Balgo Horizons | Stories and Places Across Time Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney 1 - 22 February 2025 Balgo Horizons | Stories and Places Across Time 1 - 22 February 2025 Balgo Horizons | Stories and Places Across Time 1 - 22 February 2025 Art Leven - 17 Thurlow St, Redfern, Gadigal / Sydney From its beginnings, Balgo art has been celebrated for its daring use of colour, striking iconography, and dynamic, boundary-pushing styles. Early works often depicted ceremonial iconography and Tjukurrpa (Dreaming) stories, capturing the essence of Country and the journeys of ancestral beings. These paintings were deeply rooted in cultural knowledge, acting as both a visual language and a connection to the artists’ homelands. From very early on, Balgo artists have seemed to veer comfortably in and out of abstraction, while still allowing space to employ the traditional iconographic elements. This resulted in the development of an extremely diverse mix of styles. To this day, Warlayirti Artists studios continue to play host for a wide range of artistic styles and voices, making diversity of style a timeless theme. "Dotting used to highlight the content in Balgo paintings, the Kuruwarri, [the sacred design associated with ‘traditional iconography] bringing an optical dynamism to painted forms. Over time it has pulled away from those forms, and seemingly become the content itself." (p. 9) "Balgo Horizons" offers a glimpse into the history and evolution of one of Australia’s most vibrant artist communities. Made up of two parts, the exhibition consists of primary market artworks by the working painters of Warlayirti Artsists, as well as secondary market works from private collections representing the founding and early stages of the Balgo art movement. Originally, the concept was to juxtapose ‘the old’ and ‘the new’, expecting a clear contrast between the two (as one may see in the history of other communities such as Papunya wherein, for a multitude of reasons, the present abstract geometric style has all but entirely replaced the early representational imagery of the 70s). Quickly, however, it became clear that this narrative did not suit the works in“Balgo Horizons”. "The jukurrpa is not an enduring edifice, however much it is presented as such. It persists because it changes, or because it has always helped desert people make sense of change." (p. 361) As the movement developed through the 1990s and into the 21st century, Balgo artists began experimenting further with abstraction and technique, resulting in artworks that were more individualistic while remaining firmly grounded in cultural tradition. Colours became more vivid, compositions more innovative, and traditional imagery transformed into highly personal expressions of place and identity. On one hand, we have stylistic shifts that affect entire generations of artists. On the other hand, within a community that features so many disparate styles of painting, there are individual stylistic lineages that evolve separately, sometimes linking different generations of a single family. It is not just the Dreamings themselves that are inherited as is common in most communities, but the language to describe them. In this way, the ‘old’ feels ever-represented by Wartlayirti Artists. No memory is left behind, the horizon never out of reach. In the opening to his fantastic book ‘Balgo: Creating Country’, author John Carty presents us a key to begin understanding the meaning of a painting by Elizabeth Nyumi: "It means everything. Literally, everything. It is not a retelling of a Dreamtime story. It is not a picture of a place, or a representation of it. It is Country. Balgo artists don't say 'this is a painting of my Country': they say that the painting is their Country." (p.1) John Carty; Balgo: Creating Country, UWA Publishing Request a Catalogue RSVP Opening LUCY YUKENBARRI NAPANANGKA - UNTITLED Sold AU$20,000.00 ELIZABETH NYUMI NUNGURRAYI - UNTITLED Sold AU$6,000.00 SUSIE BOOTJA BOOTJA - KANINGARRA price