WOMEN IN COLOUR From 28 January to 19 March 2022 WOMEN IN COLOUR From 28 January to 19 March 2022 WOMEN IN COLOUR From 28 January to 19 March 2022 In Collaboration with Lauraine Diggins Fine Art “This is my country, I paint good colour, little dots. I like my painting.” Angelina Ngal was there from the start, a pillar of the formative years of Utopia women’s painting. Formerly known as Angelina Pwerl, – her husband’s name, Pwerl(e) in Alyawarr language is the equivalent to Ngal in the Anmatyerr language - she is today referred to as as Angelina Ngal. As did her sisters, Kathleen and Poly Ngal, Angelina began producing batiks and wooden sculptures in the mid 1980s. After taking part in the CAAMA ‘summer project’ in 1988-9, Angelina quickly adapted to painting on canvas. She was included in the first exhibition of Utopia women’s paintings, held in Alice Springs in 1990, swiftly gaining international recognition. This appreciation and respect never dipped or wavered in the decades since, though her ascent in the Australian general public’s eye was slow, despite widespread international acclaim among important collectors and museums. Domestically, she may still be less of a household name than some of her contemporaries. Nonetheless, her work was featured at this years Art Basel Miami, as well as being slated to tour internationally as part of the Met’s The Shape of Time: Art and Ancestors of Oceania. According to Dan F Stapleton in the Financial Times (January 28 2022), Ngal remains ‘something of an insider’s secret whose work is tightly held. ‘If [Emily] Kngwarreye is the A-lister and [Daniel] Walbidi is the rising star, then Angelina Pwerle is the cult favourite – one on whom a growing number of institutions and collectors are quietly placing bets.’* Undoubtedly, Angelina Ngal stands as one of the preeminent artists from Utopia. The long, steady growth of the artist’s acclaim befits her art. Ngal draws from a seemingly infinite well of patience and love of country, gradually layering fields of colour upon each other, considering carefully each swath of delicate marks. She paints her grandfather’s country, Aharlper. Originally, most of her paintings depicted the Bush Plum, which she represents through a focus of red dots into which she merges a variety of minute and painstakingly rendered coloured dots, ensuring that the tiny red dot is always central and clear. Angelina later extended her practice, producing a range of exquisitely coloured compositions that maintain a layer of meaning related to the Bush Plum. In these, points of geography, knowledge of sacred landmarks, and memories of hunting or ceremonial business result in a subtle and textured surface that hints to the viewer of an ethereal numinous landscape. To most of us, much of the sacred and ceremonial business is entirely or partly hidden. Still, the knowledge and reverence of country is palpable; it pulses beneath the surface of each delicate rendering of her country and Dreaming. Abstractly, the works conjure galaxies and molecules at once, the gigantic and the minute. Sometimes, standing before a work is like looking up to the skies as sheets of torrential rain bathe and nourish, drown and revive. Other times, we may be looking down at seeds and desert sand, a world of atomically small elements. This exhibition consists of two parts, running simultaneously at Lauraine Diggins Fine Art in Melbourne, and Cooee Art Redfern in Sydney. With a longstanding relationship, the galleries represent two of the foremost and major Australian Indigenous fine art galleries. The cross-state exhibition surveys the last two decades of Angelina Ngal’s practice, highlighting major works in her distinct styles, with a larger focus on the finely detailed later work the artist is most recognised for. According to the artist herself, “This is a constant engagement. This is a spiritual connection to place […] My Bush Plum paintings represent the whole thing: all of Country.”* * Dan F Stapleton for the Financial Times, January 28 2022

Artist Profile for Brandy Tjungurrayi < Back Brandy Tjungurrayi Brandy Tjungurrayi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BRANDY TJUNGURRAYI - TWO SNAKE DREAMING SOLD AU$2,200.00 top Anchor 1 PROFILE Brandy Tjungurrayi 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 .

