< Back Sandy Willie ​ Sandy Willie ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Sandy Willie ​ 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 .

< Back Andrew Wanambi Margalulu ​ Andrew Wanambi Margalulu ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS Andrew Margululu, an Aboriginal artist, is renowned for his work that vividly captures the journeys of the Wagilag Sisters, a pivotal Aboriginal creation myth. This narrative not only explores the spiritual quests of those who hunt honey but also the landscapes they shaped along their travels. READ FULL ARTIST PROFILE top Anchor 1 PROFILE Andrew Wanambi Margalulu ​ Andrew Margululu, an Aboriginal artist, is renowned for his work that vividly captures the journeys of the Wagilag Sisters, a pivotal Aboriginal creation myth. This narrative not only explores the spiritual quests of those who hunt honey but also the landscapes they shaped along their travels. In 1989, Margululu became the first artist from Ramingining to create a large-scale bark painting for the Kluge Ruhe Collection, a significant archive of Aboriginal Art housed at the University of Virginia in the United States. His exceptional work set a high standard for future contributions by other artists to this prestigious collection. Djon Mundine, a respected curator and writer on indigenous Australian art, has described the Australian landscape as "full of signs," a sentiment that resonates strongly with Margululu's artwork. Margululu has excelled in the traditional medium of bark painting and has also collaborated with printmaker Theo Tremblay to produce striking contemporary prints. He was a pivotal figure in the first print workshops at Milingimbi in 1996, where he adapted his traditional designs for this new medium. His transition to lithography was particularly successful, reflecting his ability to innovate while preserving his cultural heritage. In 1997, during a series of workshops led by Theo Tremblay in Ramingining, Margululu contributed to 'The Ramingining Print Suite'. This important collection of prints centred on the Wagilag Sisters’ creation story, highlighted a unique collaboration among celebrated Aboriginal artists. Additionally, Margululu was commissioned to create a painting for the Federal Airports Corporation, now permanently displayed at Darwin Airport. His art typically features subjects deeply rooted in his culture, including Yarrpany (Dhuwa moiety honey), catfish, bream fish, the Mewal honey spirit, sea snake, and water goanna. These themes underscore his profound connection to his heritage and the natural world. ARTIST CV Collections Australian Museum, Sydney. Kluge Ruhe Collection, Charlottesville, USA . Museum and Art Gallery of the Northern Territory, Darwin. National Gallery of Australia, Canberra. Tropenmuseum, Kindermuseum, Amsterdam. Group Exhibitions 1983 Australian Perspecta, Art Gallery of New South Wales, Sydney. 1984 Aboriginal Art, an Exhibition Presented by the Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra. 1987 Bark Paintings from Ramingining, Birukmarri Gallery, Perth, WA. 1989 Aboriginal Art: The Continuing Tradition, National Gallery of Australia, Canberra. 1990 Ramingining Art, Birukmarri Gallery, Fremantle. 1992 Art of the Spirit, Gold Coast City Art Gallery, Surfers Paradise, Queensland. 1994 The Eleventh National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin. Bibliography Isaacs, J., 1984, Australia’s Living Heritage, Arts of the Dreaming, Lansdowne Press, Sydney.(C) NT News, 27/12/1993, p. 6. 1983, Australian Perspecta 1983, A Biennial Survey of Contemporary Australian Art, exhib. cat., Art Gallery of New South Wales, Sydney. Art from the Land: dialogues with the Kluge-Ruhe Collection of Australian Aboriginal Art ed. by Howard Morphy and Margo Smith, University of Virginia 1999. 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 .

< Back Arthur John Cowell ​ Arthur John Cowell ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Arthur John Cowell ​ 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 .

< Back Virginia Napaljarri Sims ​ Virginia Napaljarri Sims ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Virginia Napaljarri Sims ​ 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 .

< Back Emily Ngarnal Evans ​ Emily Ngarnal Evans ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Emily Ngarnal Evans ​ 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 .

< Back Wentja Napaltjarri ​ Wentja Napaltjarri ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Wentja Napaltjarri ​ 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 .

