Artist Profile for Thomas Butler < Back Thomas Butler Thomas Butler ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE THOMAS BUTLER - UNTITLED Sold AU$1,800.00 top Anchor 1 PROFILE Thomas Butler ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

SYDNEY CONTEMPORARY 2021 - NOT SO VIRTUAL From 11 November to 27 November 2021 SYDNEY CONTEMPORARY 2021 - NOT SO VIRTUAL From 11 November to 27 November 2021 SYDNEY CONTEMPORARY 2021 - NOT SO VIRTUAL From 11 November to 27 November 2021 The role of art is to reflect, grow, and shape culture. Artists challenge norms and shape the cultural zeitgeist. Artistic groups are formed against the backdrop of their time and place. Usually in hindsight, if their contribution becomes clear and definable, we categorise these groups in specific artistic movements. Indigenous Australian art is usually referred to, from a distance, as a movement. The term implies that the creative period has passed and that it belongs not in contemporary art galleries but in museums, carefully archived and displayed behind glass. Even some in the industry treat the art as something drawn from a finite and dwindling pool, as though the “movement” consists only of the trailblazer Aboriginal artists. But even the originators of Australian Aboriginal art as we know it are not finished driving and re-contextualising the creative process that is overdue to be seen as a contemporary art form rather than an anthropological one. Australian Indigenous artists have been creating art separate from and connected to each other for thousands of years, in places related to each other as neighbouring countries rather than regions of the same state. It continues to evolve, as it always has, as a contemporary art form. These works have been selected to highlight this point in a condensed form. The six artists showcased in this year's exhibition Not So Virtual have all taken traditional and highly important stories and themes, presenting them in a fashion that helps the viewer bridge the gap. This show centres around Emily Kame Kngwarreye, by now easily the most internationally recognised Australian Artist. Her works where among the first to pave the road between anthropological and artistic treatment of work by Australian Indigenous artists. Her paintings are collected and housed by the finest institutions and galleries worldwide. Most recently, Gagosian Gallery presented a dedicated a solo exhibition. Jorna Newberry’s simple-toned, minutely detailed Wind Dreaming paintings shimmer with knowledge and connection to country. Kitty Napanangka Simon, who has been represented by Cooee Art in conjunction with Warnayaka Art Centre in Lajamanu, offer a bold gestural perspective on the highly important Mina Mina Dreaming. Arnhem Land artist Yimula Munungurr’s works on bark and Lorrkons (burial poles) vibrate with detailed clan designs in fine crosshatched fields of colour, presented in conjunction with Buku Larrngay Arts in Yirrkala. Utopia artist Josie Petrick Kemarre, from the same country as Emily Kame Kngwarreye, creates flowing instinctual fields of colour by using meticulously placed and flawlessly executed dots. Rammey Ramsey’s textured compositions remind us of earlier Kimberly artists such as Rover Thomas or Queenie Mckenzie, while using bright and powerful (sometimes even fluorescent or neon) colours.