AU$5,500.00 NINGIE NANGALA - UNTITLED price AU$3,800.00 BOXER MILNER TJAMPITJIN - WINDJAREE price AU$3,500.00 EUBENA NAMPITJIN - CANNING STOCK ROUTE, W.A. price AU$2,200.00 IMELDA (YUKENBARRI) GUGAMAN - WINPURPURLA Sold AU$0.00 SUSIE BOOTJA BOOTJA - UNTITLED price AU$7,500.00 ELIZABETH NYUMI NUNGURRAYI - UNTITLED Sold AU$6,000.00 FRANCES ANN NOWEE - NYNMI Sold AU$4,800.00 SAM TJAMPITJIN - TWO LARGE CLAYPANS price AU$3,600.00 BAI BAI NAPANGARTI - UNTITLED Sold AU$3,000.00 NINGIE NANGALA - WALUPARN price AU$1,800.00 WINIFRED NANALA - WILKINKARRA Sold AU$0.00 BOXER MILNER TJAMPITJIN - DJARINGARRA price AU$6,000.00 BOXER MILNER TJAMPITJIN - UNTITLED Sold AU$6,000.00 IMELDA (YUKENBARRI) GUGAMAN - WINPURPURLA Sold AU$4,400.00 MICK GILL - ARTISTS'S COUNTRY price AU$3,500.00 BAI BAI NAPANGARTI - LUMUNBUNDA price AU$2,500.00 CARMEL YUKENBARRI - WINPURPURLA Sold AU$1,400.00 MUNTJA NUNGURRAYI - COLLECTING BUSH FRUIT Sold AU$0.00 EXbalgo

A COOEE CHRISTMAS | NEXT GEN 21 From 27 November to 31 December 2021 Viewing Room A COOEE CHRISTMAS | NEXT GEN 21 From 27 November to 31 December 2021 Our selected artists from 2021 will deck the walls with Christmas jolly, their artworks spanning sizes small and large within any price range. Discover the bold colours and powerful gestural brushstrokes by some of Australia’s most interesting contemporary Aboriginal artists.

Artist Profile for Janelle Napurrurla Wilson < Back Janelle Napurrurla Wilson Janelle Napurrurla Wilson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Janelle Napurrurla Wilson 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 .

COOEE ART AT AUSTRALIAN GALLERIES From 05 April to 24 April 2016 Viewing Room COOEE ART AT AUSTRALIAN GALLERIES From 05 April to 24 April 2016 For this exhibition at Australian Galleries, Coo-ee Art Gallery has sourced works from local and international private collections and remote Aboriginal art communities, showcasing the very best the movement has to offer, including a number of major masterpieces. "The story of the modern Aboriginal art movement is one of the most exciting and transcendent chapters in the history of contemporary Australian art. Within the space of just 50 years Indigenous artists have transformed the perception of their culture from something of strictly ethnographic interest into one of the worlds most dynamic contemporary art movements. Today, high quality polymer paints, imported Belgian linen and the finest art papers are as likely to be used as materials gathered from the immediate environment. From its origins in rock painting, body art, ceremonial regalia, low relief sand sculpture and utilitarian objects, Aboriginal material culture has moved into the shrines of contemporary art and significant art collections all over the world. Coo-ee Art Gallery has traversed this terrain for over 30 years and is now the oldest exhibiting Aboriginal art gallery in Australia. The founding Director, Adrian Newstead OAM has worked with revered elders and cultural custodians in the Tiwi Islands, Arnhem Land, the Kimberley, the far reaches of the Tanami Desert and through to the Torres Strait Islands. Australian Galleries has its own rich history. Since 1956 it has been intimately associated with many of Australias greatest non-indigenous artists including Arthur Boyd, Sidney Nolan, Brett Whiteley and Fred Williams. Today, Stuart Purves AM walks in his parents founding footsteps, representing many of Australias most prominent contemporary painters and sculptors. I am of the opinion that the Australian Aborigine is probably the best artist in Australia. Recently we toured Australia, and the Aboriginal art amazed me. The Aborigine has a wonderful, dreaming philosophy which all Australian artists should have. Sidney Nolan, 1949 For this exhibition at Australian Galleries, Coo-ee Art Gallery has sourced works from local and international private collections and remote Aboriginal art communities, showcasing the very best the movement has to offer, including a number of major masterpieces."

