Artist Profile for Patrick Puruntatameri < Back Patrick Puruntatameri Patrick Puruntatameri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PATRICK PURUNTATAMERI - TUMARRARINGINI (WILDFLOWER) SOLD AU$1,300.00 PATRICK PURUNTATAMERI - TUMARRARINGINI (WILDFLOWER) SOLD AU$650.00 top Anchor 1 PROFILE Patrick 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 Tamayina Tjapangati < Back Tamayina Tjapangati Tamayina Tjapangati ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Tamayina Tjapangati 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 Magda Nakamarra Curtis < Back Magda Nakamarra Curtis Magda Nakamarra Curtis ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MAGDA NAKAMARRA CURTIS - LAPPI LAPPI JUKURRPA (LAPPI LAPPI DREAMING) SOLD AU$2,300.00 MAGDA NAKAMARRA CURTIS - LAPPI LAPPI JUKURRPA (LAPPI LAPPI DREAMING) Sold AU$0.00 MAGDA NAKAMARRA CURTIS - LAPPI LAPPI JUKURRPA (LAPPI LAPPI DREAMING) SOLD AU$1,300.00 top Anchor 1 PROFILE Magda Nakamarra Curtis 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 Helmut Pareroultja < Back Helmut Pareroultja Helmut Pareroultja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE HELMUT PAREROULTJA - UNTITLED SOLD AU$975.00 top Anchor 1 PROFILE Helmut Pareroultja 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 .

SYDNEY CONTEMPORARY 2022 Location: Carriageworks, Eveleigh NSW 2015 07 September - 11 September 2022 SYDNEY CONTEMPORARY 2022 07 September - 11 September 2022 SYDNEY CONTEMPORARY 2022 07 September - 11 September 2022 Location: Carriageworks, Eveleigh NSW 2015 VIEW CATALOGUE EX-SC2022

Artist Profile for Neville McArthur < Back Neville McArthur Neville McArthur ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE NEVILLE MCARTHUR - UNTITLED SOLD AU$1,800.00 NEVILLE MCARTHUR - MARLU DREAMING SOLD AU$1,600.00 NEVILLE MCARTHUR - LAKE BAKER SOLD AU$1,800.00 NEVILLE MCARTHUR - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Neville McArthur 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 .

NATIVE | MICHAEL JALARU TORRES | HEAD ON PHOTO FESTIVAL Official Opening | Saturday 4th May, 4-6pm From 04 May to 18 May 2019 Viewing Room NATIVE | MICHAEL JALARU TORRES | HEAD ON PHOTO FESTIVAL From 04 May to 18 May 2019 Official Opening | Saturday 4th May, 4-6pm Cooee Art is excited to announce their participation in 2019 Head On Photo Festival, with Melbourne based artist, Michael Jalaru Torres. A self-taught photographer, Michael explores the recent history of his country. What is being NATIVE and how does a NATIVE person see the world? The landscape talks to us through colours and texture far beyond what the untrained eye can see – through the shift in colours in the sky and water, the contrast from land to sea and the emotional connection to country. Being NATIVE in the past was a negative experience, with a system that was designed to constantly hold down NATIVE people and take away or not recognise our rights and values. Being NATIVE was viewed as being literally part of the landscape, like livestock that was owned and abused. Being NATIVE today reflects on the survival and resistance of not only the first peoples of this land but also the longest living culture on the planet. Culture is in a revival stage and the values of looking after country have become mainstream. NATIVE people are at the forefront of protecting land and sea and the native animals that share this land. The systemic injustice of Australia’s past policies and views of being NATIVE has been hidden for generations, but the use of modern storytelling has started to illuminate this history for a wider audience. Hopefully this series, as an abstract slice of what NATIVE means as a word, connection and view point, can shift the audience from ignorance to empathy to make change for the future.