Artist Profile for Glen Jampijinpa Martin < Back Glen Jampijinpa Martin Glen Jampijinpa Martin ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Glen Jampijinpa Martin 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 Lola Nampijinpa Brown < Back Lola Nampijinpa Brown Lola Nampijinpa Brown ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lola Nampijinpa Brown 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 Ewald Namatjira < Back Ewald Namatjira Ewald Namatjira 1930 - 1984 ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE EWALD NAMATJIRA - MCDONNELL RANGES SOLD AU$2,000.00 EWALD NAMATJIRA - UNTITLED Sold AU$0.00 top Anchor 1 PROFILE Ewald Namatjira 1930 - 1984 Ewald Namatjira was born the third son of Albert and Rubina on the 11th of July 1930. As a young child he would often complain of ill health and was subsequently allowed to spend more time at home or on painting trips with his father. He took up painting in 1947 and from the outset he surprised Pastor Albrecht who had thought him to have little artistic abilty. Rex Battarbee noted that his early works exhibited originality and credited them for their atmosperic and decorative qualities. Especially evident in his landscapes were interesting patterns and design qualities. In July 1949, at the age of 19, Ewald was involved in a hunting accident with a rifle. This caused the loss of sight in his right eye. He recovered from the injury, and continued to paint, though his injury altered his abilities and the direction of his style. In some of Ewald's later work, the landscape has a slanted appearance. One of the strengths was his colouration where he employed deep reds, purples, ochres and vivid golds. He passed away in 1984. ARTIST CV Market Analysis MARKET ANALYSIS Ewald Namatjira began painting in 1947 and by 1980 thirteen paintings had appeared at public auction in Australia, with the highest price paid being $400. A decade later 85 works had been offered of which only 19 had transscended his 1980 record. The highest price paid at that time was $1200. He died in 1984, and since that time a steady stream of his works have appeared at public sale. Today, no less than 468 works have been offered of which 361 have sold. This a very high 77% success rate. It attests to the durability of his paintings in the public affection. Yet the average price achieved for his works across the years has been a very lowly $649. So many of Ewald's paintings have been simply untitled or generically called Central Australian Landscape, that it is difficult to find resales of the same work over and over again. There are many to be sure, and they will have increased in value at each successive offering. His record price was achieved for an untited work by Deutscher and Hackett in April 2009. Though estimated at only $1,000-1,500, the very large watercolour (51 x 72 cm) sold for $6,600 including buyers premium. The following year, 2011, Leonard Joel set his second highest price at $6000 for a work with a title atributed to be (Gum Tree In Foreground) . A year later his third higest price was achieved by Sotheby's and in 2012 his fourth highest price ($3,600) was achieved by Sotheby's once more. In fact, nine of Ewald's ten highest results have all been set since 2009, during a very flat market. This attests to the fact that Ewald's stocks are very definitely on the rise, along with all of the central characters in the developing Hermannsburg school of the 1940s to 1970s. While his career average is very low, the average prices achieved for his ten highest priced works is $4,030. This is a bit misleading however. In 2012 nine works were offered of which six sold for an average price of $1,060. Collectors attracted to the work of Albert Namatjira and his sons, as well as the breakaway group headed by Otto Pareroultja and his brothers, should be aware that prices for their works have been steadily increasing year after successive year. They are still comparatively affordable, but this will not last forever. As time marches on, their most desirable and accomplished works will be expected to sell for a premium each time they appear at sale. 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 Joyce Mclean Nyurapayia < Back Joyce Mclean Nyurapayia Joyce Mclean Nyurapayia ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE JOYCE MCLEAN NYURAPAYIA - MINYMA KUTJU SOLD AU$2,600.00 JOYCE MCLEAN NYURAPAYIA - WANARN TJILPI AND PAMPA PAINTING PROGRAM SOLD AU$600.00 JOYCE MCLEAN NYURAPAYIA - LAPAKU SOLD AU$1,400.00 top Anchor 1 PROFILE Joyce Mclean Nyurapayia 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 Madigan Thomas < Back Madigan Thomas Madigan Thomas ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Madigan Thomas 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 Helen Curtis < Back Helen Curtis Helen Curtis ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE HELEN CURTIS - CAVE HILL Sold AU$0.00 top Anchor 1 PROFILE Helen Curtis ARTIST CV Market Analysis MARKET ANALYSIS Disclaimer: At Cooee Art Leven, we strive to maintain accurate and respectful artist profiles. Despite our efforts, there may be occasional inaccuracies. We welcome any corrections or suggested amendments. Please contact us with your feedback .

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

Artist Profile for Clem Abbott < Back Clem Abbott Clem Abbott ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE CLEM ABBOTT - UNTITLED SOLD AU$2,000.00 top Anchor 1 PROFILE Clem Abbott 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 .

THAT'S TRUE THAT'S CREATION 17 Thurlow St, Redern, NSW 2016 09 August - 01 September 2022 Viewing Room THAT'S TRUE THAT'S CREATION Queenie McKenzie Nakara 09 August - 01 September 2022 17 Thurlow St, Redern, NSW 2016 Queenie McKenzie Nakara was born on Old Texas Station on the Ord River in the north west of Western Australia. As a young girl she began her life of cooking for the stockmen, tending and riding horses, and journeying as they drove cattle across the vast pastoral region of the north. During the 1970s, McKenzie, then in her fifties, played a leading role in community affairs and experimented with representational art as an educational tool in the local school. She taught Gija language and cultural traditions as part of the ‘two-way’ education given at the school. Besides helping to maintain ancient knowledge of sacred sites and the Dreaming mythology, it seamlessly paralleled bible stories and provided the young with both a spiritual awareness and an involvement in community activities. Queenie McKenzie Nakara earned world wide acclaim with distinct and influential artworks depicting the country of her childhood and early working life around Texas Station, as well as other sites throughout the East Kimberley region. She was in her lifetime, and still to this day, recognised as a spiritual and cultural icon, whose commitment to art has left an indelible impact on Australian history and culture. The works on paper in this exhibition were all created at the Warmun school in 1995. McKenzie chronicles encounters with God in the Kimberly, perhaps in the form of Bishop Jobst who at the time had recently visited – “Mr. Jobst from Broome is our Leader Man the God Man He’s from the Cloud […]” – or as the “God in the Cloud” looking down from the Heavens and weeping because the students are “Just mucking about too much” instead of going to school. In this suite, McKenzie marries traditional Gija culture with missionary-imported Christianity. The mythology is a lot more practical than mainstream Christianity, as is the case in many Australian Aboriginal belief-systems, be it tracing maps to water sources created by living spirits, or utilising concrete teaching stories around survival and food gathering The series relates a connection to the Christian God much more practical and immediate than is common. Here, the Holy Trinity (consisting of some version of Jesus Man, The God Man/God in the Cloud, and the God Jesus Baby) resides closer to Earth, with a concrete impact on daily life, as when Jesus “Pushes the School Bus Toyota” when it stalls. This God doesn’t feel all-powerful. He borrows a camel from the three wise men. He can smile over the “Bible Dance” and despair as the children “Muck About.” McKenzie’s God takes part in the everyday. VIEW CATALOGUE EX 241

