IT FLOWS Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW 2016 14 December 2023 - 13 January 2024 IT FLOWS Artist: Joanne Currie Nalingu 14 December 2023 - 13 January 2024 IT FLOWS Artist: Joanne Currie Nalingu 14 December 2023 - 13 January 2024 Art Leven - 17 Thurlow St, Gadigal, Redfern, NSW 2016 JOANNE CURRIE NALINGU It Flows Opening: Thursday 14 December, 6-8pm I grew up on the ‘Yumba’, out west by the banks of the Maranoa River in the 1960s. Now I live closer to Brisbane where we raised our kids and now our grandkids. I’ve always painted about the Maranoa area, the traditional designs found on shields and artefacts, the lines and colours of the river…I try to keep it simple…clean and sharp! In 2008, she won The Wynne Prize at AGNSW and has been a finalist numerous times in the Telstra National Aboriginal & Torres Strait Islander Award. Joanne’s work is held in numerous private and public collections including Queensland Art Gallery | Gallery of Modern Art and the Museum of Brisbane. View Catalogue JOANNE CURRIE NALINGU - GUNGARRI TRACES price AU$3,300.00 JOANNE CURRIE NALINGU - HEADING WEST (WINTER LIGHT) Sold AU$0.00 JOANNE CURRIE NALINGU - WIND ON THE WATER Sold AU$0.00 JOANNE CURRIE NALINGU - HEADING WEST (SUMMER LIGHT) I Sold AU$0.00 JOANNE CURRIE NALINGU - GUNGARRI TRACES price AU$3,000.00 JOANNE CURRIE NALINGU - RIVER LINES II Sold AU$0.00 JOANNE CURRIE NALINGU - RIVER LINES I Sold AU$0.00 JOANNE CURRIE NALINGU - HOVER Sold AU$0.00 JOANNE CURRIE NALINGU - GUNGARRI TRACES price AU$2,200.00 JOANNE CURRIE NALINGU - MARANOA (SPRING) Sold AU$0.00 JOANNE CURRIE NALINGU - HEADING WEST (AUTUMN LIGHT) Sold AU$0.00 JOANNE CURRIE NALINGU - CALM MORNING Sold AU$0.00 EX It Flows

PRIVATE COLLECTION | PRIVATE VIEW Cooee Art Redfern & Online From 04 September to 21 October 2021 Viewing Room PRIVATE COLLECTION | PRIVATE VIEW Artists: Group Exhibition From 04 September to 21 October 2021 Cooee Art Redfern & Online One Collector’s Passion & Soul on Display Our latest exhibition is a collection of 50 artworks, that for the past 10 years have lined the hallways and board rooms at the SBS offices. The collection was personally curated and collected by one of the most highly regarded patrons of Australian Art. This exhibition boasts an eclectic selection of deeply established and emerging artists. The collector is quoted as saying “There has to be a rapport with each work I buy; each speaks to me and means something to me, but I can’t define what that is with precision.” He believes that works of art must invoke an involuntary and immediate physiological and emotional response. The show is on display through the windowed and ever-lit facade of our Redfern gallery, as well as virtually via social media, email, and our website. If you are lucky enough to live in our 5 km radius, we are regularly rotating the artworks in the front and are more than happy to privately feature a work of your choosing for a contactless viewing. VIEW CATALOGUE VIEW VIDEO EX 219

BLACK ART WHITE WALLS From 01 January to 28 February 2016 Viewing Room BLACK ART WHITE WALLS From 01 January to 28 February 2016 "The Adrian and Anne Newstead Indigenous Art Collection This exhibition draws on the extensive personal collection of Indigenous art accumulated by Adrian and Anne Newstead while working with Aboriginal and Torres Strait Islander artists over the past 30 years. Adrian Newstead is a dealer, writer and consultant. He and Anne own the oldest Aboriginal art gallery in Australia." "[[20160630111124|left,no,,landscape]] Adrian and Anne began their involvement with the creation and subsequent bloom/boom of the Aboriginal art market in 1980. Their art collection is an intimate one, built through personal relationships, serendipity, and a keen sense of historical and cultural importance. It is a platform by which a different narrative can be told: that of art as an expression of relationships, culture, spirituality, the land and kinship. The Newstead Collection comprises more than 1000 canvas paintings, barks, artefacts, prints, posters and sculptures. It represents a linear history of Aboriginal art and craft from the earliest days of the movement, through to the establishment of the first art centres and, beyond this, into the mainstreaming of Aboriginal art and its national and international acceptance as a dynamic contemporary art movement. There is a strong emphasis on printmaking as Adrian Newstead was instrumental in initiating this medium amongst Aboriginal and Torres Strait Islander artists. He published hundreds of limited editions, as well as organising and promoting Australian Indigenous prints on the international stage. This exhibition includes rare examples of early prints, as