Artist Profile for Jack Dale < Back Jack Dale Jack Dale 1922 - 2013 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Jack Dale 1922 - 2013 I'm a paragraph. Click here to add your own text and edit me. It's easy. ARTIST CV Market Analysis MARKET ANALYSIS Though they met briefly in the late 1980s, it was not until April 1997 that Jack Dale began painting and recording his cultural stories with the assistance of Melbourne art entrepreneur and publisher, Neil McLeod. McLeod began his association with artists of the Kimberley during projects in the region as early as 1977 when he first recorded and photographed ceremonies, the manufacture of artefacts and traditional food gathering. In the late 1990s, Dale participated in a number of group exhibitions at Coo-ee Aboriginal Art, Sydney, as well as Michel Sourgnes Fine Art, Brisbane during 2001 and 2002. These were followed in quick succession by no less than seven solo exhibitions between 2001 and 2006, all organised through Neil McLeod. Amongst the venues were Flinders Lane and Vivien Anderson Gallery in Melbourne, Kintolai Gallery in Adelaide, Coo-ee Gallery in Sydney, and Japingka Gallery in Fremantle. The works included in these exhibitions were created during workshops conducted at Dale’s home in Derby. Several times each year McLeod would drive from Melbourne to the Kimberley with art materials and equipment for workshops that could last up to a month in duration. His absence from the Kimberley for extended periods enabled the owners of a Perth gallery to claim they had signed Dale to an exclusive contract and to demand that McLeod hand over all of the paintings in his possession to the artist’s ‘new agents'. When the works Dale produced for them proved to be inferior, they insisted that those created for McLeod could not be in the artist’s own hand and called the fraud squad. Confronted by police in Derby, the old man, quite naturally afraid, made no secret about receiving appropriate family assistance. Works were confiscated from his exhibition at Japingka Gallery and sent to anthropologist Kevin Shaw who concluded, as did others who visited Derby to watch Dale paint, that the venerated old artist had no case to answer. The confiscated paintings were returned. The 'exclusive' contract with the Perth Gallery was deemed to be invalid and Dale once more resumed painting for McLeod. While Dale’s works were freely available in the primary market, his results at auctions were less than auspicious. In 2007, two works sold for what remain the artist's record and third highest price to date. The first of these appeared at Lawson~Menzies in May (Lot 25). Offered with an estimate of $30,000-35,000 this eye-catching 180 x 231 cm image, Male Wandjinas - Baby Dreaming, created just 12 months earlier, sold for $31,200 to a buyer who had already announced his intentions prior to the sale. It was obvious that powerful primary market influences were at play in underpinning the work of an important old artist of whom most collectors were, as yet, largely unaware. At its next sale in November 2007 Lawson~Menzies featured another major work, this time measuring 143 x 199 cm. This canvas, Wandjinas at Iondra 2006 was an even more impressive painting than the former lot and sold above its high estimate for $45,600, the artist’s current record price. As a direct result of these two sales Jack Dale shot to 120th on the most successful artist list. Further success in 2008 when two works sold for $38,400 and $13,200 saw him leap to become the 66th most successful Aboriginal artist of all time. In 2009 strong sales pushed him further to 60th, with a highly impressive average of $20,518. This was all the more remarkable because he had yet to reach the threshold of 20 works offered. In 2010 another seven works appeared at sale pushing over the threshold for the first time. However it was not the most opportune time for it to do so even though three new works entered his top ten sales records. In 2013 and 2014 two fine examples entered his top 10 records but his results have not been nearly as impressive since and his ranking has dropped sharply. He is currently the 100th most successful artist of the movement. While one would expect that Jack Dale’s rating and position to have continued to rise, they have not done so. His high value works tend to be large, and for this reason, few are offered for public sale. Major paintings sell for $35,000-40,000 in the primary market, as no other artist has portrayed these iconic creator beings on such a scale other than perhaps David Mowaljarli. They are now being shown internationally. As time progresses these paintings are likely to become emblematic of the last artistic outpouring of a generation of genuine characters that embodied the spirit and Aboriginal heritage of the West Kimberley region. 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 Stephanie Napurrurla Nelson < Back Stephanie Napurrurla Nelson Stephanie Napurrurla Nelson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE STEPHANIE NAPURRURLA NELSON - JANGANPA JUKURRPA (BRUSH-TAIL POSSUM DREAM ... Sold AU$0.00 top Anchor 1 PROFILE Stephanie Napurrurla Nelson 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 Marilyn Maria Nangala Turner < Back Marilyn Maria Nangala Turner Marilyn Maria Nangala Turner ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Marilyn Maria Nangala Turner 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 .