JackWeave Weaver Jack Weaver Jack 1928 - 2010 A tiny woman of indomitable spirit, Weaver Jack came to national attention in 2006 when her self-portrait caused a stir for the Archibald Prize. This was because it was, on the surface, a landscape painting. This was a challenge for many in regard to the traditions of portraiture, especially in the context of Australia’s most lucrative art prize. Yet an identity founded in the substance of one’s Country has always been intrinsic to Aboriginal self-understanding. For those in exile, like the Yulparitja people of The Great Sandy Desert, the contours and memories of their country have become even more indelibly etched within them. During the 1960s, severe environmental changes (brought on by drought, mining and the introduction of large cattle stations to their lands) had forced the desert nomads to journey to the coast, some dying from thirst and hunger along the way. The rest settled at Lagrange Catholic mission, now the remote township of Bidyadanga, 200 kilometres south of Broome. It was through painting that Jack reawakened the half-submerged memories of her childhood and youth and re-invigorated that aspect of herself. She became the undisputed leader of the group who began painting in 2000 at their aged care residence. Encouraged by the young Bidyadanga artist Daniel Walbidi, who had been intrigued by their stories from the past, the group chose a distinctive array of colors that inadvertently captured their geographical shift; coastal blues and cool greens alongside desert reds and purples, stark whites, dry browns and dusky yellows. The somewhat discordant and clashing hues, placed with assured and loaded brush strokes and an absolute certainty of composition, shocked the public but sold out when exhibited in Melbourne in 2004. The paintings were snapped up by leading state galleries (including the National Gallery of Australia and NGV) and private collectors. Each of the elderly artists brought their own perspective to this “imaginary repossession” of their distant homelands and spiritual source. Painting, singing and sharing memories, they summoned the past back to themselves. Jack’s fluid designs depict her traditional country, south of Well 33 on the Canning Stock Route and near the Percival Lakes, a huge, largely seasonal salt lake area that teems with bird life in the wet season. Her birthplace and spiritual home is Lungarung, (a jila, or spring of living water) in which resides the great life-giving snake Wirnpa, who created the underground water system that threads through the desert country in a series of freshwater soaks. Jack’s early memories centre on walking through these lands with her family, gathering food and hunting, camping among the dunes, and at times participating in large ceremonial gatherings with other nomadic tribes. Jack’s process of sketching in the skeleton substructure of the land, (in deep purples or Prussian blue) and then over-painting with loose and continuous dotting, in varying, sometimes starkly contrasted hues, retraces a palpable sense of this absorbing world. She married her promised husband and had children but was gradually forced to walk westwards in search of food and water, eventually coming to the coast and settling at Bidyadanga during the 1960s. She was considered the senior law women for the Yulparitja people and her paintings remain as important symbols of a lost time and the unique affinity between a people and their country. In 2007, some of the group, including Jack, made an artistic and healing pilgrimage back into the desert, documented in the film Desert Heart. Profile author: Sophie Pierce Though she began painting at the aged care unit in Bidyadanga as early as 2000, paintings by Weaver Jack did not appear at auction for the first time until 2006 and it was not until 2009 that her first work sold for more than $10,000. With her works in high demand in galleries and through Emily Rohr's Short Street Gallery in Broome , the $12,000 paid for Lungarung 2005 at Deutscher & Hackett (Lot 66) was well within the range of expectation. It was eclipsed the following year by a work sold at Sotheby's for $13,800 which still stands as the artists record price. However, her results had been uneven with only 6 of 14 works finding new homes. By 2014, 26 works had been offered at public auction and of these only 12 had sold. Her success rate was a very poor 46%. However results for Weaver Jack's works rose dramatically during 2015 and 2016. With the passing of the last of the great Bidyadanga artists the unique and highly desirable artworks created by the tiny handful of Yulparaja elders dried up in the primary market. Every single one of the six works offered in 2015 and seven in 2016 found willing buyers lifting her clearance rate dramatically to 59%. Weaver Jack's tenth highest result is still a lowly $6,100. In 2016 one work crept into her top ten in ninth place. She was the 40th most successful artist that year and having now exceeded the 20 sales required to exceed the low threshold in this statistical analysis her career rating is seeing her rapidly scale the chart of the top artists of the movement. In 2019 another work moved into the top ten in firth place. She is now 159th even though only four results have exceeded $10,000 and her average price at sale is still just $6,320. Within the next 5 years she is almost certain to record more than 10 results over $10,000. By this time she will be insinuating herself into the top 100 artists of all time. 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