well as those by several of indigenous Australias most important printmakers. During Adrian and Anne Newsteads 30-year involvement, black art has moved inexorably onto white walls, subtly affecting the many millions of people who have come to live with and love it. Many would say that the Aboriginal art movement has been the single most effective vehicle in advancing understanding, empathy and reconciliation between black and white Australia. Viewing this beautiful show and reading the meanings of the works, and the circumstances under which they were collected, reveals the story of a very personal journey deep into the culture of Australias oldest inhabitants. Galleries the Exhibition Toured to: Grace Cossington Smith Gallery - 23 January - 30th March 2014 Wagga Wagga Regional Gallery - 7th April - 12th June 2014 Walker Street Gallery - 4th September - 8th October 2014 Moree Plains Gallery - 1st December - 29th January 2015 Manning Regional Gallery - 3oth January - 15th March 2015 Burrinja Regional Gallery - 4th July - 28th September 2015 Brunswick Regional Gallery - 16th October - 8th November 2015 Caloundra Regional Gallery - 20th January - 28th February 2016 [[20160630111252|left,no,,large]] [[CELL-ARTWORKS|20160630111552,20160630112025,20160630112039,20160630112147,20160630112132|N,N,hero,Y,3,Y]] [[CELL-ARTWORKS|20160630111939,20160630112008|N,N,hero,Y,2,Y]]"

Artist Profile for Kenan Namunjdja < Back Kenan Namunjdja Kenan Namunjdja ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE KENAN NAMUNJDJA - GALAWON (GOANNA) SOLD AU$2,200.00 KENAN NAMUNJDJA - MIMIH SPIRIT Sold AU$0.00 KENAN NAMUNJDJA - MIMIH SPIRIT SOLD AU$1,000.00 top Anchor 1 PROFILE Kenan Namunjdja 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 .

INDIGENOUS FINE ART SPECIALIST < Back Emma Lenyszyn INDIGENOUS FINE ART SPECIALIST Educated in Fine Art at RMIT, Emma joined Art Leven (formerly Cooee Art) in 2016 as the Paddington gallery Manager. In 2019, she became the Indigenous Auction Specialist for the bi-annual Auctions. Emma has a long history of employment in the arts, including positions at international institutions, commercial galleries, and private collections. emma@artleven.com +61 (02) 9300 9233

Artist Profile for Bronwyn Bancroft < Back Bronwyn Bancroft Bronwyn Bancroft ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BRONWYN BANCROFT - NIGHT PULSE SOLD AU$19,800.00 BRONWYN BANCROFT - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Bronwyn Bancroft 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 Andrea Adamson < Back Andrea Adamson Andrea Adamson 1973 - 2019 BORN: Amata, SA LANGUAGE GROUP: Pitjantjatjara COMMUNITY: Amata, SA ARTIST PROFILE ARTIST CV MARKET ANALYSIS Andrea Adamson Tiger was born in 1973 in Amata, located on the APY Lands of South Australia, 480 km southwest of Alice Springs. Her parents were Tony and Kukika Adamson. Andrea passed away suddenly in 2019 at the age of 46. READ FULL ARTIST PROFILE top Anchor 1 PROFILE Andrea Adamson 1973 - 2019 BORN: Amata, SA LANGUAGE GROUP: Pitjantjatjara COMMUNITY: Amata, SA Andrea Adamson Tiger was born in 1973 in Amata, located on the APY Lands of South Australia, 480 km southwest of Alice Springs. Her parents were Tony and Kukika Adamson. Andrea passed away suddenly in 2019 at the age of 46. During her youth, Andrea lived in Alice Springs, attending Yirara College and spending part of her schooling in Woodville, South Australia. After her schooling, she began working at Uluru (formerly known as Ayers Rock) as a guide. Here, she shared her knowledge about the local flora, fauna, and customs with visitors, taking great pride in her heritage. Andrea was deeply connected to the traditional customs of the Anangu people. She actively participated in ancient ceremonies where women would create body paint from ground ochre mixed with water or kangaroo oil. This paint was applied for ceremonies that included songs and dances to narrate important ancestral stories. Her artwork vividly narrates the tale of the seven sisters and their journey across the land, evading the advances of Wati Nyiru. Despite their incompatible 'skin names', Nyiru fell in love with the sisters and pursued them as they sculpted the landscape with rockholes, sandhills, and rocky outcrops to elude him. Eventually, they created a rockhole that allowed them to escape underground and re-emerge to ascend into the sky. Nyiru, following them into the water, emerged too late and continues to chase them across the heavens, visible from the south of the seven sisters. 