WHO x WHO 17 Thurlow Street, Redfern, Gadigal Art Leven x ANIBOU with Strutt Studios - An exhibition combining art, design & interiors 6 - 28 September 2024 Viewing Room WHO x WHO An exhibition combining art, design & interiors 6 - 28 September 2024 17 Thurlow Street, Redfern, Gadigal Art Leven x ANIBOU with Strutt Studios - An exhibition combining art, design & interiors "Supported by Sydney Contemporary, Art Leven is teaming up with our neighbours, ANIBOU. the destination for designer furniture and interior designers Strutt Studios. The Art Leven galleries will be transformed into seven individual spaces, each juxtaposing one important First Nations artwork and a single piece of design furniture, supplied by ANIBOU. and paired by Strutt Studios." VIEW CATALOGUE MIRDIDINGKINGATHI JUWARNDA GABORI SALLY - DIBIRDIBI - TOPWAY price AU$20,000.00 DANIE MELLOR - TRUNK SHIELD price AU$5,000.00 SHIRLEY BANALANYDJU - PANDANAS MAT price AU$980.00 BLAK DOUGLAS - GONE TO THE DOGS price AU$15,000.00 ADRIAN JANGALA ROBERTSON - YALPIRAKINU price AU$3,300.00 DJIRRIRRA WUNUNGMURRA - YUKUWA (BUSH YAM) Sold AU$0.00 BLAK DOUGLAS - HILL'S WRONG price AU$5,000.00 ATTRIBUTED TO YUWUN YUWUN - UNTITLED price AU$1,500.00 POLY NGAL - ANWEKETY (CONKERBERRY) Sold AU$0.00 WhoxWho

GIVE A GIFT – GET A GIFT < Back A COO-EE CHRISTMAS 2015 Mar 21, 2021 GIVE A GIFT – GET A GIFT These small works are the perfect gift for friends, loved ones or to just spoil yourself. Not only are you getting a gift for someone special, but you are also giving back to the communities and the artists. This year we have included some lovely baskets and sculptures as well stunning paintings from over 6 communities. Come join us for a croissant and a mimosa as we celebrate another year. The entire Coo-ee team will be there after our momentous year with a live music performance. It will be a lovely day down here in Bondi. Previous Next Featured artworks Quick View ANGELINA PWERLE NGAL - UNTITLED ( BUSH RAISIN MAN) Price AU$3,000.00 Quick View ALISON (JOJO) PURUNTATAMERI - WINGA (TIDAL MOVEMENT/WAVES) Out of stock Quick View LILY YIRDINGALI JURRAH HARGRAVES NUNGARRAYI - KURLURRNGALINYPA JUKURRPA Price From AU$13,500.00 Quick View BRONWYN BANCROFT - UNTITLED Out of stock Quick View JOSHUA BONSON - SKIN: A CELEBRATION OF CULTURE Price AU$8,500.00 Quick View Book BOOK - KONSTANTINA - GADIGAL NGURA Price From AU$99.00 Quick View FREDDIE TIMMS - MOONLIGHT VALLEY Price AU$35,000.00 Quick View NEIL ERNEST TOMKINS - BURN THERE, DON'T BURN THERE Price AU$7,000.00

KUNINJKU AND BEYOND | Works From Maningrida Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 Viewing Room KUNINJKU AND BEYOND | Works From Maningrida Cooee Art Redfern - 17 Thurlow St, Redern, NSW 2016 KUNINJKU AND BEYOND Works From Maningrida Exhibition | 7 - 28 February 2026 REGISTER YOUR INTEREST EXManingrida26

