Cooee Art Gallery Bondi in Bondi, New South Wales | Art gallery

Cooee Art Gallery Bondi

Locality: Bondi, New South Wales

Phone: +61 2 9300 9233

Address: 31 Lamrock Avenue Bondi Beach 2026 Bondi, NSW, Australia

Website: http://www.cooeeart.com.au

Likes: 3379

Add/Update information

Reviews

Tags

• Shopping & retail
• Art gallery

24.01.2022 Jack Britten was born and spent his childhood at Tickelara Station, in the north west of Australia, at a time when many Gija people were massacred during the gold rush at Hall’s Creek and Chinaman’s Garden in the East Kimberley region. 'Sometimes they bin all day shootin people there,' Jack recalled in his later years, 'my father and mother and grandparents were with good gadiya (white man). I might have got shot if he didn’t look after me' (cited in Ryan 1993: 41). Their ‘go...od gadiya’ was Ted Britten, a European stockman who took Jack, whilst still a boy, to Fitzroy Crossing to work on stations such as Cherrabun, Christmas Creek and Cogo. He did not rejoin his mother at Ticklerra until in his late teens, and he worked there as a stockman well in to his late 40’s. The introduction of the pastoral award in 1969, which aimed to provide Indigenous workers with similar wages to their non-Indigenous counterparts had the devistating unintended effect of ending their jobs entirely. Jack who, along with other Aboriginal stockmen, found himself unemployed, moved to Nine Mile creek at Wyndham and became a road-worker with the Shire. One of his nicknames Yalarrji, was given to him after spending a number of years panning for gold and dingo trapping at Yalarre on Alice Downs after Ted Britten’s death. He used to relate the tale of finding a reef of gold, enough to make a prospector a rich man, and having been paid for the 44 gallon drum of ore he mined from it in rations and blankets. See more

22.01.2022 DHUWARRWARR MARIKA Yalanbara - Larrakitji (hollow log) - 2020 Natural Earth Pigments on Carved Wood 219 x 20 cm $7,800 or $780/month with @artmoney ... The design contains the identity of the coastal place of Yalabara some of the finest sand dunes in the Northern Territory towering above a windswept oceanic beach near the junction of the Arafura Sea and the Gulf of Carpentaria. It’s an important place for the Yolu people, especially the Dhuwa moiety, as it’s the landing site of the Dja’kawu the major creator beings for everything associated with the Dhuwa. Arriving at sunrise, the Sisters prepare for the first birth, a self-fertilised act of creation. Their white hair, Djawulu, is symbolic of sacred wisdom. Mawalan is the name given to the sacred staff the Sisters use to create springs and rocks and other features in their later journeys through the land of other Dhuwa clans. The design shows saltwater drying on their skin, the sand slipping down as the Sisters mount the dunes. The sun has risen on the birth of a nation: the Rirratjiu clan. Dhuwarrwarr Marika, 2020 #hollowlog #sculpture

21.01.2022 UTA UTA TJANGALA Uta Uta’s painting career and reputation is closely aligned to the artistic renaissance that began at Papunya in 1971. He was a founding member of the men's painting group, inspired other Pintupi tribesmen, and becoming one of the most senior and influential painters amongst the group. Born in Western Australia in Drovers Hills, he made the epic journey to Haasts Bluff with his family during the severe drought of the mid to late 1950’s in the company of Charl...ie Tarawa. Two years later, after returning to his homelands, he made the journey once more with Timmy Payungka, Pinta Pinta and their families. Employed as a gardener at the Papunya school Uta Uta, then in his 40’s, became one of the original group drawing and painting on composition board with encouragement from art teacher Geoff Bardon. When supplying paints to Uta Uta and his gathering group of enthusiastic friends, Bardon suggested the men use their existing cultural symbols to depict their Dreamings and links to the land. The Pintupi men, having been pushed from their traditional homelands by government policy and European development, painted under a bough shelter behind the camp 'pouring into their work their acute longing for the places depicted and chanting the song cycles that told the stories of the designs as they worked' (Johnson in Perkins 2000: 190). These early works aroused strong protest within Aboriginal communities when first exhibited in Alice Springs in 1974 because of the disclosure of secret and sacred knowledge. A period of experimentation followed, resulting in the development of a symbolic language of classic ideograms and the characteristic dot covered areas that veil sacred elements from the uninitiated. The large, tribally mixed population of Papunya intensified the interaction, but under the influence of artists like Uta Uta, the painting group was able to break through the political and cultural constraints toward a safer stylistic conformity, and prepare the way for personal and distinctive styles to emerge. Uta Uta in particular, with his exciting and charismatic personality as well as his bold and dynamic style, played a vital role in these developme