< Back Lily Sandover Kngwarrey ​ Lily Sandover Kngwarrey ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lily Sandover Kngwarrey ​ Lily Sandover Kngwarreye was born c 1937 at MacDonald Downs on the Utopia clan lands. She began painting during the 1988-9 CAAMA summer workshop following almost a decade making batik. The adopted ‘sister’ of Emily Kngwarreye, Lily was her closest friend and constant companion, often referring to Emily when in a humorous mood as ‘granny’. The Sandover River, winds its way through the sprawling homelands of the Alyawarr people. The surrounding country is characterized by red sands dotted with ghost gums and, in season, with explosions of wildflowers set against piercing blue skies. The Alyawarr live in simple outstations adjacent to the river, which for much of the year is a wide sandy strip lined with dry silver grasses and shady trees. Lily was the eldest daughter of senior Alyawarr elder Jacob Jones and she in turn became the senior woman for the site of Entibera. She painted the important Two Sisters stories and a range of stories about bush foods including Honey Grevillia. When painting, Emily Kngwarreye and Lily Sandover were inseparable companions. Lily looked after the older Emily closely, while painting her own works alongside. Lily painted hundreds of paintings over the years as she worked beside her friend and, right up until the last months of her life,  Emily camped with Lily and their family on Delmore Downs. Her tribal country lies close to the homestead at Delmore Downs owned by the Holt family for whom Emily Kngwarreye painted more than 1500 paintings between 1989 and her death in 1996. Together Emily and Lily would travel and live for long periods on Delmore surrounded by an extended family that at times could grow to 40 women and children. When an ‘official’ art centre, Urapuntja Artists, was established at Utopia, Lily became a founding member and during this time she collaborated with Northern Editions to produce a number of etchings including 'Alhwert I' and 'Alhwert II’, now in the collection of the National Gallery of Australia. The alhwert (pronounced 'allota') was a small burrowing bettong, or kangaroo rat, that is now extinct. The prints depict ‘iepa grass’, the traditional food source and home of the alhwert. The centre from which the patterns radiate is where the alhwert made its home. This became Lily Sandover’s defining image and the subject of the vast majority of her paintings.  Former art coordinator of Urapuntja Artists Narayan Kozeluh, who worked with Lily over many years, noted in 2009 that when painting this image ‘Lily would place a heavily loaded painting stick of white onto a black canvas and in one fluid motion push it away creating swirling patterns that stylized the grass which her painting represented’. While best known for works in contrasting black and white, she would occasionally apply other colours such as red acrylic on a yellow ochre ground. In time Lily, like her father, became a senior spokesperson for the Alyawarr people. She exhibited at Gallery Gabrielle Pizzi in 1989 and at the Hogarth and Coo-ee Galleries in Sydney during 1991 but failed to gain the recognition that many felt she deserved due to her restricted subject matter and the fact that she spent so much time in her more famous countrywoman’s shadow. While Lily Sandover had only one solo exhibition in 1991 in Melbourne, her work was included in a number of important group shows during her lifetime. They included exhibitions with Stephane Jacob's Arts d'Australie in Paris, Flash Pictures at the National Gallery of Australia, and works from the Holmes a Court Collection which toured Scotland and a number of USA venues including Harvard University, University of Minnesota, and Lake Oswego Center for the Arts. She is represented in the collections of the Netherlands Aboriginal Art Museum in Utrecht, The National Gallery of Australia, Canberra, The Holmes a Court Collection, Perth, and a number of important private collections in Australia and overseas. ARTIST CV Market Analysis MARKET ANALYSIS under 40 works by Lily Sandover have appeared at public auction since her work first appeared in 1994. In that first year four works were offered of which only one sold for $1,725. Her success rate remained at a low 42% until 2005 when five works were offered and all sold for a total value of $59,247. Her results have continued to be mixed since that time, leaving her current clearance rate at 46% and total sales at auction $105,035. While her best result to date is the $21,510 achieved for a 120 x 150 cm work carrying Delmore provenance at Christies in 2005, no less than 6 works have sold for more than $9000. Christies and Lawson~Menzies have championed this artist in the secondary market. Sandover was a relatively prolific artist for a no more than six years and the majority of her works were small and of relatively minor importance. Major works are limited, especially paintings on the scale of the one illustrated here. This major piece depicting Ayippa (Iepa) Grass was part of a collection of 12 specially commissioned major works by Utopia women artists in 1997 and curated and overseen by Urapunja artists. The collection included works by Poly, Kathleen and Angelina Ngal, as well as Gloria, Kathleen and Violet Petyarre. The collection was broken up in 2008. 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 .

