This year’s 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (Telstra NATSIAA), Australia’s richest art awards, presented by the Museum and Art Gallery of the Northern Territory (MAGNT) and Principal Partner Telstra on Larrakia Country (Darwin). < Back 40th Telstra NATSIAA Celebrates Diverse Indigenous Artistry Aug 11, 2023 This year’s 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (Telstra NATSIAA), Australia’s richest art awards, presented by the Museum and Art Gallery of the Northern Territory (MAGNT) and Principal Partner Telstra on Larrakia Country (Darwin). With each state and territory represented, the finalists presented an array of outstanding artworks that spoke of heritage, culture, and modern-day experiences. Hayley Cotton , Cooee Art Leven's Gallery Manager, were among the esteemed attendees, keenly surveying the vibrant showcase at the awards held on Larrakia Country. "It's an incredible privilege to witness the evolution and growth of Indigenous artistry through this prestigious event," remarked Cotton, visibly moved by some of the pieces. "The convergence of traditional narratives with contemporary techniques makes the Telstra NATSIAA a unique and important event in the art calendar." As one of the best known art awards in Australia, the 2023 Telstra NATSIAA not only stands as a testament to the depth and breadth of Indigenous artistry but also as a beacon that draws international attention to the stories and experiences of Aboriginal and Torres Strait Islander communities. This year, both emerging and established artists were honored, showcasing the vast gamut of talent that exists across the spectrum. Cooee Art Leven's representative echoed similar sentiments, noting the significance of having both new and familiar faces on the list of finalists. "It's heartening to see young artists getting the platform they deserve while also celebrating those who have shaped the Indigenous art scene for years." The winners of the awards, announced amidst much anticipation, included a mix of innovative contemporary pieces and deeply traditional artworks. With representatives from every state and territory, the awards were a true reflection of the diverse and dynamic nature of Indigenous art in Australia. While the event came to a close, the reverberations of the art and stories showcased will undoubtedly continue to inspire and educate many about the rich and intricate tapestry that is Aboriginal and Torres Strait Islander art. For those who missed the awards ceromony, the physical exhibition and the online showcase remains available , ensuring that this magnificent display of artistry can be accessed by anyone, anywhere. Visit https://www.magnt.net.au/natsiaa2023 for the official website. © Images and copyright belongs to MAGNT. The winners are: Telstra Art Award (The Big One) Keith Wikmunea Wik-Alkan Wik-Mungkan Keith Wikmunea © MAGNT Photo by: Brian Cassy Ku’, Theewith & Kalampang: The White Cockatoo, Galah and the wandering Dog 2023 © MAGNT Photos below by: Charlie Bliss Telstra General Painting Award Winner Julie Nangala Robertson Mina Mina 2022 Julie Nangala Robertson © MAGNT Telstra Work on Paper Award Winner Brenda L Croft blood/memory: Brenda & Christopher II Brenda L Croft © MAGNT Telstra Bark Painting Award Winner Owen Yalandja Ngalkodjek Yawkyawk 2023 © MAGNT Wandjuk Marika Memorial 3D Award Winner Anne Nginyangka Thompson A n angu History 2023 © MAGNT Telstra Emerging Artist Award Winner Dhalmula Burarrwanja wanha, dhika, nhawi? 2022 © MAGNT Telstra Multimedia Award Winner Jimmy John Thaiday Beyond the lines 2022 © MAGNT 2023 Telstra NATSIAA Finalists Congratulations to all the finalist! Anindilyakwa Artist Collective Anne Nginyangka Thompson Arnold Joseph Tipiloura Balwaldja Wanapa Munuŋgurr Barbara Mbitjana Moore Betty Bundamurra Betty Campbell Billy Tjampitjinpa Kenda Brenda L Croft Carbiene McDonald Tjangala Corban Clause Williams Dhalmula Burarrwaŋa Dhamuw Koedal Dhopiya Yunupiŋu Doris Arlyetilhe Thomas Dulcie Sharpe Eileen Bray Joomena Elisa Jane Carmichael Emma Singer Frank Young Gaypalani Waṉambi George Cooley Glen Namundja Graham Badari Gunybi Ganambarr Harry Guyumbirrirr Malibirr Iluwanti Ken Jahkarli Felicitas Romanis Janet Koongotema Janice Murray Pungautiji Jeanette James Jimmy John Thaiday Jingalu Joanne Napangardi Wheeler Julie Nangala Robertson Kaye Brown Keith Wikmunea Mandy Quadrio Mary Dhapalany Matthew Djipurrtjun Teapot Michael Jalaru Torres Motorbike Paddy Ngale Mrs Heffernan Muluymuluy Wirrpanda Naminapu Maymuru-White Naomi Kantjuriny Napuwarri Marawili Nyinta Donald Owen Yalandja Patrick Mung Mung Rachael Lionel Raelene Kerinauia Lampuwatu Samson Bonson Shaun Angeles Penangke Shirley Macnamara Stanley Ebatarinja Tanya Van Horen Umatji Tanya Tjapalyi Warraba Weatherall Wendy Hubert Wurrandan Marawili Yalmakany Marawili Yaritji Tingila Young 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