MICHAEL JALARU TORRES | TETHER Location: Cooee Art Paddington & Online From 21 April to 16 May 2020 MICHAEL JALARU TORRES | TETHER Artist: Michael Jalaru Torres From 21 April to 16 May 2020 MICHAEL JALARU TORRES | TETHER Artist: Michael Jalaru Torres From 21 April to 16 May 2020 Location: Cooee Art Paddington & Online Muluymuluy was the young wife of Wakuthi Marawili, one of the oldest and most revered elders in Arnhem land. Known as Banbay, ”blind one”, because of his poor eyesight, Wakuthi passed away on 2005. Today his sons Djambawa (winner of the 2019 Testra Art Award) and Nuwandjall play a large role in the day to day management of the large Madarrpa clan homeland, Yilpara and Muluyumuluy works with them producing important Madarrpa clan paintings. Her sister Mulkun Wirrpanda is also a senior artist. Muluymuluy holds extensive knowledge of native plants of North East Arnhem Land and her artwork embodies this knowledge. Amongst the plant species represented in her works, are berries, yams and other edible species including Buwakul (native grape), Dilminyin (scaly ash), and Ganguri/Manmuna (long yam). Her bark paintings depict Bulwutja, which grows in and around the billabongs and swampy areas on Madarrpa land. The plants grow in clumps after the rains and are pulled out in clumps, cooked underground or on coals, then mashed into a blackish grey paste that is tasty and nutritious. This paste can also be baked into a bread. VIEW CATALOGUE EX 199

TjampitjinpaOld W Old Walter Tjampitjinpa Old Walter Tjampitjinpa 1912 - 1981 Jampijinba, Djambidjinba, Old Walter Tulpulpa, Talpulpa, Talpana, Tjeinadjara Walter Tjampitjinpa was already a pensioner at the time Geoff Bardon first visited the Papunya settlement in 1971. He was known to have visited Hermannsburg as early as 1923, in the company of a large group of men and young boys on an exploratory visit from Pintupi country. Respected as an elder statesman of the community, he was one of the first of the Pintupi people to be re-settled at Papunya. He spoke little English yet was always kind and helpful to Bardon, who developed a deep affection for this tall and silent man. Once the Papunya School had shown some support for the men’s painting group and the possibility of earning extra income had been demonstrated by some early art sales in Alice Springs, Old Walter applied himself diligently and with immense concentration to developing his art practice. He had a strong sense of design that enabled him to sidestep controversial sacred material, while still conveying the sense of a deeply felt connection to country. Bardon recalls that, in all the time he knew Walter, he never once managed to raise a smile on that old man’s ‘inscrutable’ face. The comment reflects perhaps the underlying sadness that all of the Pintupi people carried as they attempted to forge a new life, exiled as they were from their traditional life and homelands by the government’s policy of forced assimilation. Old Walter was a senior custodian of Water Dreamings that run through Kalipinypa and most of his paintings were connected with water and the celebration of its life-giving force. He was particularly knowledgeable in regard to local Dreaming sites and it was he who was consulted for permission to use the traditional Honey Ant designs for the school mural that was to become such a potent landmark for the fledging painting movement. Old Walter’s restricted palette of traditional ochre colours gave a cohesive regularity to his compositions, which displayed the distinctive Pintupi leaning towards symmetrical structure. He was amongst the first to use the ‘U’ sign for humans, concentric circles for rockholes, and wavy lines for water flow, in endless variations and renditions of story. It was these archetypal symbols that first became clear to Bardon as a cultural iconography. They hold a physicality that is never fixed but reflects a constant reading of impressions upon the surface of the land. They tell of “a responsiveness in the earth” (Bardon 2004: 45) that prefigures the sacred meanings given to these desert dwellers by their country, signs that were often crucial to their survival in a harsh terrain. It is this interactivity between earth and humans, Bardon felt, that once had provided their raison d’etre and was now revisited through their imagination and memory. Old Water indicated to Bardon that for him the word ‘finished’ was an imposed concept when applied to a work of art. The word is used by Aboriginal people to speak of something ending or even death, whereas these Dreaming stories and their related features in the landscape, were eternal. Old Walter helped to bring the classic desert iconography to the Australian art world, setting in motion the national and international acclaim that followed. Like others of this generation, his paintings are sometimes remarked upon as the land seen from above or from an omniscient viewpoint. Seeing them as ‘Dreaming maps’ gives credence to Bardon’s observation that these artworks elucidate ‘space as an emotional idea’ (Bardon 2004). The human body in this haptic sense is continuous with the earth itself. Humans are ‘of the land’ and feel its being in a way that defies the limits of a visual panorama or an intellectual grasp. Bardon was struck by the artist’s need to use song and dance-like gestures to convey to him some understanding of the meaning held within these works; paintings which appear so 'severely abstract' but are so obviously filled with life and feeling (Bardon 2004: 49). Old Walter died in 1980. His paintings appear in Australia’s state and national galleries, contributing to the bedrock of our cultural identity. Old Walter Tjampajimpa’s paintings are at the most affordable end of the range of works created by the founding members of Bardon’s painting group. Because of his failing eyesight and age, he was unable to paint for many years before he passed away in 1980, before many of these artists entered the second phase of their development as painters. The supply of his works is therefore very limited. His highest selling work is a 52 x 61 cm iconic board titled Rainbow and Water Story 1972. This sold for $58,750 in Sotheby’s July 2001 auction (Lot 88). It eclipsed his previous record of $39,100 set in Sotheby’s June 1998 sale for a smaller, 45 x 46 cm work, Water Dreaming at Kalipinypa 1971 (Lot 31). Like most of the first Papunya painters, works created between 1971 and 1972 - Geoff Bardon's era - are by far the most sought after. In this category, Old Walter's clearance rate at auction has been over 90%, with an average price of over $15,000. Although many of Old Walter’s paintings are sparse in detail and not particularly appealing, a number have powerful imagery that demands attention and are not easily forgotten. Besides the top two selling works, there are several others that fit into this special category. Mysteriously, one of these, Water Story 1972, a 78 x 31.5 cm board, failed to reach its reserve in Deutscher-Menzies June, 1999 auction when estimated at only $25,000-$35,000. The other two works that have wonderful imagery and deserved to fare better when re-sold were Snake and Bush Tucker 1972, which originally attracted $35,750 at Sotheby’s in July 2001 (Lot 93) and dropped to just $21,600 in Sotheby’s July 2005 auction (Lot 266). Perhaps this can be explained by the fact that, in that particular Sotheby’s sale, a large number of 1971-2 Papunya boards were featured, and these two works in particular fared badly being offered right near the end of the sale. This may have given the impression that Sotheby’s were discounting the value of these paintings. It is likely, however, that whoever bought them will do very well when they are eventually offered for sale again, as Old Walter’s early paintings that can match these in quality, imagery, and content are scarce indeed. Old Walter did not live long enough to see the Desert painting movement become the dominant force in Australian Aboriginal painting, nor indeed to develop his career beyond a small number of intimately painted and spiritually charged boards. Due to their rarity, I consider these to be currently undervalued in the market, and with his record price still below $60,000, and only seven works having exceeded $25,000 in value, any of his special boards would seem to represent incredible value. Canny collectors should take note. 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

