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

TjungurrayiG. Wa George Ward Tjungurrayi George Ward Tjungurrayi 1940 George Ward Tjungurrayi encountered welfare patrols while living in the desert near Tjukurla W.A. southeast of Kiwirrkurra, and west of Kintore. Although they were born of different mothers George Ward shared the same father with Yala Yala Gibbs and Willy Tjunurrayai. He arrived in Papunya in the early 1960’s while still in his teenage years and worked as a fencer and butcher in the community kitchen. Beginning to paint in 1976, he initially assisted senior artists who worked within the tightly knit group of established Pintupi painters. The creation of large works during these early years of the Western Desert art movement involved many men at various levels of responsibility. For the younger ones, like George, it was an apprenticeship in the skills, knowledge and cultural obligations required for the artistic vocation and for eventual ceremonial leadership within his tribal area. He left Papunya with his young family during the late 1970’s and lived for a time in Warburton, Wiluna and Jigalong before working as an assistant on Uta Uta’s monumental Yumari canvas in 1981. Spurred on after listening intently to the discussions amongst the Pintupi elders about returning to their traditional lands, George moved to Kintore later that same year and, in 1984, moved even deeper into Pintupi territory and finally settled at Warakurna from where he frequently travels between the Western Desert and Alice Springs. During the early eighties, George was reputed to have painted the mythical journeys of the Tingari ancestors through his country. He followed the traditional manner of concentric circles and dotted infill using earth colours. He did not begin painting in earnest however until after the death of his brother Yala Yala Gibbs in 1998. It was from this period that his career as a painter could be said to have started in earnest. He rapidly developed his own style based on men’s designs used to adorn ceremonial artefacts including dance regalia with their mesmeric interlocking geometric and parallel linear patterning. In the groundbreaking exhibition at the Art Gallery of NSW (Papunya Tula Genesis and Genius, 2000), that chartered the emergence of the contemporary Aboriginal art movement, George Ward was one of the lesser-known artists, yet he already stood out with his tendency towards a ‘stripped down’ iconography (Rex Butler). His own style was emerging and it leaned heavily towards abstraction. It emphasized the bold linear qualities of the Pintupi painters but moved away from the distinctive Western Desert dots and lexicon of iconographs that were developed during the first five years of the movement. George would start with simple designs that marked the features of his country such as sand hills, waterholes or dreaming sites but then take flight within his own artistic process. His work came to less represent a particular Dreaming and more, like abstract art of the European tradition, while exploring the concept of Dreaming itself (or even more so, the sense of Dreaming and the energy or awareness it aroused). George would experiment with mixing a limited colour combination to produce different optical effects, sometimes bold contrasting stripes and at other times gentle undulating harmonies. His connection to country is felt in the powerful sense of vibrancy that emanates from his paintings. The canvas seems to pulsate or shimmer. The reworked surfaces at times change colour on one brush to effect silvery shadows that flicker alongside his long, fluid, painterly strokes. The imperative of his Dreaming springs from his artistic expressiveness, breaking through the constraints of tradition and its culturally specific focus. Sometimes in the history of an art movement, such breaks with tradition can seem at first to be transgressive but in George’s case his creative trajectory chimed perfectly with public sensibility. The great success of Emily Kngwarreye’s work during the mid 1990’s confirmed the market’s demand for painterliness and Georges Ward's imagery showed both the sought after degree of abstraction as well as an individuality of expression. The earlier phase of direct articulation of symbols and designs based on ceremony had provided the foundational starting point, but the booming national and international interest was hungry for the leading edge. The reputation of artists such as George Ward rose to prominence and was reflected in the continuing refinement and sophistication of their particular trademark styles. He was awarded the prestigious Wynne Prize at the Art Gallery of NSW in 2004 and since that time his work has appeared in many important collections and exhibitions both in Australia