Tjapanangka!, and confirm with him, teach him the Warlpiri term, or tell an anecdote about the spot. Each time, his smile beamed with pride at Napanangka Simon’s recognition. Alongside their distinctively bold and unapologetic use of colour, a major shared theme is the artists’ process of layering perception and memory, expressing their view of landscape as an act of recognition and blending. The Country that Kitty paints is a description of the current landscape, yet simultaneously defined by stories of its creation (in her case, stories associated with the important Mina Mina Dreaming). Further, what is really her Country was stolen and essentially destroyed by mining, so that Kitty and her Warlpiri people were forcefully displaced onto foreign Country now shared, with its traditional owners. The same Dreamtime stories, inherited by Napanangka Simon far from their origin, have since become adapted, laying Warlipiri songlines onto twice-foreign soil. This fracture is reflected in Napanangka Simon’s work – sometimes in the paths of dot-work that trail off and eventually disconnect, as though forgetting how a story ends. Other times, you may recognise it in her a powerful instinctive use of negative space, a feature often on the forefront of Tomkins’ compositions as well. In the crafting of his work, Tomkins uses memory in a similar way, folding it into the fabric of his works and creating a truer image of the artist’s perceived reality. A majority of works in this exhibition spawn from photo composites, fractured and instinctively arranged before being sewn together by brushstroke. From the finished paintings in this show, one can almost map the timeline of Neil Tomkins’ process. Only two works are entirely composed of a single view (Emu Rockhole and West Hooker Creek), both of which, aside from minor touches, were painted entirely en plain air at the scene. The final work (Bush Banana there) was completed largely after the return to Sydney. This richly colourful painting features three separate skylines, so spliced with memory that it reads almost as though seen through a kaleidoscope. Kitty Napanangka Simon is a dedicated artist with a distinctive, singular aesthetic. Her paintings – at first denounced by senior men for straying too far from the traditional idiom – have excited discriminating curators and collectors since her first solo exhibition at Cooee Art in 2013, winning admirers both inside and outside her tight knit Warlpiri community. In 2020, Napanangka lost her sight due to cataracts and Leven, through Cooee Art, paid for her surgery. After regaining her sight, Napanangka Simon’s painting practice has dwindled and one goal of the Lajamanu project will be her first major foray back into painting with a renewed confidence in her exceptional talent. Contemporary landscape painter Neil Ernest Tompkins has developed a painting style recognisable for its blending and fragmenting of imagery and perspectives. Tomkins’ process usually begins en plein air, loosely drafted with a focus on composition and framework. Often, the artist refines his imagery by cutting up photographs taken while travelling, arranging them into collages that form a reference for his ensuing paintings. He is regularly exhibited and represented by galleries across Australia.

In November 1973, at the age of 25, Gillian and Watson McAllister emigrated to Sydney, Australia from Glasgow, Scotland. After a year in Sydney they bought a Kombi van and set off on their ‘adventure of a lifetime’ around Australia. They headed north, just before cyclone Tracey destroyed Darwin, and washed up in Perth where they lived for the next 15 years. In 1990, with Gillian’s long-service leave from the WA Education Dept, they resumed their journey round Australia and drove their old Land Rover to Kalgoorlie and Adelaide before heading north to Alice Springs and back to Darwin. Before too long, with their skills and experience, they became the Heads of Girls Boarding and Boys Boarding respectively at ‘the jewel in the crown’ for Aboriginal education in those days, Kormilda College in Darwin. There were 360 boarders when the school was full – close to 300 were aboriginal children from all over the Northern Territory, many from remote communities in Arnhem Land and around the Central Desert. Gillian and Wason were therefore responsible for approximately 120 traditional Aboriginal students in each of their houses. This started their interest in aboriginal culture – They loved the kids and met their families when they came “up to town”. They even hosted a few parents and artists in the available bedsits in the dorms. Mervin Rubuntja and his family became a special friend and was artist-in-residence for a short period of time. Through their work they went on to visit Oenpelli, Maningrida, Markolijban, the Tiwi Islands (Milikapiti and Pularumpi), Yuendumu, Nyirrpi, Willowra, Lajamanu, Alice Springs, Amoonguna, Ti-Tree, Kalkarindji, Bulman, Barunga, Minyerri, Numbulwar, Borroloola, Ngukurr, Katherine, Tennant Creek, Pepperminarti, Timber Creek, Pigeon Hole. They attended the Barunga Festival, local football matches on Tiwi the Tiwi Islands, and sporting days at Yuendumu; and they arranged for Cathy Freeman and the members of Yothu Yindi to visit and inspire the children in their care. Everywhere they went they were welcomed by community leaders and parents because they looked after their children. In many of the communities they spent most of their modest salary at the art shop while other pieces in their collection were “gifted” as thanks for looking after their children, though they never had enough walls to hang it all on. And so their love of the people and their art became a touchstone of the lives of these two very Scottish transplants to our shores. Now both 73 years of age, they have moved into a small apartment they are selling the art and artefacts collected over a lifetime in the hope that others will love them as much as they have. They cherish the memories of their years in Darwin, and their bond with the ‘kids’, now ‘adults’ extends to their children and grandchildren. – it is a bond that lasts forever! Amongst them are Hermannsburg watercolours, Tiwi and Arnhem Land art and paintings and artefacts from the central Desert, Queensland and Western Australia.