BLACK AND WHITE 17 Thurlow Street Redfern 11 May - 03 June 2023 BLACK AND WHITE KONSTANTINA (Kate Constantine) 11 May - 03 June 2023 BLACK AND WHITE KONSTANTINA (Kate Constantine) 11 May - 03 June 2023 17 Thurlow Street Redfern In this year of reflection, reform and referendum it’s hard to sit in the grey area. There is just black AND white. In this collection of works I tell truth, reclaim story and share culture that has long been taken from my Gadigal people. We’ve been colonised not once, but twice. Using only black AND white paint with the timeless practise of ochre milling and making my own natural pigment paints I explore this very racially charged theme of being both black AND white in the year of The Voice. – Kate Constantine. 2023. VIEW CATALOGUE EXHIBITION OPENING IMAGES KONSTANTINA - RAINING SERIES: DUBUWAAGULYA price AU$6,800.00 KONSTANTINA (KATE CONSTANTINE) - NARAGAYING II (BLACK) price AU$2,600.00 KONSTANTINA (KATE CONSTANTINE) - NARAGAYING Sold AU$0.00 KONSTANTINA - DALGAL (PIPPIS) (#3) Sold AU$0.00 KONSTANTINA - DYIN BANGADA: NGUNYUL Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - GADIGAL WEAVE II (WHITE) price AU$6,200.00 KONSTANTINA - DYIN BANGADA: GAWULGUNG DARA Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - RAINING SERIES: WARANJAM (THIS IS SYDNEY) Sold AU$0.00 KONSTANTINA - WARABURRA (FALSE SARSAPARILLA) Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - RAINING SERIES: DARALABA (SOUTH HEAD) Sold AU$0.00 KONSTANTINA (KATE CONSTANTINE) - GADIGAL WEAVE II (BLACK) price AU$6,200.00 KONSTANTINA - DALGAL (PIPPIS) (#2) Sold AU$0.00 KONSTANTINA - DALGAL (PIPPIS) (#4) Sold AU$0.00 KONSTANTINA - BUGI YARRA (BATHE IN EUCALYPTUS) Sold AU$0.00 EX 249