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 Apphia Wurrkidj < Back Apphia Wurrkidj Apphia Wurrkidj 1984 LANGUAGES: Kuninjku COMMUNITY: Maningrida CLAN: Kurulk ARTIST PROFILE ARTIST CV MARKET ANALYSIS Apphia Wurrkidj, a talented artist hailing from a lineage of skilled painters, has learned the art of painting in the Mumeka style from her father, James Iyuna (deceased), and mother, Melba Gunjarrwanga. READ FULL ARTIST PROFILE top Anchor 1 PROFILE Apphia Wurrkidj 1984 LANGUAGES: Kuninjku COMMUNITY: Maningrida CLAN: Kurulk Apphia Wurrkidj, a talented artist hailing from a lineage of skilled painters, has learned the art of painting in the Mumeka style from her father, James Iyuna (deceased), and mother, Melba Gunjarrwanga. She represents the next generation committed to preserving and advancing the artistic traditions of her community, particularly the use of strong geometric rarrk. This traditional crosshatching technique is central to her work, through which she represents key Djang sites on her clan lands. Djang, in her cultural context, refers to the eternal and life-giving transformative power that accounts for every aspect of existence. The common subjects of her artworks include significant cultural sites and motifs such as the Dilebang (Waterhole) site, Wak Wak (Black Crow) at Kurrurldul, and Ngalyod (Rainbow Serpent). These subjects are not only deeply rooted in her cultural heritage but also serve as a conduit for expressing the rich narratives and spiritual beliefs of her community. Apphia’s works are particularly noted for their intensity and the precision of her linework, which distinguishes her pieces from those of her contemporaries. Her ability to convey complex cultural stories through meticulously crafted designs has established her as a prominent figure in her artistic community, continuing the legacy of her parents by bringing traditional expressions into contemporary art practice. ARTIST CV 2021 Northern Waters – Short St Gallery, Broome WA 2020 Taranathi Art Fair, Lot Fourteen, Adelaide SA 2020 Top End Bugi – Koskela, Sydney, NSW 2019 Bukkan Rowk: I am teaching you – Outstation Gallery Parap 2018 Tarnanthi Art Fair - Tandanya National Aboriginal Cultural Institute, Adelaide 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 Mona Napaljarri Rockman < Back Mona Napaljarri Rockman Mona Napaljarri Rockman ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MONA NAPALJARRI ROCKMAN - BUDGERIGAR DREAMING SOLD AU$650.00 MONA NAPALJARRI ROCKMAN - BUDGERIGAR DREAMING Sold AU$0.00 top Anchor 1 PROFILE Mona Napaljarri Rockman 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 .

EMBRACE EQUITY International Womens Day 2023 From 08 March to 15 March 2023 EMBRACE EQUITY From 08 March to 15 March 2023 EMBRACE EQUITY From 08 March to 15 March 2023 International Womens Day 2023 For International Women’s Day and beyond, let’s all fully #EmbraceEquity. Why are equal opportunities not enough? People start from different places, so true inclusion and belonging require equitable action. And it’s critical to understand the difference between equity and equality. So, what’s the difference between equity and equality – and why is it important to understand, acknowledge and value this? Equality means each individual or group of people is given the same resources or opportunities. Equity recognises that each person has different circumstances, and allocates the exact resources and opportunities needed to reach an equal outcome. Equity can be defined as giving everyone what they need to be successful. In other words, it’s not giving everyone the exact same thing. If we give everyone the exact same thing, expecting that will make people equal, it assumes that everyone started out in the same place – and this can be vastly inaccurate because everyone isn’t the same. In political terms, equality is one of the foundations of democracy. Equality is based on the belief that all people should have the same opportunities for a happy life. Equity is linked to the ideal that success is based on personal efforts and not social status. However, ongoing conversation highlights whether equality is enough, and if instead we should look towards equity as a better principle to progress society. Equity acknowledges that people don’t begin life in the same place, and that circumstances can make it more difficult for people to achieve the same goals. The goal of equity is to change systemic and structural barriers that get in the way of people’s ability to thrive. MITJILI NAPURRULA - WATIYA TUTJA (TREE DREAMING) price AU$18,000.00 KITTY NAPANANGKA SIMON - MINA MINA JUKURRPA (MINA MINA DREAMING) price AU$7,500.00 NOLA ROGERS - GOGO STATION price AU$1,500.00 LILY NUNGARAYI HARGRAVES - TURKEY DREAMING Sold AU$0.00 NINGURA GIBSON NAPURRULA - WIRRULNGA price AU$12,000.00 NETTA LOOGATHA BIRRMUYINGATHI MAALI - MY COUNTRY price AU$5,100.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA price AU$1,200.00 MINNIE PWERLE - AWELYE - ATNWENGERRP Sold AU$0.00 ROSELLA NAMOK - STINGING RAIN.... DARK NIGHT price AU$12,000.00 VIRGINIA GALARLA - PINYAMA price AU$1,700.00 ADA PULA BEASLEY - MY COUNTRY Sold AU$0.00 EX EMBRACE