Artist Profile for Dickie Minyintiri < Back Dickie Minyintiri Dickie Minyintiri ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DICKIE MINYINTIRI - KAPI TJUKUPA SOLD AU$14,000.00 top Anchor 1 PROFILE Dickie Minyintiri 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 Ian Waldron < Back Ian Waldron Ian Waldron 1950 - ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE IAN WALDRON - BLOODWOOD TOTEM ORANGE SOLD AU$1,400.00 IAN WALDRON - BLOODWOOD TOTEM BLUE SOLD AU$950.00 IAN WALDRON - BLOODWOOD TOTEM BROWN SOLD AU$1,400.00 top Anchor 1 PROFILE Ian Waldron 1950 - 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 Dundiwuy Wanambi < Back Dundiwuy Wanambi Dundiwuy Wanambi ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE DUNDIWUY WANAMBI - GOANNA ASSOCIATED WITH WUYAL MYTH SOLD AU$1,950.00 top Anchor 1 PROFILE Dundiwuy Wanambi 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 Walangkura Napanangka < Back Walangkura Napanangka Walangkura Napanangka 1946 - 2014 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE WALANGKURA NAPANANGKA - WIRRULNGA (TWO ROCKHOLES) Sold AU$0.00 WALANGKURA NAPANANGKA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Walangkura Napanangka 1946 - 2014 As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka’s paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born in 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala’s group as they walked into the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women’s collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women’s camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original ‘painting men’. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men’s more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women’s affinity to country and spirit. Walangkura’s early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men’s linear style as exemplified by the works of George Tjungurayi, Turkey Tolson and Willy Tjungurayi. They are rich with a sense of rhythm and unimpeded movement: they show sandhills, rockholes, journeys and gatherings of ancestral women, the flow of colours in subtle shifts of light. Many of these are monumental works that transmit the confidence of an assured and dynamic creativity. Walangkura transmits the power of the desert, soaked up during her childhood years, and imbues her works with the mystery of a sacred perception. In time Walagkura became one of Papunya Tula’s most senior women artists. After the death of her mother Inyuwa and the tragic death of her half sister Pirrmangka in 2001, she moved for a time to Kiwirrkura where she lived with her husband and fellow artist Johnny Yungut Tjupurrula and their six children. Her first solo exhibition was held at Gallery Gabrielle Pizzi in 2003, and this was followed by another at Utopia Art Sydney in 2004. As her fame spread from this time onward she began painting increasingly for a number of private independent dealers outside of the Papunya Tula company. As a result her works could be seen in a great many galleries and retail shops throughout the country. At her best, Walangkura Napanangka was a formidable artist capable of creating masterpieces on canvases up to three metres in size and many of these are likely to become emblematic examples of Pintupi women’s art. ARTIST CV Market Analysis MARKET ANALYSIS Walagkura’s earliest paintings created from 1996 onward became popular for their exploration of aspects of principally Tingari stories. She was quick to develop an identifiable style in which sparsely dotted circles in a variety of colours became more densely painted in a more restricted pallete over time. The connecting lines, typical of Pintupi men’s paintings, were removed and small circles rendered in various shades became spaced, as if the wind had blown them into tighter and looser groupings. The first work appeared at auction in 1999 in a Sotheby’s mixed offering. Un-illustrated in the catalogue and measuring just 91 x 46 cm Rockhole Site of Yukatjirri had been created in 1996 and sold for just $747 (Lot 519). It was not until July 2001 when the next work was offered and by this time Walankura had become quite conspicuous in the primary market. The small 91 x 61 cm work, created in 1997, doubled its high estimate selling for $6,000, then the artists 26th highest record. By the end of 2004, roughly corresponding to the time from which she began painting for others outside of Papunya Tula, nine works had sold of 