OCEANIC ART FAIR 2021 From 06 November to 06 November 2021 Viewing Room OCEANIC ART FAIR 2021 From 06 November to 06 November 2021 Cooee Art offers a curated collection of Indigenous Art and Artefacts at this year's Sydney Oceanic Art Society Fair. The event will take place at the National Art School in Darlinghurst, where many of the country’s preeminent specialists in Oceanic Art will present a selection of unique and rare items for sale. Cooee Art has proudly been affiliated with the SOAF and their endeavours to further the understanding and appreciation of Oceanic art. The focus is on traditional tribal art including contemporary art of the indigenous people of Melanesia, Micronesia, Polynesia and Australasia. We look forward to seeing you there. Saturday 6th November, 2021 9am - 5pm Cell Block Theatre National Art School Corner Forbes and Burton St Darlinghurst, NSW www.oceanicartsociety.org.au

Artist Profile for Margaret Nangala Gallagher < Back Margaret Nangala Gallagher Margaret Nangala Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MARGARET NANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) SOLD AU$1,600.00 MARGARET NANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) SOLD AU$950.00 MARGARET NANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) SOLD AU$570.00 MARGARET NANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) - NGARLIKIRLA ... SOLD AU$950.00 MARGARET NANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) SOLD AU$950.00 MARGARET NANGALA GALLAGHER - YANKIRRI JUKURRPA (EMU DREAMING) SOLD AU$460.00 top Anchor 1 PROFILE Margaret Nangala Gallagher 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 .

Spirits & Elements | An Exhibition of Women's Stories Art Leven, 17 Thurlow St, Redfern Gadigal / Sydney 3 - 24 May 2025 Viewing Room Spirits & Elements | An Exhibition of Women's Stories 3 - 24 May 2025 Art Leven, 17 Thurlow St, Redfern Gadigal / Sydney In the 1990s, First Nations women emerged as a driving force in ‘Australian’ art, propelling the movement onto the global stage. Their rise mirrored a broader shift toward gender equity across social, political, and cultural spheres, reflecting the growing influence of women in contemporary discourse both nationally and internationally. This pivotal moment in our shared history reshaped expectations—from the domestic sphere to institutional leadership—foregrounding the voices and contributions of Indigenous women in art. Spirits & Elements brings together works from diverse communities across ‘Australia’, highlighting the unique and meaningful ways these artists express their connection to culture, Country, and kinship. Through these works, we gain insight into the lived realities, responsibilities, and perspectives of First Nations women. Each piece asserts their presence in the contemporary cultural narrative, while also deepening our understanding of the enduring traditions and evolving roles of women within Indigenous communities. At its core, the exhibition celebrates the spirit, strength, and creative force of women. These works are imbued with the artists’ deep respect for land, language, and ancestral knowledge—transmitted through paint and passed down to the next generation. MAYIWALKU (MAYWOKKA) MAY CHAPMAN - PLENTY YINTA (WATERHOLES) price AU$40,000.00 ALMA WEBOU (KALAJU) - BIDYADANGA price AU$15,000.00 PATSY MUDGEDELL - UNTITLED price AU$7,000.00 BETTY CAMPBELL - MINYMAKU TJUKURPA (WOMAN'S STORY) Sold AU$4,800.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA (WOMEN'S DREAMING) Sold AU$4,000.00 JANICE STANLEY - PANTU price AU$3,800.00 NOLA YURNANGURNU CAMPBELL - MINA MINA price AU$3,400.00 KONSTANTINA (KATE CONSTANTINE) - RED CENTER price AU$2,800.00 TJUNKA LEWIS - WALPAPUKA price AU$2,500.00 JOYCE MCLEAN NYURAPAYIA - LAPAKU price AU$1,400.00 KITTY NAPANANGKA SIMON - KANAKURLANGU (WOMEN BELONGING - DIGGING STICKS) price AU$600.00 KATHLEEN PETYARRE - THORNY DEVIL LIZARD DREAMING price AU$25,000.00 KATHLEEN NGAL - UNTITLED 7 (ARNWEKETY - BUSH PLUM DREAMING) price AU$14,000.00 PULPURRU DAVIES - UNTITLED price AU$6,600.00 NOLA YURNANGURNU CAMPBELL - MINA MINA price AU$4,200.00 KATHY RAMSEY - NANGARI price AU$4,000.00 AMY RAYARRIWARRTHARRBAYINGATHI MINGUNGURRA LOOGATHA - DULKAWALNE price AU$3,750.00 