and overseas. He subsequently worked for a time in Alice Springs, producing works of high quality for a number of private dealers, most importantly Tony Mason, for whom he painted a number of major works. While several entered good collections and have achieved high prices at auction, the controversy following articles on the Alice Springs art trade during 2004 and 2005 have unfairly hardened the attitude of a section of the market toward these and other works created outside of the ‘Papunya Tula’ company. This is unjustified, given their quality. Nevertheless, despite the politics of the contemporary Aboriginal art market and the burgeoning interest in his work, George himself has continued to paint since that time in his air-conditioned garage at Kintore or on canvases carried with him to Warakurna, deep in the Australian desert. He remains the quintessential desert nomad who has been described as a modernist who ‘redeems the past’ by revealing to his audience the wonder of its true potential. (Butler, 2002). George Ward appears to have painted very little between his brief years living at Papunya in the mid to late 1970s and the late 1990s, when he took up painting once more in earnest. Not one single work has appeared at auction that was painted between 1978 and 1998, and it would seem he was not at all active as a painter during this period. Every one of his 10 highest results was painted from 2003 onward, and it is these highly abstracted Tingari Dreamings that his reputation is founded on. They fall into two categories; those few created for Papunya Tula, and the majority that were created for independent dealers. In fact only three works, including his 2nd highest record, carry Papunya Tula provenance amongst his top ten results. Soakage Water at Kirrimalunya 2004 set a record for the artist, and a powerful precedent when this 182 x 305 cm non-art centre work sold at Lawson~Menzies in May 2006 for $42,000 (Lot 144). Despite high demand in the primary market during 2000-2005, most especially after he won the Wynne Prize for landscape art at the Art Gallery of New South Wales in 2004, only 5 works have sold for more than $20,000. However few major works have been offered. Interestingly, though many paintings have failed to sell at auction, there are very few indeed that could have been considered to be major paintings. Only 3 carried presale estimates as high as $15,000-25,000. This leads to speculation that his major works are hard to come by and should do well whenever they appear for sale. Only 10 have ever been offered at auction with a low estimate at or above $12,000 and 7 of these have sold. The dominance of minor works that have gone through sales has skewed George Ward's results downward and taken some shine off his success during the last decade. He is now in his mid seventies and has been painting prodigiously only since 2000, and prolificly since 2004. Due to fact that he now paints for a number of independent dealers, his work can be found in many good galleries and is regularly promoted through ads in art magazines and this has certainly fueled what has been an extremely buoyant market for his work. Provided the current preference for aesthetic abstraction continues, and works of quality are accompanied with excellent documentation, there is every reason to expect George Ward Tjungurrayi’s best paintings will continue their growth in value. He is a fine artist who still has the dexterity that many of his older peers have now lost. In time collectors will come to understand more clearly the social and economic parameters at work amongst the artists and dealers of Alice Springs. As they do, prejudice against works created for independent dealers by artists of the caliber of George Ward Tjunurayai should lessen considerably. 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

Artist Profile for Dorothy Robinson Napangardi Also know as: Robertson < Back Dorothy Robinson Napangardi Also know as: Robertson Dorothy Robinson Napangardi 1956 - 2013 Also know as: Robertson ARTIST PROFILE ARTIST CV MARKET ANALYSIS Dorothy Napangardi spent her early childhood living a nomadic life at Mina Mina near Lake Mackay in the Tanami Desert during the late 1950s and early 1960s. She recalled camping at claypans and soakages with her mother, Jeanie Lewis Napururrla, learning to collect the plentiful bush tucker and grinding seeds for damper cooked on hot ashes. READ FULL ARTIST PROFILE DOROTHY NAPANGARDI - KARNTAKURLANGU SOLD AU$25,000.00 DOROTHY NAPANGARDI - SALT ON MINA MINA SOLD AU$5,000.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA 1 (WOMEN'S DREAMING 1) SOLD AU$3,500.00 DOROTHY NAPANGARDI - SALT ON MINA MINA SOLD AU$3,000.00 DOROTHY NAPANGARDI - SALT ON MINA MINA SOLD AU$1,650.00 DOROTHY NAPANGARDI - MEMORIES OF COUNTRY - MINA MINA SOLD AU$550.