12 offered. Thereafter a flurry of works were offered on the secondary market. No less than 68 paintings appeared for sale in just three years between 2006 and 2008, with only 51% selling. Her most successful work in a conventional Pintupi style was the Tingari image Rockhole at Tjintjin Tjintjin at sold at Elder Fine Art in June 2007 for what was a bargain price. The painting measured 182 x 151 cm and carried a very low presale estimate of just $10,000-15,000. Lucky indeed was the buyer who paid just $7,300 hammer for what is, in my opinion, close to a masterpiece. Her highest result was for a work offered through Lawson~Menzies in May 2006 and later in March 2008. When first offered, the massive Kutungka Napanangka at Papunga 2005 , created for independent dealer Tony Mason sold to a Menzies investment consortium for $45,600 eclipsing the $20,400 record held by the Papunya Tula provenanced Travels of Kutungka Napanangka 2001 , that had stood since 2004. Advised to offer the work again two years later, it realised a 16% increase in value to $52,800, not enough profit to cover the buyers premium even if the owners were given 0% sellers commission. In her works of the 2004-2008 period, Walangkura played with conventional Pintupi icons by moving them around and stretching out the shapes with a mastery over balance and form. Like Naata Nungurayi and several other Pintupi women she embraced grid-like forms and striated bands of alternating colour. Her fourth highest result was for a fine example created at the beginning of this period. When offered at Lawson~Menzies in November 2006 the 154 x 184 cm non-Papunya Tula work sold for $28,800 against a presale estimate of $30,000-40,000 ( Lot 173 ). In 2015 no les than 20 works were offered for sale, of which 13 found new homes. Deutscher & Hackett showed such strong confidence in a 183 x 244 cm major Papunya Tula provenancned work that they sent it to auction carrying a presale estimate of $40,000-60,000. It sold for $48,800 thereby achieving the artist's second highest price to date. While her works performed badly in 2017 and 2018 all eight of the eight paintings on offer in 2019 found new homes. Though none enetered her highest records thse sales were enough to see her become the 22nd most successful artist in that year against her standing in 49th place in the annuls of the movement overall. Interest in Walangkura centres principally on those works she created in her more recent style. During the period 2008-2011 her prodigious talent and independent nature saw her work for a variety of reputable alternative dealers. By 2012 she was no longer able to paint. Still, Papunya Tula works occupy six of her top ten results and the vast majority of her top 20. As time goes by, those works created for independent dealers will become more and more acceptable by a maturing market. Nevertheless, her finest paintings will require excellent provenance if they are to achieve prices that will see them displace works amongst her 10 highest sales to date. 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 Tjukupati James < Back Tjukupati James Tjukupati James ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE TJUKUPATI JAMES - KUNGA KUTJARA SOLD AU$290.00 TJUKUPATI JAMES - KUNGKA KUTJARA Sold AU$0.00 top Anchor 1 PROFILE Tjukupati James 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 Sarah-Jane Nampijinpa Singleton < Back Sarah-Jane Nampijinpa Singleton Sarah-Jane Nampijinpa Singleton ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Sarah-Jane Nampijinpa Singleton 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 Biddy Long < Back Biddy Long Biddy Long ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE BIDDY LONG - MALA SOLD AU$3,000.00 BIDDY LONG - TREE DREAMING SOLD AU$320.00 BIDDY LONG - WOMEN’S DREAMING Sold AU$0.00 BIDDY LONG - BUSH POTATO DREAMING SOLD AU$600.00 BIDDY LONG - BUSH BEAN DREAMING SOLD AU$280.00 top Anchor 1 PROFILE Biddy Long 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 Pauline Napangardi Gallagher < Back Pauline Napangardi Gallagher Pauline Napangardi Gallagher ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Pauline Napangardi Gallagher ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