NGARGA THELMA JUDSON - NYUMMA - YUURLPA price AU$3,000.00 LANGALIKI LEWIS - TALI (SAND DUNE) price AU$2,500.00 NETTA LOOGATHA BIRRMUYINGATHI MAALI - MIJILDA - FISH NET price AU$1,800.00 DAISY JAPULIJA - BILLABONGS price AU$1,200.00 KATHLEEN PETYARRE - ATNANGKERE (MY COUNTRY) Sold AU$16,000.00 NAOMI HOBSON - STICKS AND STONES #3 Sold AU$10,500.00 EILEEN YARITJA STEVENS - PILATI OR NYAPARI price AU$5,000.00 NORA NYANGAPA NUNGABAR - WAJAPARNI price AU$4,000.00 JANICE STANLEY - PANTU price AU$3,800.00 ESTHER GILES NAMPITJINPA - KURUYURLTU price AU$3,600.00 ANGELINA TJADUWA WOODS - ARTULINGA price AU$3,000.00 NANCY CHAPMAN NYANJILPAYI (NGARNJAPAYI) - PIRRKILI price AU$2,500.00 ELAINE LANE WANATJURA - PAPULANKUTJA DREAMING price AU$1,650.00 ESTHER GILES NAMPITJINPA - WANARN TJILPI AND PAINTING PROGRAM price AU$1,200.00 ExS&E

PAGES FROM THE ATLAS | THIS PLACE MY COUNTRY Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 From 16 April to 07 May 2022 Viewing Room PAGES FROM THE ATLAS | THIS PLACE MY COUNTRY Artists: Artists from all over Australia From 16 April to 07 May 2022 Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 Pages from the Atlas – ‘This Place My Country’ weaves together sites and sacred accounts from some of the many countries that form this continent. The paintings in this exhibition can serve as maps to those initiated. They may be guides to survival, leading to the hidden life-giving sources of water and food, as well as sacred histories of these countries’ creation. More often than not, they are one and the same: the ceremonial, the sacred, and the survival of the country’s custodians are woven together underneath the surface of this continent, and these canvases representing it. Paji Honeychild – “This place is called Nurtu. We used to stay here when I was a kid. This was a living water hole and we would move from place to place. We never stayed in one place.” Netta Loogatha – “This is my Country on Bentinck Island at Oak Tree Point. We call it Lookati in our Kayardild language. I was born here at Bilmee, Dog Story Place.” Jimmy Pike – “Japingka is the main living water for the desert people. Six brothers were living at this place. Two women came and the brothers were turned into a snake. A willy-willy sprang up and dragged them down into the waterhole. The ground grew damp and clouds came up from the ground.” Mulyatingki Marney – “I’m born there, soak one.” VIEW CATALOGUE EX 231

Artist Profile for Jerusha Nungarrayi Morris < Back Jerusha Nungarrayi Morris Jerusha Nungarrayi Morris ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Jerusha Nungarrayi Morris 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 Kathleen Ngal < Back Kathleen Ngal Kathleen Ngal ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE KATHLEEN NGAL - UNTITLED 7 (ARNWEKETY - BUSH PLUM DREAMING) SOLD AU$14,000.00 KATHLEEN NGAL - BUSH PLUM DREAMING Sold AU$0.00 KATHLEEN NGAL - BUSH PLUM DREAMING Sold AU$0.00 KATHLEEN NGAL - UNTITLED Sold AU$0.00 KATHLEEN NGAL - UNTITLED Sold AU$0.00 KATHLEEN NGAL - ANWEKETY Sold AU$0.00 KATHLEEN NGAL - BUSH PLUM Sold AU$0.00 KATHLEEN NGAL - ARLPERRE-BUSH PLUM Sold AU$0.00 KATHLEEN NGAL - FLOWERS IN BUSH PLUM COUNTRY Sold AU$0.00 KATHLEEN NGAL - BUSH PLUM COUNTRY Sold AU$0.00 KATHLEEN NGAL - UNTITLED Sold AU$0.00 KATHLEEN NGAL - ANWEKETY Sold AU$0.00 top Anchor 1 PROFILE Kathleen Ngal 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 Tjariya (Nungalka) Stanley < Back Tjariya (Nungalka) Stanley Tjariya (Nungalka) Stanley 1939-2020 ARTIST PROFILE ARTIST CV MARKET ANALYSIS Tjariya was a Pitjantjatara woman, born in Wingelina in 1939. Until late in her life, she went by her birth name Nungalka, but has changed to Tjariya following a death in the community. She lived and worked in Ernabella and has two daughters, one of which is also a very good artists (Renita). Tjariya had been invovled in the art centre for a long time and mastered several different mediums. Initially she assisted in making floor rugs, painting moccasins and knitting jumpers, the first enterprise undertaken by the Ernabella craft room. In the 1970's she learnt batik from Daisy Baker following her visit to Indonesia, and developed into one of Ernabella's most accomplished batik artists. She also taught