Art Leven (formerly Cooee Art) was established in 1981 by Adrian Newstead and Louise Ferrier, at a time when Contemporary Aboriginal art was only beginning to gain broader recognition in ‘Australia’. From its earliest years, the gallery played a formative role in presenting Aboriginal artists to national and international audiences and in advocating for the cultural and artistic significance of their work.
Over more than four decades, the gallery has evolved into the country’s longest-established exhibiting gallery dedicated to contemporary First Nations art. Its program has consistently combined scholarship, market expertise, and ethical engagement, presenting exhibitions and events throughout ‘Australia’, Europe, and the Americas.
In 2016, after being with the gallery as manager for 8 years, Mirri Leven became an owner of the gallery and assumed an increasing role in its strategic direction and operations. Then, in 2023, following the departure of Adrian and Anne Newstead, Mirri Leven became the sole owner and director of the business. At this time, the gallery formally transitioned from Cooee Art to Art Leven.
The change of name marked a new chapter in the gallery’s history, reflecting both continuity with its founding legacy and a clearer articulation of its contemporary focus. The transition signalled a renewed emphasis on contemporary First Nations art, ethical practice, transparency, and a forward-looking curatorial and market-led approach under independent ownership.
Today, Art Leven operates a hybrid model encompassing exhibitions, auctions, and private sales, working collaboratively with First Nations artists, curators, and art centres across Australia. The gallery presents a monthly exhibition program, including solo exhibitions by important living artists and thematically curated group exhibitions, supported by public talks, events, and educational initiatives. Visitors are welcome during public opening hours or by private appointment.
The gallery maintains an extensive stockroom of more than 1,000 artworks by over 150 artists, representing a wide range of regional practices and individual artistic voices. These include rare bark paintings and cultural objects, early desert boards and acrylic paintings, alongside significant contemporary works in painting, sculpture, limited edition prints, and hand-crafted objects.
Art Leven’s auction program, established in 2017, is recognised as a market leader in ‘Australian’ First Nations art. Working with artists, estates, private collectors, museums, and institutions, Art Leven curates and presents two annual auctions supported by rigorous research, transparent processes, and specialist knowledge.
Mirri Leven
Managing Director & Owner
Emma Lenyszyn
Indigenouse Fine Art Specialist
Hayley Cotton
Gallery & Operations Manager
Sam Sterneborg
Back of House Manager
Dr Ksenia Radchenko
Auction Administrator
Charlotte Sky
Registrar & Gallery Assistant
Mirri Leven
Managing Director & Owner
Leven holds a double degree in International Development and Fine Arts, as well as a Master’s degree in Art Administration from the UNSW College of Fine Arts. Her academic training reflects a sustained interest in the cultural, political and economic frameworks that shape the presentation and stewardship of art.
She joined what was then Cooee Art in 2007, working closely with founder, Adrian Newstead. Over the following sixteen years she played a central role in developing the gallery’s exhibition program, broadening its curatorial scope and strengthening relationships with artists, art centres, collectors and institutions across Australia and internationally.
In 2016, Leven spearheaded the opening of Cooee’s Paddington gallery, establishing a dedicated exhibition space in the original home of Cooee Art. In 2021, she led the launch of the flagship Redfern gallery, positioning the business within one of Sydney’s most active contemporary arts precincts and expanding its public program and market presence.
In 2017, she became part-owner of the gallery alongside Adrian and Anne Newstead and, in the same year, launched Cooee Art Auctions, a specialist secondary-market platform dedicated to First Nations fine art. The auction division quickly developed a reputation for rigorous research, transparent cataloguing and a focused market strategy.
In 2023, Leven became the sole owner of the business and initiated a considered rebrand from Cooee Art to Art Leven. The name change signalled both continuity and renewal. While honouring the gallery’s legacy, which began in 1981, the new identity reflects a forward-facing vision grounded in ethical practice, curatorial integrity and long-term stewardship.
As sole owner and director, Mirri Leven leads with a hands-on, research-driven approach that balances commercial acumen with cultural responsibility. Her focus remains on building sustainable careers for artists, fostering transparent relationships with collectors and institutions, and ensuring that First Nations art is presented with the depth, respect and scholarship it deserves within both Australian and international contexts.
Educated in Fine Art at RMIT, Emma joined Art Leven (formerly Cooee Art) in 2016 as the Paddington gallery Manager. In 2019, she became the Indigenous Auction Specialist for the bi-annual Auctions. Emma has a long history of employment in the arts, including positions at international institutions, commercial galleries, and private collections.
Hayley completed her Bachelor of Fine Arts at National Art School here in Sydney. Since then, she’s traveled and worked at many places including NG Art Gallery, Sculpture by the Sea and for 4 years she was Gallery Assistant at Liverpool Street Gallery. In September 2019 she joined Art Leven (formerly Cooee Art) as the Paddington Gallery Assistant and is now the Gallery and Operations Manager in Redfern. A couple of her favourite artists are Makinti Napangka and Dorothy Napangardi.
Sam Sterneborg Ramsden, in his second stint with Art Leven (formerly Cooee Art), brings on board twelve years of art-world experience. The son of an artist and a critic, Sam has worked in galleries across Berlin and Sydney, including his first job at the legendary Galerie Eigen + Art in Berlin from the age of 13, The Ray Hughes Gallery in Sydney, which he managed in its final years before opening his own, The New Standard Gallery which ran from 2016 to 2018. Sam now returns to Art Leven as the Gallery Technician.