Artist Profile for Chris Japanangka Michaels < Back Chris Japanangka Michaels Chris Japanangka Michaels ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Chris Japanangka Michaels 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 Mitjili Napurrula < Back Mitjili Napurrula Mitjili Napurrula ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MITJILI NAPURRULA - WATIYA TUTJA (TREE DREAMING) SOLD AU$18,000.00 MITJILI NAPURRULA - WATIYA-TJUTA Sold AU$0.00 top Anchor 1 PROFILE Mitjili Napurrula Viewed during her lifetime as one of the brightest stars of the Haasts Bluff art movement, Mitjili Napurrula was deeply involved in the formative years and ongoing development of modern desert art. Her mother, Tjunkiya Napaltjarri - herself later becoming an artist of public repute - was forced from her drought-stricken Pintupi/Lurjita country. She arrived in the remote community of Haasts Bluff seeking refuge. Along with her extended family, she was settled at Papunya, where Mitjili was born in 1945. Mitjili grew up in Papunya and later married the artist, Long Tom Tjapanangka. The couple returned to Haast’s Bluff as part of the 1980’s outstation movement and both artists, often in conjunction, proceeded to contribute significantly to the emerging art community there. Mitjili began painting in 1992, encouraged by the opening of the Ikuntji Women’s Centre, the social and artistic hub of Haast’s Bluff and nearby desert communities. Under the guidance of art coordinator Marina Strocchi, Ikuntji rapidly developed an exciting style of its own, propelled in part by the older women who had been assistants to Geoffrey Bardon’s first painting men. As a member of a family of distinguished artists, including her brother Turkey Tolson Tjupurrula, Mitjili grew up watching artists paint. Her mother became one of the foundation group of female artists that formed after the Kintore/Haasts Bluff painting project in 1994. Mitjili learned the symbolic language of her tradition from her mother who would relate the mythic stories to her and draw them in the sand. While it took years before she developed her own mature style, Mitjili gained an international following after winning the Alice Springs Art Prize in 1999. By then, she had confidently embraced her own naturalistic approach to painting. Her individualistic style conveys a personal vision, anchored always in the country of her ancestors. By gradually reducing the complexity of her imagery, Mitjili worked towards creating a tapestry of repeated shapes and symbols. Her distinctive iconography is often highlighted by dazzling combinations of strong, complimentary tones. Contrasting colours may also be starkly juxtaposed, jumping from the canvas in vibratory shapes and patterns. The beautiful desert oak, Watiya Tjuta, is one of Mitili’s familiar motifs, originating from her father’s country at Uwalki, where red sand hills, native grasses and wirt trees stretch to the horizon’s edge. Like her famous brother, Turkey Tolson, Mitjili inherited the right to paint her Ilyingaungau, a site in the Gibson desert where the ancestors prepared their spears (kulata). Turkey’s iconic Spear Straightening paintings should be seen as the complimentary balance to his sister’s more flowing rendition of the plants and places associated with the cutting of wood and assembling of spears. ARTIST CV Market Analysis MARKET ANALYSIS Mitjili’s record price at auction was achieved in November 2004, when a large three metre canvas originally commissioned by Mason Gallery in Darwin sold for $26,400. Entitled Uwalki: Watiya Tjuta, 2004 it had justified the $25,000 - 30,000 presale estimate placed on it by Lawson~Menzies specialists. Interestingly, not one single work in the artist’s top ten results has been achieved by market leader Sotheby’s. In fact Sotheby’s have offered only two minor works, which both failed to find a buyer. This is doubtless due to the fact that since the mid 1990’s Mitjili has increasingly painted for dealers outside of art centre patronage. Mitjili’s results at auction are dominated by small and minor works and this has resulted in an average price at auction of just $2,475 for works on canvas and $873 for works on paper. In 2015 for instance, no less than 17 works appeared for sale at public auction and although 13 of these sold, the highest price acheiveed was only $1200. Nevertheless, due principally to the large number of works that have appeared at auction since she began painting, Mitjili’s Aboriginal Art Market Rating ranks her amongst the top 100 living artists. Her works are generally bold, with a strong decorative design appeal. Collectors should seek out good works, with a preference for larger pieces with a strong contemporary aesthetic. These should continue to satisfy and find a ready market when offered for resale in the future. 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 Coffee Carlton < Back Coffee Carlton Coffee Carlton ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE COFFEE CARLTON - DILLY BAG, KUNUNURRA WA SOLD AU$280.00 top Anchor 1 PROFILE Coffee Carlton 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 .