herself weaving with grass and raffia (tjanpi) and crocheting mukata (beanies) with the sheep wool that she hand spun. Later in life she developed as a painter and ceramic designer, and used these mediums to tell tjukurpa (creation stories) of her country and family, or used designs of the landscape such as tjukula (rockholes) and flowers. Tjariya was a stalwart of the community and the heart of the art centre. Her traditional knowledge is strong and deep and she is also a ngankari (traditional healer). She was an excellent story teller, and delighted in telling stories of when she was a young girl growing up in Ernabella mission. Her grandson Ngunytjima has also recently joined the artcentre in the ceramics studio, and is fast becoming an accomplished potter, indicating that creative talent runs deep in Tjariya's family. READ FULL ARTIST PROFILE TJARIYA (NUNGALKA) STANLEY - MINYMA KUTJARRA SOLD AU$1,750.00 top Anchor 1 PROFILE Tjariya (Nungalka) Stanley 1939-2020 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 Lisa Uhl < Back Lisa Uhl Lisa Uhl ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lisa Uhl 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 .

TjapanangkaTjump Tjumpo Tjapanangka Tjumpo Tjapanangka 1929 - 2007 Murtikarlku, Tjapananka, Tjampanangka At the time of his death in 2007, Tjumpo Tjapanangka was Balgo’s most venerated male artist. Born c.1930, and settled a long distance from his traditional homeland near Karnapilya in the area west of Lake Mackay (Wilkinkarra), he had become the most highly regarded Law Man in the community. In its infancy Balgo was geographically isolated and often cut off from outside contact for three months during the rainy season. The community comprised primarily of Kukatja and Ngadi speakers. Tjumpo’s group, the former of the two, came to Balgo in 1948 when the local priest, Father Alphonse, sent people into the bush with supplies of flour, sugar, and tea to attract the remaining nomadic groups to the mission situated at Tjumantora. The settlement moved to its present site at Balgo Hills in 1962 and expanded, adding new facilities that attracted visits from Warlpiri and Pintupi speakers from Papunya, Yuendemu and Lajamanu, some of whom stayed. Balgo became a melting pot of different tribes, each with accompanying aesthetic and ritual traditions. However, the community remained relatively harmonious and had a less traumatic experience, both internally and in relations with the outside world, than some of the neighboring settlements, where some settlers were moved against their will. This fostered a climate of tolerance that encouraged artistic experimentation and a healthy sense of competition between artists eager to outdo each other and bring something new to the creative process. Each artist was ‘fiercely proud of his or her individual artistic characteristics. They encourage individualism, critisising only when expression is not factual in terms of Aboriginal Law‘ (Acker cited in Hoy 2000: 48). Tjumpo, who had begun painting in 1986 with the establishment of Warlayirti Artists, embraced innovation from the outset. While his earliest paintings were rendered in the customary autumnal colours characteristic of Kukatja work, between 1987-1989 he developed a fluidity of line that initially traced, quite literally, the creek-beds that link the claypans and prominent features of his inaccessible custodial landscape. However, his works of this period were just a precursor to the looser brushwork of paintings that followed, such as Wilkinba Near Lake Mackay 1993 depicting the serpent Miliggi. In the late 1980’s and early 1990’s he lived at Yaga Yaga, about 150 kilometers south of Balgo Hills toward his country near Lake MacKay. At this time, when I first met him, he was considered the last of the real bushmen and was the most highly regarded artifact maker in the region. He did not move back to the Balgo Hills community until the Yaga Yaga community was abandoned around 1996. By 2000 Tjumpo’s artistic experimentation culminated in works such as his masterpiece Kukurpungku 2000. The haptic quality of the work’s execution evokes a sensation of images drawn in the sand with one’s fingers. It reminds us of the relative infancy of acrylic painting in