YAGU, GADIGAL DULUMI, GADI YUWING NGUBADI Parliament House, 6 Macquarie St, Sydney NSW 2000 July 4 - August 1 2024 YAGU, GADIGAL DULUMI, GADI YUWING NGUBADI Konstantina July 4 - August 1 2024 YAGU, GADIGAL DULUMI, GADI YUWING NGUBADI Konstantina July 4 - August 1 2024 Parliament House, 6 Macquarie St, Sydney NSW 2000 Public Visiting Hours & Location Entry 6 Macquarie St, Parliment House. Opening time 10am to 5pm Monday to Friday Artist Statement Yagu, Gadigal dulumi, Gadi yuwing ngubadi
 Translation: today, the Gadigal give you for no expected return, Gadi truth and love. As a descendant of the Gadigal, I am passionate about my language, Culture and histories, much of which have been lost, misplaced or manipulated since the dawn of Colonisation. As such, my practise is heavily interconnected with my mob and their oral histories and married with my academic research. My artwork is heavily rooted in both and my artworks are a physical manifestation of these stories and histories, a document in time to reconnect me to my people, and my people - the Gadigal to our rightful Country. The Gadigal are, and have always been, a good graced mob. The evidence of this is clear in the way we share our Culture with others, in the way we have welcomed our neighbouring Aboriginal and non-Aboriginal brothers and sisters to our land and resources. We occupy the Country of first Colonial occupation, our numbers have dwindled due to this occupation, introduced illness, scarcity of resource, and outright persecution. We have, and continue to exist. There is an oft beguiled rhetoric that the Gadigal are no longer; that our stories and Culture occupy only the assuages of history. This is untrue and incorrect. The Gadigal occupy these walls today with our stories, we are honoured and grateful to have the opportunity to welcome you and invite you to share in our Culture. ARTIST PROFILE KONSTANTINA (KATE CONSTANTINE) - GADIGAL WEAVE II (WHITE) price AU$6,200.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - GADIGAL WEAVE II (BLACK) price AU$6,200.00 KONSTANTINA (KATE CONSTANTINE) - Gadigal Weave price AU$6,200.00 EX-july4-2024

UTOPIA - IN DETAIL From 21 March to 16 April 2022 Viewing Room UTOPIA - IN DETAIL From 21 March to 16 April 2022 "The former Utopia cattle station in Central Australia, is home to many small Anmatyerr and Alyawarr family groups living in an 1800 square kilometre section of Central Australian desert transected by the largely dry Sandover River. In this extreme desert climate, a Westerner might imagine it as far from perfect. Yet, to the Aboriginal painters who work here, nestled in small outstations close to their ancestral land, the region’s history of violent conflict and dispossession is of little consequence. Here, the summer heat often exceeds forty degrees Celsius. In winter the nights are cold, with sub-zero and frosts between June and August. But following infrequent rain, the desert landscape is transformed. The dried-out Spinifex flowers resemble a field of wheat, and the mulga shrub bears green dense foliage and masses of bright yellow flowers. Growing amongst these plants is an abundance of wildflowers that turn the deep red desert floor into a utopian multicoloured garden. In this environment paintings of ‘country’ become contemporary dialogues, translations of ancient laws, culture and way of life. Individual in creation, they depict shared stories and country. They arise through their shared cultural heritage depicting the food, the flora and the Dreamings that traverse this vast and ancient landscape. Many of these paintings can be read and appreciated at a superficial level for their abstractionism, but the deeper layer which involves the cultural and social mores, requires intimate knowledge to be fully appreciated. These paintings are a contemporary expression of the cultural knowledge an artist holds about their country. Topography depicted through such subtleties as direction and size, the sun’s trajectory, or the details of the artist’s relationship to her sister, cousins, uncles, and aunts are all translated through the medium of acrylic paint. The driving motivation seems totally divorced from the final aesthetic produced through their labours. A reference back to country is proffered upon every stroke. In this context, seeds, tracks, rocks, rivers, eggs, and so much more are part of the pictorial language of her their Dreaming story, be it the life cycle of a plant such as the Bush Plum, or animal like the Bush Turkey. Traces of their movement creep across the canvas and are buried beneath successive layers semi-transparent layers of diluted medium. This is a ‘Utopian’ vision, that colours these artists’ reading of their surrounding homelands."