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA SOLD AU$480.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA 2003 Sold AU$0.00 DOROTHY NAPANGARDI - SANDHILLS OF MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - MINA MINA DREAMING Sold AU$0.00 DOROTHY NAPANGARDI - MINA MINA JUKURRPA Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - KARNTAKURLANGU Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - KARNTAKURLANGU Sold AU$0.00 DOROTHY NAPANGARDI - SALT Sold AU$0.00 DOROTHY NAPANGARDI - SANDHILLS Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - KARNTAKURLANGU Sold AU$0.00 DOROTHY NAPANGARDI - MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - BEYOND MINA MINA (BILBY DREAMING) Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - SANDHILLS SOLD AU$5,500.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA (WOMEN'S DREAMING) Sold AU$4,000.00 DOROTHY NAPANGARDI - KARNTAKURLANGU SOLD AU$3,300.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$2,800.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA SOLD AU$1,200.00 DOROTHY NAPANGARDI - SALT SOLD AU$520.00 DOROTHY NAPANGARDI - MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - MINA MINA SALT LAKES Sold AU$0.00 DOROTHY NAPANGARDI - SANDHILLS OF MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - SANDHILLS Sold AU$0.00 DOROTHY NAPANGARDI - KARNTAKURLANGU JUKURRPA 2003 Sold AU$0.00 DOROTHY NAPANGARDI - KARNTAKURLANGU TJUKURRPA Sold AU$0.00 DOROTHY NAPANGARDI - SANDHILLS Sold AU$0.00 DOROTHY NAPANGARDI - MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - BEYOND MINA MINA (BILBY DREAMING) Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - SANDHILLS Sold AU$0.00 DOROTHY NAPANGARDI - SANDHILLS Sold AU$0.00 DOROTHY NAPANGARDI - KARNTAKURLANGU Sold AU$0.00 DOROTHY NAPANGARDI - SALT Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 DOROTHY NAPANGARDI - SALT ON MINA MINA Sold AU$0.00 top Anchor 1 PROFILE Dorothy Robinson Napangardi 1956 - 2013 Dorothy Napangardi spent her early childhood living a nomadic life at Mina Mina near Lake Mackay in the Tanami Desert during the late 1950s and early 1960s. She recalled camping at claypans and soakages with her mother, Jeanie Lewis Napururrla, learning to collect the plentiful bush tucker and grinding seeds for damper cooked on hot ashes. This idyllic life came to a close when her family was forcibly relocated to the government settlement at Yuendumu. Dorothy’s father, Paddy Lewis Japanangka greatly regretted the move, particularly for its impact on the traditional education of his children. However, his attempt to return to country with his family failed and they remained in the government settlement until Dorothy married. She moved with her husband, an elderly man to whom she had been promised at a young age, to Alice Springs and bore him four daughters and later, after the marriage eventually broke down, gave birth to her youngest child, Annette, by another man. It was here, in Alice Springs in 1987, that she began painting. Dorothy’s early artistic endeavours were heavily influenced by memories of her childhood. Her subject matter was principally the Bush Plum and Bush Banana, wild fruits that grow in abundance near Mina Mina, changing in colour as they ripen, which she mirrored in her depictions. The paintings, at such an early stage in her career, clearly marked Dorothy as an artist of great talent. Her superb sense of composition created a rhythmic effect as semi-naturalistic depictions were entwined in an altogether geometric formation. In the late 1980s, the government marketing company Aboriginal Arts Australia closed its Alice Springs outlet and its manager Roslyn Premont opened her own, Gallery Gondwana. After meeting Roslyn in 1990, Dorothy began painting exclusively for her gallery and the close personal relationship that developed between the two women lasted up until her tragic death in 2013. The studio environment and financial security that Premont provided enabled Dorothy to experiment freely and develop her artistic repertoire rapidly. As it did, she created works that drew on her innate visual consciousness, developed during those early years spent in the vast unlimited expanses of the desert. From 1997 onward, Dorothy began producing works which traced the grid-like patterns of the salt encrustations on the Mina Mina clay pans marking a significant artistic shift in her work. Over three years, her paintings became less and less contrived and increasingly spare, all detail pared back to the barest essentials. These new works, in which Dorothy began to explore the Women’s Digging Sticks Dreaming and other stories related to the travels of the Karntakurlangu, compel the spectator's eye to dance across the painted surface, just as these