comparison with the ancient practice of sand drawing. Tjumpo’s manner is heavily influenced by this and other earlier traditions. Even his tendency towards minimalism is informed by the Kukutja’s iconic preoccupation with the marks or traces left on the land, rather than representing the motif’s themselves. In opting to employ simpler forms to depict the numinous landscape, Tjumpo’s influence spread to other artists and has come to epitomize the transformation that has run through Balgo art since the mid 1990’s. His own works were characterised by subdued linear patterns rendered in cream and yellow with a sparse application of vital elements in red, adding a vibrancy that enabled him to hint at the elemental forces within his sacred country. This minimalism, often restricting Tjumpo’s iconography solely to undulating lines is reminiscent of the Pintupi creative approach. Though Tjumpo’s work, like that of other Kukatja artists, is distinctly less formal than that of the Pintupi, this aesthetic overlap is nevertheless significant. During his career Tjumpo made occasional visits to Kiwirrkura to stay with his countrymen and, on visits such as those in 1999 and 2004, he painted for Papunya Tula artists. During his final years, Tjumpo painted a number of works on a scale that enabled him to achieve that sense of grandeur seen in the large-scale works of a number of his Pintupi contemporaries. It is indeed a pity that artist’s of his ability and stature have not been given greater opportunities to work in large scale as there is no doubt that he was capable of painting great masterpieces. In both his art and his personal demeanour, Tjumpo Tjapanangka affected an infectiously vivacious and animated style. It is this energy and confidence that he employed to build the resonating planes that characterized his finest works and brought such critical acclaim. His wife Ningie Nangala shared his preference for softer colours, and to some extent this aesthetic can be seen in the more recent paintings created by his stepdaughter, Elizabeth Gordon, to whom he passed on a number of his Dreamings. Tjumpo Tjapanangka painted for almost twenty years, though he was never considered one of Warlayirti’s major male artist’s until late in his life, by which time most of the older men could no longer paint or had passed away. His most productive and successful period was during his last five years, when he and Helicopter Tjungurrayi had become the male mainstays of the art centre. While he painted very few large-scale works, and even paintings greater than 120 x 180 were rare, he did manage to complete one or two that measured up to three metres in length. These sold for as much as $40,000 in galleries when they were available between 2005 and the year he died. Mirroring the prices for his works in the primary market, his prices at auction rose as his painting style developed. His record price was set in 2015 when Walartu 2003, a work measuring 120 x 180 cm, sold at the Deautscher & Hackett sale of the Laverty Collection at the Museum of Contemporary Art in Sydney for $78,000. Another work of the same size achieved $20,400, his 6th highest price ever, in that same sale. These results in a year that saw four of the 6 works on offer find new homes resulted in Tjumpo being the 30th most successful artist that year. The new record price in 2015 displaced the former record that was set for a subtly toned and beautifully executed work in his most contemporary style rendered in 2000. The painting, Kukurpungku 2000, measured 180 x 119 cm and sold for $40,450 at Sotheby’s in July 2005 (Lot 247) a price that was well over its estimate of $25,000-35,000. In November 2007 Wati Kutjarra 2003, which had been sold through Tineriba Gallery in South Australia, was offered for sale by Lawson~Menzies. (Lot 46). The work depicted the place where the ancestral brothers lit a large fire before Wilkinkarra (Lake MacKay) was formed. It was a wonderful example of the artist's late career work with the red lines indicating the intensity of the flames and the yellow and white tali (sandhills), which dominate this country. The painting was estimated at $40,000-50,000, but despite its brilliant execution sold for just $34,800, still the artist’s third highest