20.01.2022 YIMULA MUNUNGURR Djapu Natural Earth Pigments on Bark 105 x 27 cm $1,400 or $140/month with @artmoney_au

13.01.2022 How gorgeous is this Kitty?! On view for our 20|20 exhibition at our Paddington Gallery courtesy of our friends at @warnayakaartcentre KITTY NAPANANGKA SIMON Mina Mina Dreaming - 2020 Synthetic Polymer Paint on Belgian Linen ... 120 x 90 cm $4,500 or $450/month with @artmoney_au See more

13.01.2022 FREDDIE PURLA My Mother's Country - 2020 Synthetic Polymer Paint on Canvas 68 x 68 cm $950 or $95/month with @artmoney_au ... Freddie Purla was born in 1968 in Darwin. The son of talented artist Barbara Weir, and grandson of the late Minnie Pwerle, Freddie Purla began painting in 1989 at Alice Springs. He is also the adopted nephew of the famous late Emily Kame Kngwarreye. Purla regularly visited Utopia with his family as a very young child, often staying for long periods before travelling to Alice Springs or Adelaide. One of his first vivid memories as a child was of the strange looking creature, the Scorpion. The Scorpion Dreaming has been passed down to Freddie by his grandmother's family. As its sting is often very painful, the scorpion is left undisturbed and respected at all times. It is rarely seen during the day and only the desert sands display the signs of the scorpion's track. Purla's paintings represent the courtship dance between the male and female scorpion. Each scorpion interlock their pincers together while traveling back and forth in what can only be described as a dance. After several hours and as much as 24 hours, the tracks that are left behind create an artwork in itself on the ground. The tracks which are criss-crossed over and over again are rare to find in the desert. Freddie's paintings powerfully represent the energy and vigour of the many movements made by the scorpions in their ritual desert dance. Freddie Purla's work has sold to many collections in Australia, Germany, Amsterdam, Paris, Switzerland and New York.

10.01.2022 Sacred Clan Design. The triangle represents Muyun, Macassan rainclouds streaked with lightning. JOHNNY MAYARRA Sacred Clan Design - 1979 natural earth pigments on bark paintings ... 42 x 23 cm $1,200 See more

10.01.2022 These beautiful, unique Better World Arts textiles are a cross-cultural collaboration combining Aboriginal designs and traditional Kashmiri rug-making techniques. Chain stitched, using hand dyed wool, each is a completely handmade piece. A more empowering way to work, this brings many direct benefits to the artists’ and their community. DETAILS > https://mailchi.mp/cooeeart/from-a-distance-4218357

10.01.2022 Wandjina can be seen in the passing of the dry season, to 'the wet' in the form of vast billowing white clouds. In the late afternoon the terrible rumbling of thunder and glow of lightning within the vast billowing clouds overhead are what top-enders get most excited about. It means that the long, hot build up of heat and humidity will break and once again the rain cycle will commence. In days when Aboriginal people were ruled by spirits of the land, the 'build up' was the so...urce of ceremonial tribute, representing not only rebirth and growth, but also the cruelty of the storm and flood. Regarded both as a fertility spirit and Woongurr, powerful and wise leader. This Wandjina is depicted with Ponnai (fresh water turtle) which represents a particular turtle dreaming site which she inhabits both physically and spiritually. Ponnai is alsoWandjinas favourite food, it's likeness seen underneath the turtle's jaw bone. Hills and rocks are depicted surrounding Wandjina and the turtle rock site, which she is caretaker to. What makes this print unique is the use of both dots and stripes on her body. Usually Wandjina are depicted with one or the other. It is suggested that Wandjina is in the process of transformation from one physical entity to another. The dots represent the blood and water mix of man and animal. The stripes represent the ceremonial paint of a higher spiritual being. LILY KARADADA Wandjina - 2004 natural earth pigments on bark 110 x 58 cm $2,750 or $275/month with @artmoney_au