Interview supplied by Japinka Aboriginal Art Josie (Josepha) Petrick Kemarre is an Anmatyerre-speaking artist from Central Australia. She divides her time between her family’s traditional land and the town of Alice Springs. In this interview, she talks about seeing a witch doctor, her painting and family. Where did you grow up? I grew up in Santa Teresa and left when I was married at 16. I moved to an outstation on MacDonald Downs near Harts Range. My brother still lives in Santa Teresa. When I moved to Utopia I only spoke Aranda but learned Anmatyerre. They are similar languages. You’ve been away visiting family? Yes, I was at Tennant Creek. I came back on Sunday. I’ve been crook for a few weeks. Now I feel better. A witch doctor made me better. Is that the first time you’ve seen a lady witch doctor? Yes. She wasn’t a white doctor, she’s an Aboriginal one, a strong one, a Warlpiri woman from Ali Curung. She fixed my leg. She takes away all the sand from inside. I’m going to see an Aranda witch doctor woman in Hidden Valley Camp. Did she fix you with bush medicine? Yes, bush medicine. Some person was jealous of me. She told me you’ve got a burnt feather on your back inside the skin. The witch doctor removed the feather. I feel ok now. The witch doctor really helped you? She fixed the pain in my back and shoulder too. I rubbed bush medicine all over. My daughter helped me rub it on my back. It made me strong. So you’ve had a new painting, what is that about? It’s a great big one. It’s called bush flower. I paint in layers. In this one I do a red layer first, then an orange layer over the top and then yellow ochre over the top. I use orange and red and yellow, sometimes blue and pink. How long did this painting take? This painting took me over six hours so I’m going to rest tomorrow. What are the other stories you paint? I paint bush plum too. Do other members of your family paint? Yes, my daughter is a visual artist just like me. She paints bush plum in orange and red and yellow. When did you start painting? A long long time ago. I taught myself mostly. I also saw old Emily and Gloria and Kathleen Petyarre painting. When you are out bush where do you live? Number 5 Bore. I have lots of family there. When you are out at Number 5 Bore do people still look for bush tucker? Yes, bush onion, bush banana and goanna. Sometimes we have rabbit and kangaroo. The men go shooting and bring them back. You come into Alice Springs a lot, why is that? I like to come to see my family here. How many grandchildren do you have now? There’s nine of them, 6 grandsons and 3 granddaughters. Sometimes you’re called Josie and other times Josepha. My real name is Josepha. I sign my paintings Josie but I might change that to Josepha. Josepha is my proper name. What do you want people to think about your paintings? I want them to think that my paintings are nice paintings. How does painting make you feel? Happy. It makes me feel good.