OCEANIC ART FAIR 17 Thurlow St, Redern, NSW 2016 From 05 November to 05 November 2022 Viewing Room OCEANIC ART FAIR From 05 November to 05 November 2022 17 Thurlow St, Redern, NSW 2016

Artist Profile for Dennis Nona < Back Dennis Nona Dennis Nona ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DENNIS NONA - KODALAD ZA (CROCODILE COMB III) Sold AU$0.00 top Anchor 1 PROFILE Dennis Nona ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Sarrita King < Back Sarrita King Sarrita King ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE SARRITA KING - SANDHILLS Sold AU$0.00 top Anchor 1 PROFILE Sarrita King ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

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

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

PAINTING WORDS 17 Thurlow St, Redern, NSW 2016 01 December - 25 December 2022 Viewing Room PAINTING WORDS 01 December - 25 December 2022 17 Thurlow St, Redern, NSW 2016 Hindsight is 2022 (2020 too) 2022 was a year of learning to exist in the new world, re-dipping our toes into the world’s ocean. In 2020, we described an exhibition as featuring 20 artists from ‘around the country’. But Australia is really only a country by European definition. If anything, ‘Australia’ is a continent, comprising of many countries and peoples, blurred borders shifting and changing for millennia. Buried under the word ‘Australia’ is a continent, comprising of many countries and peoples, their blurred borders shifting for millennia. Here, a visual language continues forming within a foreign framework. Western history is one of firm borders drawn by war and conquer. Only a few generations after splitting the landmass into states and territories, we are taught to erroneously view contemporary Aboriginal Australia within those same European paradigms. To much of the art world, Aboriginal Australia is viewed as a network of art centres, each with a short history of recognisable styles. In many cases, these began with a handful of iconic artists whose painting styles soon developed into something of an early blueprint for those to come. Where the error often lies, is when we ascribe these ‘regional styes’ to one specific people or country. Most of these communities are the result of decades of resettlement, often comprising of many different language groups, developing an art form around newly shared country, of mapping and memory, exchange and artistic conversation. What we unconsciously label as fixed regions, are not concrete at all; they have been condensed, yet still flow into one another. What has developed is a way of recording Australia, as it is and as it was, paintbrushes drawing from a shared palette. To much of the art world, Aboriginal Australia is viewed as a network of art centres, each with a short history of recognisable styles. In many cases, these began with a handful of iconic artists whose painting styles soon developed into something of an early blueprint for those to come. Where the error often lies, is when we ascribe these ‘regional styes’ to one specific people or country. Most of these communities are the result of decades of resettlement, often comprising of many different language groups, developing an art form around newly shared country, of mapping and memory, exchange and artistic conversation. What we unconsciously describe as fixed borders, are not concrete at all; the countries have been condensed, yet still flow into one another. What has developed is a way of recording, describing what is and what was, paintbrushes drawing from a shared palette. ‘Australia’ is a continent, comprising of many countries and peoples shifting and blurring for millennia before being concentrated and shaped by colonialism. For this end of year exhibition, we want to broaden our view and move beyond the constraints of the last few years. With this show, we want to illuminate the soil beneath us, the sky above us, and the water around us. The exhibition aims to show much of what we call this ‘country’ is buried under the word Australia. WATCH VIDEO WATCH VIDEO EX 245