08.01.2022 TIM LEURA TJAPALTJARRI Before settling with his wife Daisy and their six children at Papunya in the early 1950’s, Tim Leura was born c. 1934 and grew up and worked around Napperby and nearby cattle stations that had taken over his traditional tribal lands north-west of Alice Springs. Working for white people gave him a command of English as well as some familiarity with European ways, but tribal traditions were also maintained in this area and Leura was steeped in ancient l...ore. Along with his younger ‘brother’, Clifford Possum, he was acclaimed for his wooden carvings of snakes and goannas prior joining in the early artistic endeavours at Papunya. Despite his initial reservations, Leura approached Bardon and became one of the four founding members of the Western Desert art movement. He was reportedly ‘someone you sensed had thought a lot, and deeply' (Wolseley 2000: 377) and once he made a wholehearted commitment became invaluable to Bardon as friend, assistant, and interpreter. Bardon wrote of him as ‘a most gentle and endearing manhe was my dearest and closest friend in the Western Desert' (2004: 89). Through the trials and tribulations of the art movement’s exuberant though fragile beginnings, Leura enabled the necessary dialogue to develop between Bardon and ‘the painting men’ and then later with interested outsiders. He was noted as having enlisted Clifford Possum, also a renowned wood carver, to the painting group. As the group grew, the men would often burst out in laughter at Bardon’s efforts to understand their explanations of paintings or his attempts to discuss visual aspects of their work, sometimes 'through relays of translations'. Yet Bardon recalls, Leura could always come up with a story that was comprehensible and acceptable to all. #timleuratjapaltjarri

06.01.2022 Stop by our galleries to view the range of 30 x 30 cm artworks - the perfect gift for Christmas! - https://mailchi.mp/cooeeart/from-a-distance-4230677

05.01.2022 Kitty Kantilla was born c1928 at Yimpinari, on the eastern side of Melville Island, and lived a traditional life as a child, only exchanging the paperbark roof of her youth for mission life in her adulthood. The mission settlement located on the eastern coast of Bathurst Island some 100 kilometres across the waters to the north of Darwin had been established in 1911 and those who worked in the mission received rations such as beef, flour, honey and tea to supplement their bus...h tucker. In 1970 Kitty, along with a number of other countrywomen, created a tiny outstation in her mother’s country at Paru, on Melville Island just across the waters of the Aspley Stait within sight of the growing township of Nguiu. It was here that Kitty first began working as an artist, with a group of widowed women who became renowned during the early 1980’s for their iron wood sculptures of ancestor figures drawn from the Purukupali legend. See more

04.01.2022 It is well known that Aboriginal art often depicts images of sacred totems or dreamings of Aboriginal culture. However, the world of the non-sacred also provides a rich source of subject matter for Aboriginal art. Much of the rock art of western Arnhem Land for example features secular topics such as common food animals and plants, depicted because of their economic importance but also merely because of their existence in the environment. UNKNOWN ARTIST Gunyan Crab Natural ...Earth Pigments on Bark 38 x 16 cm $500 See more

03.01.2022 We have a selection of sculptures in both of our galleries. Stop by before they all fly away! Jason Stormy Palipuaminni | #18369 Ngaringa Black Cockatoo, 2019 natural earth pigments on carved iron wood... 38 x 10 x 8 cm $380 AUD | $270 USD | 210 Pounds 250 Swiss Franc | 230 Euro Freddy Patrick Puruntatameri | #18363 Tjurukukuni Owl, 2020 natural earth pigments on carved iron wood 32 x 11 x 10 cm $500 AUD | $360 USD | 275 Pounds 325 Swiss Franc | 305 Euro