Wednesday 8th November, 2023 at 7 PM AEDT Melbourne Viewing October 26th & 27th FIN Gallery, 437 High St Prahran, Vic RSVP Sydney Opening Gala Thursday, November 2nd | 6 - 8pm Cooee Art Leven, 17 Thurlow St, Redfern RSVP Viewing November 3rd - 8th | 10 - 6pm Auction Night Wednesday, November 8th | 7pm AEDT View more details about THE ROD MENZIES ESTATE - INDIGENOUS AND OCEANIC ART COLLECTION PART I

Ngarukuruwala Kapi Murrakupuni - we sing to the land Please join us Thursday 16th of November 6-8pm in welcoming the artists from Munupi Arts, Tiwi Islands Cooee Art Leven, 17 Thurlow Street, Redfern NSW 2016

FAMILY GIVES FULL MARKS FOR ‘SALE FOR THE AGES’ AT COOEE ART LEVEN A clearly delighted Cameron Menzies, acknowledging Cooee Art Leven’s triumphant result immediately following the sale referred to it as ‘One for the Ages’. ‘Rod would have been so very proud of your professional dedication and magnificent achievement’, he told the clearly delighted Cooee staff on behalf of his family. The evening, which began with a touching and heartfelt acknowledgement of country by the Gamillerroi/Wakka Wakka Elder Auntie Shirley Lomas. She spoke of the great pride Indigenous artists derive from their creativity and acknowledged those great collectors like the late Rod Menzies who get such enormous pleasure from living with it. Auctioneer Anita Archer took to the podium in front of a packed audience in Cooee Art Leven’s Redfern Showroom. By the time she dropped the gavel for the final time two hours later, the total value of the sale had exceeded $2,250,000 (incl. BP); one hundred percent of all lots had sold by volume and the action had achieved 128% by value. The cover lot Emily Kame Kngwarreye’s Earth’s Creation II (Lot 29), a magnificent maelstrom in swirling blue, white and burgundy, was painted during the same workshop as Earth’s Creation I which still holds the highest record for a work by Australian female artist at public auction, having sold at Cooee Art for $2.1 million in 2017. Though less than half the size of that monumental masterpiece, Earth’s Creation II achieved $700,000 on the hammer ($875,000 incl BP). Other highlights of the sale included, three additional works painted by Kngwarreye in 1994: Lot 31, a black and white version of her Bush Yam series ($100,000); Lot 47, a brooding depiction of her country Alhakere ($68,750); and Lot 40, and a lovely cascade of gold and white linear dotting simply entitled My Country ($137,500). Maggie Napangardi Watson’s masterpiece Digging Stick Dreaming, Lot 28, sold for $125,000; while two works by the founder of the East Kimberley painting movement Rover Thomas also sold well. Lot 39, Cyclone Tracy- Willy Willy, achieved $68,750, and Bullock Hide Story, Lot 35, sold for $87,500. Owner and Director of Cooee Art Leven, Mirri Leven, said: “We were honoured to be entrusted with this special collection. The Rod Menzies collection encompassed many prominent works in the annals of contemporary Australian Indigenous art. We achieved strong results with clients from around the world bidding on these stunning and significant artworks, many of which hold the record price for their respective artists.” Part II of the Indigenous Art Collection from the Rod Menzies estate, will be held in March 2024. About Cooee Art Leven Cooee Art was established in 1981 by Adrian Newstead OAM, Senior Specialist for this auction, and runs a hybrid art model to represent and support artists in an ethical and sustainable way. During the last decade under the guidance of Director Mirri Leven, Cooee Art has undergone a continuous evolution in every facet of the business. Today, in addition to being Australia’s oldest exhibiting Indigenous-focused fine art gallery, its auction wing is a market leader with specialist knowledge, bi-annually curating and consigning the finest Indigenous art from collections across the globe since its establishment in 2017. About Rod Menzies The formidable Rod Menzies, who died in April 2022 aged 76, was possibly the most driven and controversial art auctioneer Australia has ever known. A self-made business magnate, he opened his art auction house in 1998 and went on to reshape the Australian art auction landscape through a combination of panache, art-world savvy, and shrewd business tactics. After partnering with Chris Deutscher in 1998, Deutscher-Menzies outstripped Christie’s and became Sotheby’s biggest rival in Australia within just 3 years. By 2004, D-M was the market leader, turning over $30.1 million compared to Sotheby’s $21.3 million and Christie’s $15 million.