Artist Profile for Wendy Nungarrayi Brown < Back Wendy Nungarrayi Brown Wendy Nungarrayi Brown ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WENDY NUNGARRAYI BROWN - YANJIRLPIRRI OR NAPALJARRI-WARNU JUKURRPA (STAR OR ... Sold AU$1,500.00 top Anchor 1 PROFILE Wendy Nungarrayi Brown ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Turkey Tolson Tjupurrula < Back Turkey Tolson Tjupurrula Turkey Tolson Tjupurrula ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TURKEY TOLSON TJUPURRULA - KUNGA KUTJARRA (TWO WOMEN) SOLD AU$2,800.00 top Anchor 1 PROFILE Turkey Tolson Tjupurrula Turkey Tolson was born under a tree beside a creek bed about eight kilometres east of Haasts Bluff. After years working in the Haasts Bluff stock camp droving cattle to Mount Leibig, he underwent initiation into manhood and the family moved to the Papunya settlement where Turkey worked as a construction labourer and in the communal kitchen. In 1961 he married and moved with his young family to an outstation west of Papunya. After his first wife’s untimely death, he remarried at Papunya where he lived during the early years of the painting movement. He joined Papunya Tula artists as one of its youngest members, painting his earliest artworks for Geoff Bardon in 1972. Throughout the 1980s Tolson’s unassuming leadership style and commitment to the community led him to remain focused on the more anonymous, collective meaning in his work - to the detriment of any personal ambition. He was, in fact, the artist Chris Anderson of the South Australian Museum had in mind when he stated  ‘Andy Warhol didn’t have a CV either. I mean- they’re not artists on the make. They’re not part of the whole career structure’ (cited in Johnson 1996: 98). Yet Tolson’s individual approach and quiet creative momentum were the hallmarks of what became an enduring career. During his early period, Turkey Tolson was one of the most innovative and figurative artists of the Papunya Tula movement. In the 1980s, he travelled to Paris with Joseph Jurra Tjapaltjarri to create a sand painting as part of the Peintres Aborigines d’Australie exhibition. He collaborated with renowned artist Tim Johnson, supervising Johnson’s use of sacred designs in Emu, Porcupine and Bandicoot Dreaming 1983. Throughout his distinguished career, Tolson’s experimentality and versatility were abundantly manifest as he embraced new, less traditional mediums including the prints he created for the Utopia Suite and multicolour woodblocks which were, according to Stephen Rainbird, 'a bold expression of his individual sensibility and creativity, his artistic maturity and outstanding carving skill' (1994: 182). His prints were included in the comprehensive survey of Aboriginal printmaking New Tracks, Old Land, which was shown to international acclaim in America, touring 25 venues throughout Australia in the early 1990s. Turkey Tolson was elected Chairman of Papunya Tula in 1985 and held this role until 1995, despite painting for a variety of outside dealers from the early 1990s onward. He became one of the company’s best-known artists, and seemingly had no problem in marrying this status with his desire to act independently when the circumstances seemed propitious. His paintings were invariably included in landmark exhibitions from the early 1980s. These included the exhibition of works from the Richard Kelton collection, Contemporary Australian Art 1981 at the Pacific Asia Museum in Los Angeles, The Face of the Centre at the National Gallery of Victoria in 1985, Aratjara: Art of the First Australians which toured Germany and the UK in 1993-1994 and Papunya Tula: Genesis and Genius at the Art Gallery of NSW in 2000. Tolson’s versatility in medium and practice was firmly grounded in his superb command of the more traditional painting techniques.  His most emblematic and famous images are of Straightening of Spears at Ilyingaungau. Mick Namarari, in fact, was at Kirdungurlu for many of Turkey Tolson’s Dreamings and this in part accounts for the striking resonance between their paintings of the period. Turkey’s Spear Straightening images depict spears lying in the desert. The subtle modulations of line and tone evoke the quintessential desert landscape. This, according to Johnson (1994), was one of the most influential artworks of the Papunya Tula movement. Mindful of the profusion of major abstracted canvases produced by artists like Mick Namarari, George Tjungurayai, Willy Tjungurayai, Ronnie Tjampitjinpa, and a number of other senior Pintupi men, Turkey Tolson becomes the pre-eminent figure in the last decade of the Central Desert art movement and the importance of his work can not be overstated. 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 Timmy Payungka Tjapangati Also know as: Tim Payunka, Payungu, Puyungku, Pyungu, Japangardi, Tjapangati < Back Timmy Payungka Tjapangati Also know as: Tim Payunka, Payungu, Puyungku, Pyungu, Japangardi, Tjapangati Timmy Payungka Tjapangati 1935 - 2000 Also know as: Tim Payunka, Payungu, Puyungku, Pyungu, Japangardi, Tjapangati ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Timmy Payungka Tjapangati 1935 - 2000 Timmy Payungka was one of the original group of artists who began painting for Geoff Bardon in 1971. Seeking sustenance during severe drought, he and his family walked a great distance from their homelands in the Gibson Desert, west of Wilkinkarra, Western Australia. After arriving at Haasts Bluff during his childhood he later travelled with family members back to his homelands far to the west of Lake Mackay near his birthplace, the important claypan site of Parayilpil. It was here in this