Artist Profile for Jimmy Nerrimah < Back Jimmy Nerrimah Jimmy Nerrimah ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JIMMY NERRIMAH - ALL THE JILA TAPU,WAYAMPARJARTI,WALYPA AND WILI Sold AU$0.00 JIMMY NERRIMAH - WALYPA JILA Sold AU$0.00 top Anchor 1 PROFILE Jimmy Nerrimah 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 Thecla Bernadette Puruntatameri < Back Thecla Bernadette Puruntatameri Thecla Bernadette Puruntatameri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE THECLA BERNADETTE PURUNTATAMERI - PWOJA JILAMARA SOLD AU$2,500.00 top Anchor 1 PROFILE Thecla Bernadette Puruntatameri 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 Elizabeth Nungarrayi Ross < Back Elizabeth Nungarrayi Ross Elizabeth Nungarrayi Ross ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE ELIZABETH NUNGARRAYI ROSS - BUDGERIGAR DREAMING - NGATIJIRRI JUKURRPA SOLD AU$450.00 ELIZABETH NUNGARRAYI ROSS - BUDGERIGAR DREAMING - NGATIJIRRI JUKURRPA SOLD AU$450.00 ELIZABETH NUNGARRAYI ROSS - BUDGERIGAR DREAMING - NGATIJIRRI JUKURRPA SOLD AU$450.00 top Anchor 1 PROFILE Elizabeth Nungarrayi Ross 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 Emily Cullinan < Back Emily Cullinan Emily Cullinan ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE EMILY CULLINAN - ANANYI NGURA (TRAVELLING COUNTRY) SOLD AU$3,300.00 top Anchor 1 PROFILE Emily Cullinan 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 .

NaparrulaLorna Lorna Fencer Naparrula Lorna Fencer Naparrula 1920 - 2006 Yulyulu, Napurrurla, Pinja Born c.1925, at Yarturlu Yarturlu, a Yam Dreaming site, Lorna Fencer was the custodian of inherited land Yumurrpa situated near Chilla Well, south of the Granites Mine in the Tanami Desert. Her father’s country was Wapurtali. She spent her early years living a traditional life, until in 1949 she, along with many of her Warlpiri countrymen, were forcibly transported to the government settlement of Lajamanu at Hooker Creek, situated in the country of the Gurindji people. Lajamanu lay 380 km north of the traditional Warlpiri homelands and it became a disconsolate community, as its governance during the 1950’s was militant and suppressive. Many Walrpiri walked the 800 km back to Yuendumu only to be forcibly returned once more, thereby creating a deep sense of disempowerment and loss. Despite this, the Warlpiri elders kept their customs and ceremonies alive with a fierce determination. Lorna Napurrula in particular maintained and strengthened her cultural identity through ceremonial activity, thereby asserting her position as a prominent elder and teacher in the community. Aware of the growing popularity of painting amongst the Pintupi and other groups in the Western Desert, the Warlpiri men of Lajamanu were deeply concerned and determined to safeguard secret and sacred knowledge. In 1983, 12 Warlpiri men from Lajamanu and Yuendumu traveled to Paris to create a traditional sand-painting and dance at the Musee d’Art Moderne. Nevertheless, they remained strongly opposed to committing these designs to any permanent medium. However, three years later the Warlpiri position changed as a result of an adult education course run by John Quinn, during which western art materials were introduced at the local school. As this artistic activity strengthened, the women in particular were encouraged by the much-needed income that painting could provide and the role art could play as a means of preserving and maintaining their culture. Due perhaps to their dislocation from their own country to the south, the way that income from art had enabled the Pintupi, who initially lived at Papunya to re-establish their links to country closer to Lake MacKay, resonated strongly with their own hopes and desires for a better future. The women of Lajamanu were anxious to see their children provided with some source of spiritual grounding in the face of so many modern influences and distractions. However, Lajamanu's isolation, due to its great distance from the urban art centres and the difficulty of communication with the outside world, slowed the public emergence of Lajamanu art significantly. As late as 1989, there were still no telephones to connect the inhabitants of the community with the outside world. However, the arrival of a satellite dish from Yuendumu resulted in a teleconference link up with the director of Coo-ee Gallery, Curator Christine Watson and Allan Warrie of the Aboriginal Arts Board, during which Abie Jangala, Lorna Fencer and other Lajamanu artists presented their work and arranged to participate in an exhibition the following year. Soon after the women started painting in 1986, they began to outnumber their male counterparts. The ‘hitherto sleeping giants of the Aboriginal Art world' ( Ryan 2004: 104), produced works that were astoundingly inventive and bold. Amongst them, Lorna Fencer stood out. Her powerful, gestural brushstrokes and uninhibited, bold, and intuitive application of colour produced haptic effects in works characterized by fluidity and movement. The classical dotted infill never suited her whimsical nature and unique vision of Warlpiri culture. She adored colour and would sit solidly on the ground, painting with urgency until her pot of paint was depleted. Then, in the middle of this storm of creativity, she would pick up the empty pot. ‘Orangy Orangy’ she would insist as if she could wait not a second longer for a refill of that sensuous liquid yellow paint. Her completed paintings executed in vivid yellows, pinks, purples, lime greens and brilliant reds pick up on the bursts of thousands of tiny blooms that fill the desert after rain, emphasising them in an exuberant ‘celebration of pure painting’. Her more expressive, modernist style has an impulsive, organic logic, mirroring the plant or root structures of desert bush tucker. Lorna was the custodian of the sacred country of Yumurrpa and for the Yarla (bush potato), Luju (caterpillar), Bush Tomato, Onion and Plum Dreamings, many different seeds, and, importantly, spring water for the Napurrurla-Jupurrurla and Jakamarra-Nakamarra skin groups. She also had ancestral rights over the Water Snake, which become numerous when the country is in flood and the riverbeds and claypans fill with water. She painted these as sinuous lines upon a watery expanse of liquid colour. Her paintings reflected the traditional stories of Ancestral women journeying through the bush, singing and dancing as they collected food. Sometimes her female ancestors would come upon a caterpillar, ‘that cheeky one’ that bites them while they are picking fruit, making them itchy. In other works, Lorna would paint the digging sticks they used to find the bush potato or yam that spread underground in a meandering complex of roots and bulbs, a primary source of foot in their arid homeland. Apart from brief periods during the early and late 1990’s, the Warnayaka Art Centre at Lajamanu has been extremely poorly served by the Aboriginal arts bureaucracy. After John Quinn’s departure, the art centre was run on a voluntary basis by the wife of the administrator, Lava Watts, with assistance from Valda Dixon and later by Brent Hocking. During intermittent periods between the late 1980’s and the end of the 1990’s artworks were supplied through the art centre for exhibitions with Gabriele Pizzi, William Mora, and Alcaston Galleries in Melbourne, Coo-ee Aboriginal Art in Sydney and Sharon Monty in Perth. However, by the end of the 1990’s the art centre had fallen into decline due to lack of funding and, following meetings with all of the stakeholders, I personally proposed that the Lajamanu Council fund the coordinator's position on a three month trial basis. Vanessa McRae was appointed art adviser. Unfortunately, this move still did not establish the art centre on a secure footing. Lorna Fencer painted throughout this period alongside Lilly Hargeaves, the Rockman sisters, Abie Jangala, and others, working for the art centre when it operated and for private dealers when it did not. As Lorna would paint wherever there was a supply of canvas and paint, she was happy to live in the Walpiri camp in Katherine. While there, she worked for Alex and Petrina Ariston, owners of Katherine Art Gallery, with Mimi Arts and Crafts, with Mike Mitchell and others. She worked in Sydney during the Olympic Games and later, after returning to Katherine, began producing a large body of work with the support and financial encouragement of David Wroth of Japingka Gallery in Fremantle. The quality of her works depended greatly on who she worked with and the materials that were supplied to her. Despite the difficulties she faced as a practicing artist, she was able to produce a large proportion of extremely accomplished and highly original works for more than 30 group exhibitions and ten solo shows over a 15 year period. Beside the galleries mentioned above, solo exhibitions were held at Chapman Gallery in Canberra, Vivien Anderson Gallery in Melbourne and Gow Langsford Gallery in Auckland, New Zealand. Lorna Fencer Napurrula’s lively and brightly coloured paintings injected new energy into the living tradition of desert art. Her sheer joy and vitality when painting was a constant re-affirmation of the restorative spiritual power of traditional desert life. Lorna’s late career works, created in her 80’s, are a revelation. The combination of her unrivalled knowledge of tribal lore and Dreamings along with her intuitive use of colour and free gestural brush strokes in telling her stories, lead to comparisons with the late Emily Kngwarreye, yet Lorna’s work was decidedly and uniquely her own. At her best she mastered colour, carefully considering its impact before laying it down on the canvas. Her large epic canvases created in the eighth decade of her life were final and compelling statements about the power of the great Warlpiri stories that she painted for over twenty years. At the time of her death in 2006, Lorna Fencer was represented in the Australian National Gallery and National Gallery of Victoria, in state galleries and major private collections including Gantner Myer, Holmes a Court, Margaret Carnegie, Leewin Estate, Laverty and Kerry Stokes. She had won the Conrad Jupiter’s Casino Gold Coast City Art Award and been a finalist in the John McCaughey Memorial Art Prize. A year later she was named in the list of top 50 most collectible artists in Australia in Art Collector magazine. Her major three meter paintings were selling in retail galleries for $18,000-22,000, while smaller two meter works attracted prices of $12,000-15,000. Yet her highest price as late as 2009 was the $11,352 paid for Traveling Napurulla and Nakamarra, painted for the Warnayaka Art Centre and exhibited originally at Alcaston House Gallery, which sold through Christies in August 2005 (Lot 152). In June 2009, however, this record was marginally superceded with the sale of Warputi 2003 for $14,400 by Lawson-Menzies. Sotheby’s have offered only three works by Lorna. Auction houses that have championed this artist have been Lawson~Menzies, Christies, Shapiro and Elder Fine Art. The fact that Sotheby’s have demonstrated such indifference is worthy of note. As with Minnie Pwerle, Paddy Fordham Wainburranga and many others, including Emily Kngwarreye and Rover Thomas who either preferred, or were forced to paint for independent dealers, Sotheby’s have eschewed all but those works created for an official art centre or for those few sources that they have been prepared to link their brand with. Nevertheless, buyers and sellers should not be put off by this. Sotheby’s no longer offer Aboriginal art in stand alone sales and there have been no shortage of others prepared to take their place. The earliest sales amongst Lorna’s top ten results were recorded in 2002 and 2004 while eight of the ten have sold since 2005. Only three works have sold at auction for more than $10,000 while 13 have achieved prices between $5,000-10,000. This is extremely disappointing in the light of the number of highly esteemed works that have failed to attract buyers. Her career success rate is very poor, with less than half of the offered works finding buyers. The most highly valued of these was Murkari (Little Bush Plum) 2003 created for Japingka Gallery and sold through Vivien Anderson Gallery in Melbourne. This beautifully coloured virtuoso work measured 144 x 255 cm and carried a presale estimate of $20,000-24,000, though it failed to justify Lawson~Menzies faith when offered in their May 2005 sale (Lot 35). 2016 however was a very good year for this artist with 3 sales achiving top 10 results. A very unusual piece which was offered at Deutscher & hackett in its Laverty Collection sale topped the list that year. The work entitled Grief, was extremely atypical and was said to have prestaged the death of a child in 1997. It equaled her highest result ever at public sale when sold for $14,400. Another distinctive work in the Laverty sale achieved her 5th highest result when sold for $8,400. But arguably the best work to be offered for sale in many years, Owl Hunting Catapillar 2001, achieved her tenth highest result ever when offered in the Alan Boxer sale at Mossgreen. Carrying a presale estimate of just $1,000-1,500, it incited spirited bidding but eventually sold for just $6,710, less than half its real value. FOur works were offered in 2017 and all sold, most notably a 182 x 183 cm painting entitled Warna (Snake) 1997, which sold for $7,930 and placed in her top ten highest results. It is possible that in time Lorna Fencer’s work may resonate more closely with prevailing aesthetics and taste and should that be the case, there are a large number of very fine examples that will be available at far more reasonable prices than say works by Emily Kngwarreye or even Minnie Pwerle. Both spring to mind as equally gestural artists who were renowned as great colourists. That Lorna Fencer’s work should languish by comparison has always seemed to me an utter mystery. All those institutions and major collectors who have added her works to their holdings can’t be wrong. One of her stunning works is the first thing I see each morning as I open my eyes in bed. It is so full of joy, freedom, and energy that I am unable to look at it without recalling the irrepressible spirit of one of the most delightfully funny, irreverent Aboriginal women I have ever known. 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 Margaret Ngilan Dodd < Back Margaret Ngilan Dodd Margaret Ngilan Dodd ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Margaret Ngilan Dodd 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 Sarrita King < Back Sarrita King Sarrita King ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SARRITA KING - SANDHILLS Sold AU$0.00 top Anchor 1 PROFILE Sarrita King 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 .

Warlpiri Master | Lily Yirdingali Jurrah Hargraves Nungarrayi Carriageworks, Gadigal 5 - 8 September 8 2024 Warlpiri Master | Lily Yirdingali Jurrah Hargraves Nungarrayi Sydney Contemporary | Booth I07 5 - 8 September 8 2024 Warlpiri Master | Lily Yirdingali Jurrah Hargraves Nungarrayi Sydney Contemporary | Booth I07 5 - 8 September 8 2024 Carriageworks, Gadigal VIEW CATALOGUE LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - NGARLKIRDI JUKURRPA price AU$15,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAY - WARDILYKA JUKURRPA price AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI -NGARLKIRDI JUKURRPA price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - YAWAKIYI JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- KARNTA JUKURRPA (WOMEN’S DREAMING) Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S D Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA price AU$15,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S DREAMING) price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAY - KANTA JUKURRPA price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KARNTA JUKURRPA (WOMEN’S DREAMING) price AU$12,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA price AU$8,000.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPWARDILYKA JUKURRPA price AU$5,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - WARDIYKA JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI- NGALYIPI JUKURRPA price AU$3,500.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - NGALYIPI JUKURRPA Sold AU$0.00 LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Sold AU$0.00 EX 272-1

Artist Profile for Adrian Jangala Robertson Adrian Robinson < Back Adrian Jangala Robertson Adrian Robinson Adrian Jangala Robertson 1962 Adrian Robinson REGION: Yuendumu, NT LANGUAGE: Warlpiri ART CENTRE: Mwerre Anthurre Artists Studio at Bindi Inc IMAGE CREDIT: Mwerre Anthurre Artists Studio at Bindi Inc ARTIST PROFILE ARTIST CV MARKET ANALYSIS Adrian Jangala Robertson is an artist with Bindi Mwerre Anthurre, a supported art studio in Alice Springs for First Nations artists living with disabilities. Through painting, Robertson expresses himself with emotive, freely worked depictions of family, friends, and the dramatic landscapes of Central Australia, earning him the nickname "the Van Gogh of the Central Desert.” READ FULL ARTIST PROFILE ADRIAN JANGALA ROBERTSON - YALPIRAKINU SOLD AU$3,300.00 ADRIAN JANGALA ROBERTSON - YALPIRAKINU SOLD AU$1,300.00 ADRIAN JANGALA ROBERTSON - YALPIRAKINU Sold AU$0.00 ADRIAN JANGALA ROBERTSON - YALPIRAKINU SOLD AU$2,400.00 ADRIAN JANGALA ROBERTSON - YALPIRAKINU Sold AU$0.00 top Anchor 1 PROFILE Adrian Jangala Robertson 1962 REGION: Yuendumu, NT LANGUAGE: Warlpiri ART CENTRE: Mwerre Anthurre Artists Studio at Bindi Inc IMAGE CREDIT: Mwerre Anthurre Artists Studio at Bindi Inc Adrian Jangala Robertson is an artist with Bindi Mwerre Anthurre, a supported art studio in Alice Springs for First Nations artists living with disabilities. Through painting, Robertson expresses himself with emotive, freely worked depictions of family, friends, and the dramatic landscapes of Central Australia, earning him the nickname "the Van Gogh of the Central Desert.” Robertson's father, Jampitjinpa’s country stretches from west of Walungurru, through Karku at Nyirrpi, to Warlurkurlangu at Yuendumu. He lived at Mount Doreen near Yuendumu and later worked at Papunya as a gardener and builder. Jampitjinpa was the brother of the late Darby Ross Jampitjinpa. Adrian Robertson's mother, the late Eunice Napangardi, was also a renowned painter. It is her country, Yalpirakinu, that Adrian depicts in his paintings. Born in 1962 at Papunya, Robertson grew up among the pioneers of the Desert Painting movement. This movement, which began in 1971, was initiated by a group of senior men from Papunya, encouraged by school art teacher Geoffrey Bardon, as they translated traditional motifs into permanent and portable forms on board. Robertson has received numerous prestigious awards including a triple-nomination for the prestigious Wynne, Archibald and Sulman prizes earlier this year, an unprecedented achievement for an First Nations artist. His previous accolades include the Telstra Painting Award in 2020 