ancestral women danced in the hundreds across the country during the region's creation. Dancing digging sticks magically emerged from the ground at Mina Mina, equipping the large band of women for their travels over a vast stretch of country. The tall desert oaks which are found there today symbolise the emergence of the digging sticks that rose up from beneath the ground itself. As these works developed, her extraordinary spatial ability enabled her to create mimetic grids of the salt encrustations across the claypans of Mina Mina. The lines of white dots trace the travels of her female ancestors as they danced their way, in joyous exultation, through the saltpans, spinifex and sandhills, clutching their digging sticks in their outstretched hands. Kathleen Petyarre has been quoted as saying 'Those Walpiri ladies, they’re mad about dancing, they go round and round and round dancing, they’re always dancing' (cited in Napangardi 2002: 22). Little wonder then, that the surfaces of Dorothy’s canvases become dense rhythms of grids, as she mapped the paths of these dancing women. In 2001 Dorothy Napangardi was the recipient of the 18th National Aboriginal and Torres Strait Islander Art Award and in the following year a solo exhibition of her work was curated for the Museum of Contemporary Art in Sydney. Through her association with Roslyn Premont and her Gallery Gondwana, Dorothy’s paintings have enjoyed considerable commercial success. Yet despite this close and nurturing relationship, Dorothy continued to occasionally paint for others when moved to do so. These ‘outside‘ paintings are rarely as good as her Gallery Gondwana works. However, there have been exceptions and these have included a number of major canvases painted for Peter Van Groesen and sold through Kimberley Art Gallery in Melbourne. Creating these paintings has in no way undermined her personal integrity. While Dorothy Napangardi’s paintings may be seen as important commodities and major investments, her work can be so beautiful and ethereal, as to border on the sublime. ARTIST CV Market Analysis MARKET ANALYSIS Despite having produced paintings from the late 1980s, Dorothy Napangardi's popularity and the high prices achieved for her works are a relatively recent phenomenon and relate almost entirely to her post-1997 works. In fact, all of her ten highest sales have been for works produced after 2000. All are restricted to the limited pallet and grid-like patterns of vertical and horizontal dotted lines, which mimic the salt encrustations at Mina Mina. Despite the beauty of her highly accomplished and colourful Bush Plum and Bush Banana works, as demonstrated in the Museum of Contemporary Art exhibition and accompanying catalogue Dancing Up Country , the very best of these have never been offered at auction and minor works in this style have attracted very little interest when compared to the more abstracted paintings created after 1997. Before 2012, the highest results for these had been the meagre $3,055 each, realised when two small colourful floral works were offered for sale at Bonham Goodman in 2004 and Shapiro in 2002. Gaia Auction in Paris sold a colourful Bush Banana Dreaming canvas measuring a large 130 x 200 cm in 2011, for AUS$14,550. Though insufficient to indicate a clear market preference for her more muted style, it is notable nonetheless, and perhaps significant that it was sold overseas. Her solo exhibition held from December 2002 to March 2003 at the Museum of Contemporary Art threw those interested in Aboriginal art into a spin. In a controversial and extremely unusual move, Gallery Gondwana held a commercial exhibition of her work at the Danks Street Depot Gallery concurrent with the MCA show. Dorothy’s major large black canvases featuring tight grids of carefully dotted white lines sold for around $60,000-80,000 each, double the prices similar works had attracted just six months earlier in her Gallery Gondwana Alice Springs exhibition. Similarly, 120 x 120 cm paintings previously exhibited for $10,000-12,000 and 150 x 90 cm works at $8,000 had jumped in price to $25,000 and $18,000 respectively. Dorothy was definitely the artist of the moment, and the show was a sell-out. This intense primary market interest subsequently declined. By 2012 a 150 x 90 cm work of impeccable provenance had decreased in value to around $15,000. Still a healthy increase in value over its value pre-2002. In 2015, a very fine black and white gridwork measuring 122 x 198 cm and purchased by Dutch uber-collector Thomas Vroom in 2001 sold for just $24,400 at Bonham's, a far from desirable outcome regardless of the depth of Vroom's pocket. Dorothy's MCA show and the success that followed heralded a dearth of quality paintings in relation to the demand generated by serious collectors, setting the preconditions for a sudden rash of works on the secondary market from 2002 onward. While only one painting was offered for sale at auction in 2002, seven appeared in 2003, 27 in 2004 and 26 in 2005. 