country that his father passed away and Timmy was taken with his adoptive fathers further south to Yarrannga rockhole where the family were contacted by welfare branch patrols and moved to Umari rockhole. In 1957 Timmy accompanied Jerremy Long to Mount Leibig and on to Haasts Bluff making a brief visit to Alice Springs before returning to his wife and child and escorting them in the company of Uta Uta Tjangala into Haasts Bluff the following year. They were amongst the last group of Pintupi to arrive in Haasts Bluff before becoming amongst the first to settle at Papunya. By then, Timmy’s experience travelling with white men and keen sense of responsibility for his people prompted him to become a guardian for the newcomers that followed. Payungka proved to be a highly individual painter from the outset and Geoff Bardon felt a natural affinity with this 'tall boisterous man with an exuberant laugh'. He was by all accounts extremely handsome with a fine physique, and his confidence, and extroverted personality, were reflected in his art. This was typified by vivacious brushstrokes and the resourcefulness in which he transposed Dreaming stories onto the confined painting surface without loosing its vibrant sense of power. Bardon suspected Timmy to be a Kadaitcha Man, a secret enforcer of tribal law, because of his knowledge and apparent ease when broaching upon the most feared stories. In subsequent travels in the company of Dick Kimber he proved to be an exceptional tracker, with an extensive knowledge of his country. During the early days of painting at Papunya, Timmy was inclined to paint unrestrained despite prevailing anxiety about revealing sacred material. Many of his early works include an occasional mix of stylised ceremonial figures, animals and simplified objects such as headpieces and bullroarers, only partly disguised among more abstract designs. In works like his Kadaitcha Dreaming, which he created in 1972, lines radiate out from the central focus, a ceremonial Kadaitcha hat, while on the surrounding prepared earth, Kadaitcha slippers, knee imprints and ritual objects signify a feared punishment being negotiated for an offender. Similarly in Men’s Spirit Ceremony 1972, Timmy painted a bird’s eye view down upon two stylised men who face each other in the middle of a field of dancing tracks and ceremonial objects. His love of ceremonial activity and the sharing of ritual knowledge saw him preoccupied with carving sacred boards when paint and canvas were not available. Payungka’s Tingari works of the period 1975- feature the concentric circles representing sit down places and the linking straight lines for travelling signs in keeping with the Pintupi conventions of the time. These ‘mind maps’ of his immense homeland depicted important places for a long journey, such as food and water sources as well as places of spiritual significance and regeneration. His paintings occasionally included elongated ovals that depict caves, very rare in this area and places of great importance where Dreaming ceremonies took place. However from the early 1980’s onward Timmy increasingly removed representational motifs from his paintings and became more focused on Pintupi male conventions akin to formal abstraction. He used repeated patterning to build a palpable sense of intensity, augmented by contrasting areas of dotted colour and experimentation with tonal arrangements. These late career paintings, characterized by reductive designs in which the repetition of geometric keyed elements concentrates the visual power in referencing the sacred realm, assert Timmy’s ceremonial authority. In 1974 he left Papunya and settled for a time at Balgo Hills. He joined the move to Kintore in 1981 and lived with Uta Uta and John John Bennett 30 km from the community until the establishment of Kiwirrkurra where he settled until the early 1990’s by which time his health had deteriorated to the point that he needed to move to Alice Springs for regular medical treatment. He was amongst a group of Aboriginal artists awarded damages after their sacred designs had been used without permission in a commercial carpet manufacture during the mid 1990’s. The incident served as an indelible reminder to the general public as well as the business world that the Dreaming stories and their ancient symbolic language are not to be taken lightly. Though his legacy is not as potent as a number of his contemporaries, Timmy Payungka played a vital role in the emergence of Western Desert art. He may well have been a Kadaitcha as Bardon surmised. While his paintings may not be as highly recongised as those of several of his contemporaries, they emanate a subtle power and physical presence in keeping with his powerful ritual authority and deep traditional knowledge. ARTIST CV Market Analysis MARKET ANALYSIS While undoubtedly a bold and adventurous painter who was happy to experiment stylistically, Timmy Payungka could never be considered amongst the first rank of Papunya male painters. His importance lay in his role as man of great ritual knowledge who embraced the act of painting as a regenerative cultural force making it possible for others to follow his lead. Although a prolific painter and an important member of Papunya Tula Artists during the last decade of his life, seven of his ten best results are for works created during his first three years as an artist. Even at this early stage, between 1971-1973, his works varied greatly in style and content. His most successful work at auction was Cave Story 1971 , a small work on composition board, which sold for $79,500 when estimated at $30,000-50,000, as long