price to date. Another late career painting Untitled 2004, painted for Papunya Tula Artists, failed to sell in Joel Fine Art’s June 2007 auction (Lot 49) even though its estimate was only $8,000-12,000. Funnily enough, the only other work offered with Papunya Tula Provenance by this artist also failed to sell. When put up by Sotheby’s in November 2005, the work measuring just 91.5 x 60.5 cm and carrying a presale estimate of $1,500-2,500, was not illustrated in the auction catalogue that carried another two works by the artist including a 1994 rendition of his Kangaroo Dreaming. Both of these failed to raise interest from collectors, yet, when Kangaroo Dreaming 1994 originally estimated at $8,000 by Sotheby’s turned up at Lawson~Menzies in June the following year, it did finally find a new home after being purchased for $6,000 (Lot 480). Tjumpo’s paintings with Tingari designs or those painted in a multitude of colours tend to fare poorly at auction, particularly if the overall image is bright or lacking in subtle colour shifts that oscillate between his linear striations. Tastes may change, however, brightly painted classic Balgo works are currently out of favour even by major artists like Tjumpo. His works fared poorly in 2007 with four of the five paintings offered remaining unsold and this resulted in a drop in his overall success rate from 64% to 59% where it remained at the end of the following year. In fact, his clearance rate at the end of 2004 had been a very much more impressive 92%. However only three sold of 11 in 2004 and his results on the secondary market took a nosedive coinciding with his elevation as the most sought after male living artist at Balgo Hills and the art centre’s reliance on the sale of his works in the primary galleries. This has changed now that he has passed away and his works are no longer available on the primary market. I would not expect to see too many surprises with Tjumpo Tjapanangka’s early works at auction unless they represent the artist at his finest. The majority of his paintings will never be as important as those by Wimmitji, Sunfly Tjampitjin, Sam Tjampitjin and a number of others. However, when fine examples of his late career works appear, I would expect collectors to pay a premium, as they have a distinctive contemporary aesthetic and are on a par with anything created by the Papunya Pintupi male artists of the period. 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 Barney Campbell Tjakamarra < Back Barney Campbell Tjakamarra Barney Campbell Tjakamarra c 1928 – 2006 Community: Mt Liebig Region: Walungurru (Kintore) Country : Western Desert Language: Ngaanyatjara ARTIST PROFILE ARTIST CV MARKET ANALYSIS Barney Campbell Tjakamarra, born circa 1928 in Kaylilwarra near south Warburton in the Gibson Desert of Western Australia, is a distinguished member of the Ngaanyatjarra language group and a highly respected Pintupi Law-Man. READ FULL ARTIST PROFILE BARNEY CAMPBELL TJAKAMARRA - SNAKE DREAMING SOLD AU$1,800.00 top Anchor 1 PROFILE Barney Campbell Tjakamarra c 1928 – 2006 Community: Mt Liebig Region: Walungurru (Kintore) Country : Western Desert Language: Ngaanyatjara Barney Campbell Tjakamarra, born circa 1928 in Kaylilwarra near south Warburton in the Gibson Desert of Western Australia, is a distinguished member of the Ngaanyatjarra language group and a highly respected Pintupi Law-Man. After losing his parents at a young age, he was raised by his extended family, who provided him with a nurturing and culturally rich upbringing. His uncle played a pivotal role in his life, taking him to Papunya, where Barney underwent the rites of passage to manhood. Barney's ancestral country spans approximately 150 km around the Lake MacDonald region, an area punctuated by salt lakes and wells to the east and west of Kintore. This landscape is steeped in cultural significance and is integral to the Tingari Cycle stories that Barney is privileged to paint. These stories are foundational to the song cycles and creation myths that educate the initiated youth and form the bedrock of contemporary Aboriginal customs in his community. The Tingari Cycle narratives, which Barney Campbell Tjakamarra vividly brings to life in his paintings, chronicle the legendary journeys