2015 was Dorothy's best year since 2009 when her sales total was $200,930. Dorothy Napangardi's most successful paintings at auction have featured a network of closely knit interconnected dotted squares built to form duotone patterned grids on dark, most often black, backgrounds. By randomly in-filling white dotted squares with yellow or deep red ochre dots, a mottled effect is produced as demonstrated in her top-selling lot, Karntakurlangu . When this work sold at Sotheby’s in July 2004 (Lot 113) it more than doubled its high estimate of $60,000 taking $129,750. In the same auction, a larger subtler piece failed to reach its low estimate of $50,000 and was passed in. The work was later sold at Lawson-Menzies in November 2006 sale for $55,200. Dorothy’s second-highest result at auction was for Karntakurlangu Jukurrpa 2003 a much larger 183 x 350 cm work on linen. Carrying a presale estimate of $80,000-100,000 it sold for $120,000 at Lawson~Menzies in November 2007 (Lot 62). Sales in 2008 were poor, in line with the market slump and the end of Lawson~Menzies specialist sales. This resulted in her career clearance rate dropping below her somewhat respectable 65%. 2009 brought a mixed bag of results, with 13 of the 32 works on offer selling, including a number of impressive sales upwards of $20,000 that sit just outside of the artist’s top ten records. Generally, the majority of the failures carried poor provenance or were smaller paintings. These results should not diminish the results for her finest pieces. Without these failures, her sale rate would have been closer to a spectacular 81%, despite the vast majority of these works having spent such a short time between their original purchase and subsequent appearance at auction. Dorothy Napangardi was an artist of top calibre and her highest auction results gave her one of the best records for any living artist at the time. Since 2009 she has constantly hovered between 20th and 25th on of the top 100 artists. However, this acclaim is unlikely to last indefinitely. She tragically died a relatively young woman. At just 50 years of age should have had many productive years ahead of her. The heat her career generated from the late 1990s to 2009 will be difficult to maintain now that her repertoire is finite. At the time of her death, her art practice was being severely compromised by the quantity of ‘copycat paintings’ that were being produced by members of her family and others that were sold under her name. The closure of Gallery Gondwana, her principal agent, did not help. Still, 2019 saw Napangardi included in a Sotheby's New York sale of important indigenous artists, where her two somewhat impressive works sold for AUD50,000 Buyers lucky enough to purchase works before her MCA show in 2002 will always be able to make a very good profit on their paintings at sale. However, those paying higher prices in her exhibitions during the following decade will need to rely on a buoyant market and excellent provenance if they are to reap financial rewards. 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 Borbobani < Back Borbobani Borbobani ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Borbobani 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 Silas Hobson < Back Silas Hobson Silas Hobson ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Silas Hobson 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 Sunfly < Back Pauline Sunfly Pauline Sunfly ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE PAULINE SUNFLY - KALPANU Sold AU$0.00 top Anchor 1 PROFILE Pauline Sunfly 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 Maringka Baker Maringka < Back Maringka Baker Maringka Maringka Baker 1952 Maringka ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE MARINGKA BAKER - KALAYA TJUKURPA SOLD AU$7,000.00 MARINGKA BAKER - MINYMA KUTJARA (TWO SISTERS CREATION STORY) Sold AU$0.00 top Anchor 1 PROFILE Maringka Baker 1952 Born in c1952, Maringka Baker left her birthplace of Kaliumpil Rockhole after her parents died when she was a young girl. She grew up with extended family and went to primary school at Warburton (WA) and high school at Ernabella (SA). Her work is held by state and national across across Australia and abroad. COLLECTIONS National Gallery of Australia, Canberra, Australian Capital Territory. South Australian Art Gallery, Adelaide, South Australia Marshall Collection, Adelaide, South Australia Lagerberg-Swift Collection, Perth, Western Australia Araluen Collection, Alice Springs, Northern Territory Harriett & Richard England Collection Artbank, Australian Government National Contemporary Art Rental. Levi & Kaplan Collection, Seattle, USA Australian National University, Canberra ACT University of Canberra, ACT GROUP EXHIBITIONS 2011 'Tjungu Palya 2011' Short St Gallery, Broome WA  2011 'Western APY Lands' ArtKelch, Freiburg, Germany 2011 'TJungu Palya- Masterpieces' Chapman Gallery, Canberra ACT 2011 'Ngura Tjukuritja - A Dreaming Place, Marshall Arts, Adelaide SA 2011 'Intangibles in Terra Australis' FLinders University City Gallery, State Library of SA, Adelaide. 