Artist Profile for Bronwyn Kelly < Back Bronwyn Kelly Bronwyn Kelly ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BRONWYN KELLY - COIL BASKET SOLD AU$500.00 top Anchor 1 PROFILE Bronwyn Kelly 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 .

TjapanangkaLong Long Tom Tjapanangka Long Tom Tjapanangka 1929 - 2006 It is not unusual for an Aboriginal artist to shy away from elaborating on a particular work, although this is more common when they are of sacred significance. However, this was not the case with the work Ulampuwarru (Haasts Bluff Mountain) that won the 2000 Telstra-sponsored 16th National Aboriginal and Torres Strait Islander Art Award (NATSIAA) for Long Tom Tjapanangka. The painting was chosen for its strong aesthetic appeal, depicting in planes of bold colour two rows of gum trees and a rainbow serpent moving across the front of a mountain rendered in unadorned blocks of red, ochre, and green. The simplicity of the design was striking and yet the artist declined to explain the work. So it stood simply for what it was. Artist Judy Watson, one of the award judges commented, ‘it’s just out there…It has all of Long Tom’s usual elements, but also something very different’ (Smee 2007). Tjapanangka’s personal history is unique. He was born in Lupuul, on the border of the Northern Territory and Western Australia near Lake MacDonald, and travelled to Haasts Bluff on foot in his youth. The establishment of Haasts Bluff as a cattle station in 1954 meant that Long Tom would find work as a stockman. He knew the area well, having helped to build fences throughout the surrounding land. Like many others who had come in from the desert and had traditional hunting skills, Long Tom was recruited to assist the police force. Thereafter he spent a considerable part of his life as a stockman and police tracker, traversing extensive tracts of country into Victoria and up to Queensland. Most of his paintings were created in Haasts Bluff, where he and his first wife Marlee Napurrula began painting for the Ikuntji women’s centre in 1993. Marlee suffered a motor neurone dysfunction after hospitalisation and after her death several years later, he married Mitjili Napurrula, with whom he collaborated for many years. Haasts Bluff is itself a place of considerable cultural hybridity, having served as a ration depot from early in the twentieth century providing for the Warlpiri, Pitjantjatjra, Pintpui and Arrernte people that sought refuge there due to massacres, drought, and the establishment of pastoral leases on their lands. It was proclaimed an Aboriginal reserve in 1940 and over time has become a meeting point for people of many different tribal groups. Tjapanangka, a respected elder of the Pintupi, returned to his birthplace, Lupuul, after receiving an Australia Council development grant and his attachment to this country, its stories and his nomadic transition away from it, became more clearly evident in his art. He rarely articulated any sense of displacement or disorientation, as was the case with the majority of the early Pintupi painters. Rather, as his career developed, his paintings were more likely to be grounded in the tangible elements of his immediate environment. As narrative depictions, they stand apart from time and space in that they do not require a literal interpretation. Certain images recur within the broader scope of Tjapanangka’s cultural history. 'The whole lot, that’s the whole story. Might be tali [sandhills], puli [rocks] anyplace. You know ‘im. You can see 'im. Anyone can see, look around' (Long Tom Tjapanangka cited in Croft 2000: 86). Long Tom depicts ‘country’ in a visual language that is strong, simple and boldly coloured. He paints in two distinct styles; one abstract comprising broad spacial planes; and one more literal, mostly concerned with animals such as camels, snakes, dogs, emus and trees. In other more location specific works he explores the landscape around Ikuntji country – Ulampuwarru, Mereenie, Anyali, Uluru and also the mountains Kata Tjuta, Mt Liebig and Winparrku. For a man who has won the most prestigious art prize offered to Aboriginal artists in Australia, Long Tom has been far from a prolific artist. He painted for the Ikunji Art Centre and several dealers who visited his outstation occasionally. He painted every now and then on visits to Alice Springs, but preferred to paint only sparingly. On his outstation, far from the hype of the art