02.01.2022 As we approach the end of the year, a very odd year for everyone, Cooee Art has featured 20 artists from unique communities from all over Australia in their final exhibition for 2020. 20|20 will be on view at our Paddington Gallery until Saturday 19 December 2020. - https://mailchi.mp/cooeeart/from-a-distance-4230717

02.01.2022 HELEN MCCARTHY TYALMUTY Untitled Synthetic Polymer Paint on Belgian Linen 151 x 171 cm $8,500 or $850/month with @artmoney_au ... Helen McCarthy Tyalmuty was born at Tennant Creek in 1972. She spent most of her childhood at Nauiyu Nambiyu Community at Daly River, about 230 kms south of Darwin. Later Helen completed her education at Mount St Bernard College at Herberton on the Atherton Tablelands in far north Queensland. She then went on to study teaching, completing her Bachelor of Arts in Education at Deakin University in 1994. During her time at university Helen's art career began to take shape, and by 1993 she was already involved in her first art festival. Helen's painting continued to develop after moving into teaching full time, and for 10 years she successfully combined a job as a teacher in remote communities with her painting activities. Helen McCarthy Tyalmuty had her first solo exhibition in 2006 in Sydney and further exhibitions followed in Melbourne and Singapore. In August 2007, Helen was honoured to receive the People's Choice Award at the 24th Telstra National Aboriginal & Torres Strait Islander Art Award for her painting Tyemeny Liman's Wutinggi (Grandpa Harry's Canoe). She says of her grandfather: "In his day he was the best canoe maker in his country. It's a sad story and a good story at the same time. It's the last canoe that he ever made." Tyalmuty's grandfather stopped making canoes when he heard that education would help his children. He left his country with a heavy heart and sent his children to school on the Cox Peninsula. Tyemeny Liman passed away in June 2007, aged 91. Helen now devotes herself to painting full time and is being quickly recognised as one of Australia's rising stars. She spends her time in her community at Balgul and with her family in Darwin. As well as painting, Helen is a committed family woman with a son and four sisters and is passionate about helping underprivileged children from all races. #helenmccarthytyalmuty

02.01.2022 From the outset, Billy Stockman was a vital figure in the Papunya art movement. He went on to become one of its most exceptional and productive figures, traveling the world as a representative of Aboriginal Culture and having his work exhibited and collected by major galleries and collectors. He stands at the transition point between the ancient and the new, his work providing a link that allows for an ongoing synthesis between cultural traditions and modern artistic practice...s. Essentially spiritual, the symbols that appear in his paintings are charged with authority and religious knowledge. They are grounded in the narratives of the traditional desert culture of which he is a senior custodian of particular sites and stories. Born of the Anmatyerre-Western Arrente people, at Ilpitirri, North-West of Papunya, Billy Stockman’s first experience of white people was the Coniston Massacre in 1928 at the age of two. 'All the people were running. I was a little one in a coolamon. My mother hid me under a bush. My father had gone hunting. They killed my mother. I was grown up by her sister Clifford Possum’s mother' (Stockman cited in Kleinert & Neal 2000: 702). Billy Stockman grew up at Napperby Station (200 km west of Alice Springs), where he was initiated and later worked as a stockman for many years. He was moved to Papunya as part of the government re-settlement program and lived on the edge of the somewhat chaotic settlement. He could often be seen there, repairing the old cars that were much valued by the new settlers, allowing them to journey back to their much-missed country. He had a large extended family and was, as Geoff Bardon described 'a man with many obligations to all' (2004: 85). Stockman also worked as a cook in the communal kitchens at Papunya and as a yards man at the Papunya School. It was this position that placed him so centrally within the mural painting endeavour that was to spark the explosion of creativity that became a modern painting movement.

02.01.2022 Exhibition Opening - https://mailchi.mp/cooeeart/from-a-distance-4211605