Dr Ksenia Radchenko completed a PhD in Cultural Studies from the University of Southern California, and a Master of Art Curating from the University of Sydney. With experiences working at the University of Sydney, Chau Chak Wing Museum, and Sydney Living Museums, Ksenia has also lived in Moscow and Los Angeles, deepening her understanding of the global art world. Ksenia brings a unique perspective to her work. As an Auction Administrator, she combines her creative and practical skills to excel in her role at Art Leven.
Charlotte is a Kamilaroi woman from Yuin Country, with a background in film and the arts she started with the gallery in 2024 is now the registrar and gallery assistant.
Indigenous art centres play an important role in supporting artists living in remote communities. They provide access to materials, studio facilities, professional development, and pathways to market, while also supporting artists in meeting cultural obligations and community responsibilities. Art centres frequently coordinate exhibitions with galleries and institutions and serve as a vital interface between artists, communities, and the wider art market.
Art Leven has a long history of working with community-based art centres and recognises their vital contribution to the sustainability of First Nations art practices.
ART CENTRES AND INDEPENDENT PRACTICE
Many significant First Nations artists have never worked through an art centre. In some cases, art centres did not exist within reachable distance; in others, artists chose to manage their careers independently. Many artists live in regional centres, towns, or cities, or move between communities and urban settings, balancing cultural obligations with education, family, and employment.
There is a long-established models of independent practice within First Nations art, including artists who work with agents or galleries in a manner comparable to broader contemporary art representation. Many independent artists are members of recognised professional bodies and engage with the art market on their own terms.
Art Leven works in accordance with industry-accepted, top-tier provenance standards, where artworks are sourced through community art centres where possible or directly from artists, estates, or established collections where art centres did not exist. In all cases, authorship, provenance, and ethical sourcing are assessed through rigorous due diligence.
WHAT SHOULD BUYERS ASK?
The Indigenous Art Code recommends that buyers ask informed questions when acquiring First Nations art, including:
Who is the artist and where are they from?
How was the artwork sourced?
How and when was the artist paid?
What documentation supports authorship and provenance?
If the work is a reproduction, how were royalties or licensing fees managed?
Buyers are encouraged to work with galleries and auction houses that are members of recognised professional and ethical organisations, as membership requires adherence to enforceable standards and ongoing scrutiny.
Art Leven is a proud member of Indigenous Art Code, the national peak body for ethical practice in the Indigenous art sector.
LEARNING TO BUY WITH CONFIDENCE
Buying First Nations art should not place collectors in an ethical dilemma. Working with a trusted exhibiting gallery or auction house with a long track record, transparent practices, and institutional standing provides assurance that ethical and professional standards have been met.
Exhibiting galleries are generally preferred to retail outlets, as their practices are subject to higher levels of scrutiny, documentation, and accountability. Professional association membership further reinforces confidence, as members are required to comply with published codes of conduct and best practice standards.
CONTEMPORARY AND HISTORICAL CONTEXT
First Nations art encompasses many distinct cultural movements, regional styles, and individual practices. Over time, market interest has shifted as new artists and communities emerge, while the most significant artists within each movement tend to retain long-term cultural and historical importance.
As with all art markets, quality, significance, and context matter. Informed advice from specialists with a deep understanding of First Nations art history and market development remains essential.
As the country’s longest-established exhibiting gallery dedicated to contemporary First Nations art, Art Leven continues to apply its experience, scholarship, and evolving provenance standards to support informed and responsible collecting.
Contact us
GADIGAL COUNTRY
104 Cathedral Street
Woolloomooloo
NSW, 2011
Australia
Art Leven (formerly Cooee Art) was established in 1981 by Adrian Newstead and Louise Ferrier, at a time when Contemporary Aboriginal art was only beginning to gain broader recognition in ‘Australia’. From its earliest years, the gallery played a formative role in presenting Aboriginal artists to national and international audiences and in advocating for the cultural and artistic significance of their work.
Over more than four decades, the gallery has evolved into the country’s longest-established exhibiting gallery dedicated to contemporary First Nations art. Its program has consistently combined scholarship, market expertise, and ethical engagement, presenting exhibitions and events throughout ‘Australia’, Europe, and the Americas.
In 2016, after being with the gallery as manager for 8 years, Mirri Leven became an owner of the gallery and assumed an increasing role in its strategic direction and operations. Then, in 2023, following the departure of Adrian and Anne Newstead, Mirri Leven became the sole owner and director of the business. At this time, the gallery formally transitioned from Cooee Art to Art Leven.
The change of name marked a new chapter in the gallery’s history, reflecting both continuity with its founding legacy and a clearer articulation of its contemporary focus. The transition signalled a renewed emphasis on contemporary First Nations art, ethical practice, transparency, and a forward-looking curatorial and market-led approach under independent ownership.
Today, Art Leven operates a hybrid model encompassing exhibitions, auctions, and private sales, working collaboratively with First Nations artists, curators, and art centres across Australia. The gallery presents a monthly exhibition program, including solo exhibitions by important living artists and thematically curated group exhibitions, supported by public talks, events, and educational initiatives. Visitors are welcome during public opening hours or by private appointment.
The gallery maintains an extensive stockroom of more than 1,000 artworks by over 150 artists, representing a wide range of regional practices and individual artistic voices. These include rare bark paintings and cultural objects, early desert boards and acrylic paintings, alongside significant contemporary works in painting, sculpture, limited edition prints, and hand-crafted objects.
Art Leven’s auction program, established in 2017, is recognised as a market leader in ‘Australian’ First Nations art. Working with artists, estates, private collectors, museums, and institutions, Art Leven curates and presents two annual auctions supported by rigorous research, transparent processes, and specialist knowledge.