Artist Profile for Jorna Newberry < Back Jorna Newberry Jorna Newberry ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JORNA NEWBERRY - WALPA (WIND DREAMING) SOLD AU$7,500.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - WALPA - WIND DREAMING Sold AU$0.00 JORNA NEWBERRY - CEREMONY FOR WOMEN Sold AU$0.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - CEREMONY FOR WOMEN Sold AU$0.00 JORNA NEWBERRY - CEREMONY FOR WOMEN Sold AU$0.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - WALPA (WIND DREAMING) Sold AU$0.00 JORNA NEWBERRY - MY COUNTRY Sold AU$0.00 JORNA NEWBERRY - MY COUNTRY Sold AU$0.00 top Anchor 1 PROFILE Jorna Newberry 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 OCEANIC ART FAIR 2023 Art Leven - 17 Thurlow St, Redfern, NSW 2016 14 December 2023 - 13 January 2024 SYDNEY OCEANIC ART FAIR 2023 14 December 2023 - 13 January 2024 SYDNEY OCEANIC ART FAIR 2023 14 December 2023 - 13 January 2024 Art Leven - 17 Thurlow St, Redfern, NSW 2016 Recognising our geographic location in the Pacific, this expanded Fair will appeal to a wider, more diverse range of art lovers and collectors of both historic and contemporary art from First Peoples globally. The fair will include booths displaying objects and artworks from PNG, Australia, South East Asia and many other countries. Cooee Art Leven is proud to host the highly successful, annual, Sydney Oceanic Arts Fair (SOAF) on behalf of of the Oceanic Art Society on Sunday 29th October (9am to 5pm). Recognising our geographic location in the Pacific, this expanded Fair will appeal to a wider, more diverse range of art lovers and collectors of both historic and contemporary art from First Peoples globally. SOAF will feature many genuine ethnographic rarities and collectibles from PNG, the Pacific, Australia, South East Asia and other countries, from a collection of Australia's prominent Oceanic Art dealers and collectors. For the first time, the Oceanic Art Society will also have a Gala Preview for vendors and members on Saturday 28th of October at 5pm. The Gala Preview will be a social event, with a live Auction hosted by Alex Philips and with drinks and hors d’oeuvres. Tickets for the Gala Preview are only $10, payable at the door. 28th October 5-7pm – 29th October 9-5pm Cooee Art Leven 17 Thurlow St Redfern, NSW, 2016 Contact: soaf@oceanicartsociety.org.au www.oceanicartsociety.org.au 0400 822 546 Contact us for more information: info@artleven.com

NapangardiEunic Eunice Napangardi Eunice Napangardi 1950 - 2005 Partner to Kaapa Tjampitjinpa during the early days of the modern painting movement at Papunya, Eunice along with her sister Pansy was one of the few women who began painting and selling works independently of the male dominated art centre. Like other female partners and relatives, she assisted the men with infilling and background dotting on their larger works. Her own creative flair and confidence, however, began to blossom during the late 1980s when Daphne Williams became art coordinator at Papunya. Eunice’s love of colour and surety of design saw her quickly become a leader in the emerging women’s painting movement of the 1990s. Her work was soon chosen to represent Australia internationally and a large piece is on permanent display at Alice Springs airport. Born and raised in the bush near Yuendumu and living on the traditional bush tucker of the spinifex country, Eunice learned the ancient Dreaming stories from her grandparents, depicting them in the desert sand. When she and her sisters Alice, Rene and Pansy Napangardi began to paint with acrylic colours, Eunice’s signature theme became Yuparli or Bush Banana Dreaming. She shows the bush banana in its various growth cycles, with radiating vines growing about the rocky crevices, close to riverbeds. It is an important food source and has specific healing qualities and is therefore of immense importance to all Aboriginal peoples of Central Australia. Her work is animated and spirited like the woman herself, expressing the rich culture of her people and their deeply spiritual connection to the land. Apart from several trips to city art engagements, Eunice spent most of her life in the Alice Springs area and spoke limited English, but she would paint industriously, sometimes for ten hours a day, producing glorious works that travelled the globe. She began to paint with Maxie Tjampitjinpa before he died, and before her own sudden and untimely death had become a respected elder and healer. A detailed market analysis will be available shortly. 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