market, he was said have a great sense of humour and provide enthusiastic company to those who took the time to visit. His only solo exhibitions were held with Niagara Galleries in Melbourne and Schubert Galleries in Queensland during 1995 and 1998. When his works first appeared because of their unusual nature they were in great demand. After winning the Telstra Art Award his work was in great demand. Having withdrawn from painting thereafter, however, his works rarely appear outside of the museum context. His contribution to the ongoing dialogue of desert art has therefore been somewhat limited. With a clearance rate of around 50%, Long Tom Tjapanangka has had very mixed results at auction. Despite the fact that Ikunji Art Centre provenanced works occupy eight of his ten highest prices, neither size nor provenance seems to have been a particular issue in the success of his works. It would appear that the major reason for his high failure rate at auction has been overly optimistic pre-sale estimates. In many ways this was inevitable with an artist whose work was in such short supply immediately after he achieved such prominent notoriety. Those who purchased works from his solo exhibitions at Niagara Galleries and Galleries Schubert in the mid to late 1990’s would have been entitled to expect that, after he had the National Aboriginal Art Award under is belt, their paintings would have jumped in value. Two of these do in fact occupy his third and fifth highest results at auction, however, others have failed to reach the high estimates they were saddled with at sale. Interestingly, although his results are studded with works created throughout the 1990’s and as early as 1993, the year he began painting, not one single work appeared at sale until 2001, two years after he won the Telstra Award. In that year his record was posted at $8,100 for Two Snakes 1995, in Sotheby’s July sale when estimated at $5,000-7,000 (Lot 178). This was exceeded the following year by an untitled work created in 1995. Sold by Shapiro Auctioneers, the 137 x 137 cm painting achieved $10,575 against a presale estimate of $8,000-12,000. The record stood until 2004, when a large untitled work, measuring 136 x 182.5 cm, originally purchased from the Niagara Gallery solo exhibition in 1995, sold for $10,800 (Lot 116). By November 2006 the record had jumped to $23,400 after a work painted for Jinta Gallery, outside of the art centre, sold at Lawson~Menzies (Lot 34). However by the end of 2007 another two works had entered the top ten including the artist’s current record holder, Puli Kutjarra measuring 182.5 x 198 cm estimated at just $10,000-15,000, which sold at Sotheby’s for a massive $43,200 (Lot 75). Of his early work, mostly smaller pieces on paper and board, several went unsold at auction between 2001 and 2005, while the remainder were generally expected to attract under $10,000 and consistently conformed to market estimates. Bonham’s and Goodman and Lawson~Menzies both attempted to sell works that failed the first time around. Offered in the following year, both failed once more carrying unaltered estimates. Meanwhile, Shapirio Auctioneers successfully sold Ulampuwarru (Haasts Bluff Mountain) 2000 in December 2003 for $6,580, but when their client offered the same work two years later in October 2005 (Lot 455) it failed to attract a buyer despite being offered at the same estimate. In 2008 no less than nine works were offered for sale with all but one being works on paper or board carrying estimates in the $1,000-2,000 range. Although five of the nine sold, thereby maintaining the artists’s clearance rate, the overall effect on his career average price was to make it drop by nearly $800 from $6,541 down to $5,759. In 2010 not a single work of the six offered sold. Between 2011 and 2017 twenty-three works wer offered, of which 9 failed. You would be forgiven for finding these statistics just a bit too confusing. While Long Tom is an important artist whose works are scarce, his secondary market results with a few notable exceptions have not been strong. His paintings have a naive quality about them that appeals to a limited audience. While they resemble bold colour field paintings, there is a notable lack of texture in his large expanses of red and green with limited application of yellow, white and black. In this they bear a faint resemblance to works by Ginger Riley but without Ginger’s quirky figurative flair. Even though they may not have universal appeal, those who like Long Tom’s paintings can purchase them with every confidence that they should hold their value. Just don’t expect anything too spectacular by way of investment. 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