< Back Lance James ​ Lance James ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Lance 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 .

SYDNEY CONTEMPORARY 2022 ​ 07 September - 11 September 2022 SYDNEY CONTEMPORARY 2022 ​ 07 September - 11 September 2022 Location: Carriageworks, Eveleigh NSW 2015 VIEW CATALOGUE EX-SC2022

MAKING MEMORIES ​ From 05 March to 10 April 2016 MAKING MEMORIES ​ From 05 March to 10 April 2016 Kitty Napanangka Simon "Cooee Art Gallery in partnership with Warnayaka Art Centre, Lajamanu NT is proud to announce Kitty Napanangka Simons third solo exhibition, to coincide with Art Month Sydney 2016 and Spectrum Now 2016 SPECIAL GUESTS Kitty Napanangka Simon and Warnayakas Manager will be attending the Opening. The artist is solely represented by Cooee Aboriginal Art Gallery (Sydney). Kitty Napanangka Simon (b. 1948) is a Warlpiri woman from Lajamanu, on the northern edge of the Tanami Desert in the Northern Territory. She is one of Mina Minas senior custodians and a keeper of Women Law for this remote and isolated desert landscape. Kitty painted her first works in the late 1980s before hanging up her paint brushes to focus on raising her family. She began painting again in 2008 experimenting with various styles before adopting a looser, more immediate approach for her first solo exhibition in 2013 at Cooee Art Gallery Sydney. Her unique paintings have created a sense of excitement and enthusiasm earning her great admiration within the broader art world. [[CELL-ARTWORKS|20160407124017,20160407123636|N,N,large,Y,2,Y]] Her recent 2015 solo in exhibition, Only Women Dance Till Dawn, held in New York at Pollon Art, was hugely successful, introducing her work to a wider international audience. The colourful work of Napanangka Simon has become a considered choice for newer and younger collectors, as well as remaining a consistent choice for established collectors. In this new body of work Napanangka Simon uses a combination of line work, coming from body art and ceremony, and intricate dot work. She embraces her own individual style and works in bright large merges of colour. This style represents yawulyu (womens ritual design or art) a tradition of Warlpiri women to depict the story of Mina Mina (near Lake Mackay). With fluidity and resolve, Kitty employs optic whites and an array of pastels to capture the feeling and colour of the desert flowers and the natural features of the surrounding salt plains of Mina Mina, 600 kilometres to the south of Lajamanu. Mina Mina is a sacred place to Warlpiri women. It was created by the Karntakurlangu, a large group of ancestral women who danced across the vast salt plain feeding on its wild fruit - bush bananas and native plums. The rhythm of their dancing vibrated through the landscape creating the undulating sandhills, water courses and clay pans. Napanangka Simon paints rapidly and without draft, the composition is built new every time. The act of painting is metaphysical. The brush moves accompanied by rhythmic chanting. Ancient song recalls and brings to life the songline and story that she is depicting. The very act of painting is a means by which she can revise and vivify knowledge of Country and the creation story which brought Mina Mina into existence. Each painting is carefully considered and deliberated over, changed and discussed with the other artists. This sometimes provokes laughter and sometimes debate as each artist gives their thoughts and reaction to the work. Kittys paintings are very different to Lajamanu style, but Warnayaka Art Centre has always had one or two controversial artist in its ranks. Art Centre Manager, Louisa Erglis says: This criticism has meant Kitty has had to take a brave stand and like women everywhere she isnt alone, but has the support of her skin sisters and the women staff. Cooee Art Gallery in Partnership with Warnayaka Art Centre is proud to announce Kitty Napanangka Simons third Solo exhibition to coincide with two major Sydney Arts Festivals: Art Month Sydney and Spectrum Now." ​

< Back Leo Melpi ​ Leo Melpi ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Leo Melpi ​ 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 .

< Back Selina Napanangka Fisher ​ Selina Napanangka Fisher ​ ​ ARTIST PROFILE ARTIST CV MARKET ANALYSIS READ FULL ARTIST PROFILE top Anchor 1 PROFILE Selina Napanangka Fisher ​ 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 .