2011 'Green' Outstation Gallery, Darwin, Northern Territory. 2010 'Melbourne Art Fair' Aboriginal & Pacific Arts, Melbourne, Victoria 2010 ' Intangibles in Terra Australis' Sala kubo-kutxa in association with Marshall Arts, San Sebastian, Spain 2010 'Etched in the Sun-Prints by Indigenous Australians with Basil Hall Editions, Kluge-Ruhe Aboriginal Art, University of Virginia, Charlottesville, USA 2010 'Partnerships' Marshall Arts, Adelaide, SA 2010 'Tjukurpa Pulkatjara; the power of the law' South Australian Museum, Adelaide, SA 2010 'Tjungu Palya Survey Show' Short St Gallery, Broome, WA 2009 'Desert Mob' Araluen Gallery, Alice SPrings, NT 2009 'Wanampinku Munu Kalayaku Ngura' Chapman Gallery, Canberra ACT 2009 'Kulini Ngura- Knowing Country' Short St Gallery, Broome. WA 2009 '26th Telstra NATSIAA. Museum and Art Gallery of Norther Territory, Darwin, NT 2009 'Tjukurpa Wirunya Kanyini ' Aboriginal & Pacific Arts Gallery , Sydney, NSW 2009 'Tali Tjintiri - Tjintiri Munu Kapi Tjukula' Tjungu Palya Print show. Nomad Gallery, Reflection Room, Darwin. NT 2009 'Masterstroke Randell Lane Fine Art, Perth WA 2009 ' Anangu Backyard' Adelaide Festival Centre. SA 2009 'Etched in the Sun with Basil Hall Editions & Rebecca Hossack Gallery, London, UK 2008 ' Tjukurpa Kunpu' Marshall Arts, Adelaide, SA 2008 'Tjungu Palyaku Warka Nyuwana' ReDot Gallery, Singapore 2008 'Manta Nyangatja Pitjantjatjara' Short St gallery, Broome WA 2008 'Iwara Mantangkara- Land Lines' Randell Lane Fine Art, Perth WA 2008 'Womens Show' Vivien Anderson Gallery, Melbourne, VIC 2008 'Tjukurpa KUtjupa KUtjupa Tjuta' , Aboriginal & Pacific Arts Gallery, Sydney, NSW 2007 'Walytja Marshall Arts, Adelaide, SA 2007 'Culture Warriors' National Gallery of Australia, Canberra ACT 2007 'Uwankara Ngura Palya' Randell Lane Fine Art, Perth, WA 2007 'Celebration' Chapman Gallery, Canberra ACT 2007 'Skin to Skin' Tuggeranong Arts Centre, Canberra ACT 2007 'Desert Masterclass' South Australian Museum (Marshall Arts) Adelaide,SA 2006 'Anangu Backyard' Adelaide Festival Centre, SA 2006 'Desert Mob' Araluen Gallery, Alice Springs, NT 2006 'Nganampa Tjukurpa Nganampa Ngura' Marshall Arts, Adelaide SA 2006 'Our Mob' Adelaide Festival Centre , Adelaide ,SA 2006'Minyma Kutjara KUtjara' Vivian Anderson Gallery, Melbourne, VIC 2006 Tjukurpa Mantatja Randell Lane Fine Art, Perth, WA 2005 Art from the APY Lands Marshall Arts, Adelaide SA 2005 'New work from the APY Lands South Australian Museum, Adelaide, SA 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 Maureen Baker < Back Maureen Baker Maureen Baker ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Maureen Baker 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 Nici Cumpston < Back Nici Cumpston Nici Cumpston 1963 - ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Nici Cumpston 1963 - 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 Inyuwa Nampijinpa < Back Inyuwa Nampijinpa Inyuwa Nampijinpa ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE INYUWA NAMPIJINPA - PUNKILPIRRI SOLD AU$2,500.00 top Anchor 1 PROFILE Inyuwa Nampijinpa 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 .

Bonnie Connelly Nakara | Minyma Kutjara Tjukurrpa Art Leven - 17 Thurlow St, Redfern, Gadigal/Sydney 1 - 22 March 2025 Viewing Room Bonnie Connelly Nakara | Minyma Kutjara Tjukurrpa Bonnie Connelly Nakara 1 - 22 March 2025 Art Leven - 17 Thurlow St, Redfern, Gadigal/Sydney Using a delicate dry-brush technique, Nakara brings to life the rich textures of the desert landscape that she has called home for a lifetime. Born near Papulankuja (Blackstone in Western Australia), she has traveled extensively across the remote Ngaanyatjarra lands, drawing inspiration from her deep cultural knowledge, ancestral connections, and the vast familial networks that weave through the desert. At the heart of Nakara’s work is the Minyma Kutjara (Two Women) Tjukurrpa—a significant creation story that maps the land from South Australia through the Central Desert to Kaltukatjara (Docker River) in the Northern Territory. ExBonnieC

Artist Profile for Bradley Tunkin < Back Bradley Tunkin Bradley Tunkin ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Bradley Tunkin 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 .