and the coveted Alice Prize in 2022. ARTIST CV Selected Solo Exhibitions: 2011 - Adrian Robertson Landscapes , Merenda Gallery, Fremantle, WA. 2010 - Adrian Robertson, first solo exhibition , Raft Artspace, Alice Springs, NT. 2006 - Adrian Robertson Jangala , Alcaston Gallery, Melbourne. Selected Group Exhibitions: 2024 - Wynne Price , Art Gallery of NSW, finalists exhibition 2024 - Archibald Prize , Art Gallery of NSW, finalists exhibition 2024 - Sulman Prize , Art Gallery of NSW, finalists exhibition 2024 - Alice Prize , Araluen Art Centre, Alice Springs, NT, finalists exhibition 2023 - Desert Mob , Araluen Art Centre, Alice Springs, NT 2022 - Alice Prize , Araluen Art Centre, Alice Springs, NT, finalists exhibition 2021 - Desert Mob 30 , Araluen Art Centre, Alice Springs, NT 2021 - Telstra National Aboriginal and Torres Strait Islander Art Awards , Museum and Art Gallery Northern Territory, Darwin, finalists exhibition 2020 - Telstra NATSIAA , Museum and Art Gallery of the Northern Territory, NT, finalists exhibition 2019 - Desert Mob 2019 , Araluen Arts Centre, Alice Springs, NT. 2018 - Desert Mob 2018 , Araluen Galleries, Alice Springs, NT. 2018 - 35th TELSTRA NATSIAA , Museum and Art Gallery of the Northern Territory, Darwin, NT. 2014 - Bindi Inc: cars, cowboys and cockatoos. - New works from the Artist Collective Mwerre Anthurre , featuring Adrian Jangala Robertson, Billy Kenda, Cathy Peckham, Conway Ginger, Dan Raberaba, Jane Mervin, Kukula McDonald and Lance James at Coo-ee Aboriginal Art Gallery, Sydney. 2013 - Desert Mob , Araluen Cultural Precinct, NT. 2013 - Telling Stories , Talapi, NT. 2013 - Good Strong Powerful , Tandanya National Aboriginal Institute, Adelaide, SA. 2013 - Beautiful Art , Woolloongabba Art Gallery, Brisbane, Qld. 2012 - Desert Mob , Araluen Cultural Precinct, NT. 2012 - Bindi Magic - Contemporary Arts and Disability in Central Australia, Bindi Inc., Alice Springs, NT. 2012 - Mwerre Anthurre Artists, Gallery Gabrielle Pizzi, Melbourne. 2011 - Good Strong Powerful featuring the work of Lorna Kantilla, Alfonso Puantjimi and Estelle Munkanome, Billy Benn Perrurle, Kukula McDonald, Billy Kenda, Lance James and Adrian Robertson, Dion Beasley and Peggy Jones Napangardi at Arts Project Australia, 24 High St, Northcote Gallery, Melbourne. 2011 - Bindi Artists, Indigenart, Perth, WA. 2011 - Bindi 2011, featuring the work of Billy Benn Perrurle, Billy Kenda, Adrian Robinson, Kukulu McDonald and Lance James at Gallery Gabrielle Pizzi, Melbourne. 2010 - A View on Country, featuring Bill Benn Perrurle, Kukula McDonald, Adrian Robertson, Lance James and Billy Kenda at Mossenson Gallery, Perth, WA. 2008 - Landscape Masters, featuring Billy Ben Perrurle, Adrian Robertson Jangala and Billy Kenda, at Alcaston Gallery, Sydney. 2008 - Bindi Exhibition, featuring Billy Ben Perrurle, Kukula McDonald, Adrian Robertson Jangala and Billy Kenda, at Gallery Gabrielle Pizzi, Melbourne. 2006 - Billy Kenda, Kukula McDonald, Adrian Robertson and Billy Benn Perrurle, Gallery Gabrielle Pizzi, Melbourne; Togart Contemporary Art Exhibition, Parliament House, Darwin. 2005 - Recent works by artists from Mwerre Anthurre Alice Springs, Gallery Gabrielle Pizzi, Melbourne. 2004 - Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin. Awards: 2022 - winner of the Alice Prize , Araluen Art Centre, Alice Springs, NT 2020 - General Painting Award, Telstra NATSIAA MAGNT, Darwin, NT. Bibliography: Togart Contemporary Art Exhibition , Top End Arts Marketing, Darwin, 2006. 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 .

PAINTING WORDS 17 Thurlow St, Redern, NSW 2016 01 December - 25 December 2022 Viewing Room 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 TALK WITH KITTY NAPANANGKA SIMON Paddington Gallery for the Kitty Napanangka Simon artist talk. 6 - 8pm From 19 April to 19 April 2018 Viewing Room ARTIST TALK WITH KITTY NAPANANGKA SIMON From 19 April to 19 April 2018 Paddington Gallery for the Kitty Napanangka Simon artist talk. 6 - 8pm

Artist Profile for Nulbinga Simms < Back Nulbinga Simms Nulbinga Simms ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE NULBINKA SIMMS - DIKA DIKA SOLD AU$850.00 top Anchor 1 PROFILE Nulbinga Simms 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 .