of the Tingari ancestors — both men and women — as they traversed the land in the Dreamtime (Tjukurrpa). Their travels established sacred sites and imparted Aboriginal law, weaving a rich tapestry of cultural heritage that Barney, as a senior lawman, is responsible for preserving and passing on. In his artistic practice, Barney often collaborated with Willy Tjungurrayi at Kintore, both esteemed as serious and devoted painters. Barney's works are a testament to his deep connection to his Dreamings, executed in the 'classical' Pintupi style characterized by meticulous detail and profound cultural resonance. His paintings typically feature roundels and sinuous lines, evoking the ceremonial body designs and traditional ground drawings used during sacred rituals. Barney's personal life is intertwined with the arts as well, married to Maisie Campbell Napaltjarri, also an artist. Together, they have four children, continuing the legacy of cultural and artistic importance in their family. Barney Campbell Tjakamarra’s artwork not only represents a conduit of cultural transmission but also serves as a bridge connecting the ancient past with the present, ensuring the continuity of Aboriginal traditions through visual expression. His works are celebrated for their subtlety and depth, capturing the essence of the Pintupi people's spiritual and physical landscapes. ARTIST CV Barney Campbell Tjakamarra, a distinguished Western Desert artist, has had an impactful career, with his works displayed across numerous prestigious exhibitions and included in several key collections globally. Here's a concise overview of his exhibitions, collections, and bibliographic references which underline his significant contributions to Indigenous Australian art. Exhibitions Barney Campbell Tjakamarra's notable exhibitions include: 2000 Papunya Tula: Genesis and Genius – This significant exhibition was held from 18 August to 12 November 2000 at the Art Gallery of New South Wales in Sydney. It showcased seminal works from the Papunya Tula movement, underscoring the genesis of contemporary Indigenous art from this region. His works have also been exhibited in other esteemed galleries, including the Japingka Gallery, further establishing his reputation both in Australia and internationally. Collections Barney's art is held in several major public and private collections, evidencing the broad recognition and respect for his work: National and State Galleries such as the National Gallery of Australia in Canberra, the Art Gallery of Western Australia in Perth, and the National Gallery of Victoria in Melbourne. Regional Collections including the Museum & Art Gallery of the Northern Territory in Darwin and the Queensland Art Gallery in Brisbane. Private Collections like the Holmes a' Court Collection in Perth and various corporate and private collections worldwide. His presence in multiple locations such as the Gallery Gondwana in Alice Springs and Sydney, and the Aboriginal Galleries of Australia in Melbourne, further attests to his significant impact. Bibliography Barney Campbell Tjakamarra's life and work are well-documented in a variety of publications that discuss the broader implications and individual achievements of his artistry: "The Dictionary of Western Desert Artists" by Johnson, V., 1994, provides comprehensive insights into the artists of the Western Desert, including Barney. "Papunya Tula Art of the Western Desert" by Bardon, G., showcases the foundational elements of the art movement Barney is a part of. "Aboriginal Art" by Caruana, W., 1993, places his work within the wider context of Aboriginal art across Australia. "Australian Aboriginal Paintings" by Isaacs, J., 1989, explores the vibrant and diverse expressions of Indigenous painting, highlighting the significant contributions of artists like Barney. Barney Campbell Tjakamarra's work is a testament to the rich cultural heritage of the Pintupi people and a crucial component of the narrative of Australian Aboriginal art. His legacy is preserved not only through his dynamic and spiritually resonant artworks but also through scholarly works that continue to study and celebrate his profound contributions to the art world. 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 .