ago as 1999. The most interesting thing about it stylistically is its similarity to the linear minimalism adopted by other Pintupi men nearly twenty five years after its creation, and perhaps this was the reason for its success at Sotheby’s at the time. However for a record by such a prominent artist to have stood for more than eight years during what was nothing short of phenomenal growth in the market, is a tell-tale sign that something is amiss. His second highest result for instance was just under half this amount, achieved by Lawson~Menzies in their November 2006 sale. This work’s interest lies more in the fact that it shows elements of the interlocking key design that became his leit-motif late in life; its dotted pattern is contained within the structure of a conventional Tingari painting of the period. The painting failed to sell on the night when offered at $35,000-45,000 but sold the next morning for $38,400. (Lot 58) . One of his highest results was achieved for a work that was attributed to the artist when Sotheby’s sold it in their July 2004 sale (Lot 210 ). The attribution is unlikely to be correct however, as the work shows far closer stylistic resonance to paintings by Yala Yala Gibbs, Shorty Lungkarta, and one or two other artists than to Payungka, other than the way in which the Kangaroo, or possibly bandicoot, is depicted. Sotheby’s relied on the word of the vendor, who had bought it directly from the artist while working as a patrol officer with the Northern Territory Administration in the late 1960s and early 1970s. Still, if it was actually created by Payungka, it is, in my opinion, the best early work by him that has been offered at auction to date. His Water Dreaming 1971-1972 was not a good work, despite achieving $31,200 in July 2006 against a presale estimate of just $12,000-18,000. It did however clearly demonstrate the same elements as many of the perfunctory paintings he created for independent dealers toward the end of his life. None of these have done well at auction and most fail to make the cut. Tingari Painting Associated with the Site of Parayirrpilnya 1986 is one of only two 1980s works which appear in his top ten results and only four in his top 20. As generic Tingari works go, this one is surprisingly good, and better than most. When originally offered in November 1998 Sotheby’s advertised it with an estimate of $7,000-10,000 but failed to find a buyer. The work was later reoffered at Sotheby’s in July 2001 carrying an estimate of $12,000-18,000 and this seems to have done the trick. It found a buyer at $24,000. Despite all of the results above, most collectors identify Timmy Payungka with his late career paintings in which the iconography has been discarded in favour of his immediately recongisable interlocking key design, seemingly derived from the patterning on men’s ceremonial story boards. Although usually in black and white, the artist also created them in a variety of formulaic duo-tonal formats during the mid to late 1990s. The most successful of these has been a work created in 1997 for Papunya Tula. Kangaroo and Fire Dreaming , sold in Sotheby's June 2002 sale (Lot 189) for $31,050. It should be a salutary reminder to collectors that this price is more than four times higher than his next best result for a 1990s painting. In 2004 no less than 24 works were offered of which 15 went unsold. Not surprising then, that in 2007 only two works were offered for sale amongst all of the auction houses taking Aboriginal art in that year. 2008 was not much better. Although the number of works on offer increased to eight, only four sold for a total of just $22,429 despite the fact that one very nice 1973 board work, Big Rain Story , snuck in to the artists top ten results at ninth place when sold for $10,800 at Sotheby’s in October (Lot 84). However, when quality works appear they fetch respectable prices. In 2010 the early 1971 board, Men's Traveling Dreaming, sold for $23,900 at Mossgreen Auctions, making a new sixth place record. The artists best year other than 1999 was 2013 when the only two works offered for sale both entered his top 10 results. Created in 1971 and 1972 respectively they appeared in the Sotheby's sale of works from the collection of Melbourne dealer Beverly Knight. They fetched $67,100 and $36,600 and achieved the artist's 2nd and 4th highest results ever. Since then only underwhelming and generic works from his later years have appeared at auction, with about half of the works on offer selling for an average price $1,164. There is no question that Timmy Payungka was a seminal figure in the Western Desert art movement. He created a large body of work for almost thirty years. While many of these are fine paintings and deserve to be in exalted company, collectors should be extremely careful in selecting works that best represent the various periods of his artistic output. There is a very definite and easily read stylistic progression through the development of his art. While serious collections should definitely include his work in their holdings, only the finest examples are likely to prove a sound investment in the long term. 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 .

WOMEN IN COLOUR From 28 January to 19 March 2022 Viewing Room 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 Debbie Napaljarri Brown < Back Debbie Napaljarri Brown Debbie Napaljarri Brown ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DEBBIE NAPALJARRI BROWN - WANAKIJI JUKURRPA (BUSH TOMATO DREAMING) SOLD AU$3,300.00 top Anchor 1 PROFILE Debbie Napaljarri Brown ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .